DOCSLIB.ORG

RES MUSICA — Nr 1 / 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RES MUSICA — Nr 1 / 2009 RES MUSICA — nr 1 / 2009 Eesti Muusikateaduse Seltsi ja Eesti Muusika- ja Teatriakadeemia muusikateaduse osakonna aastaraamat TOIMETUS: Urve Lippus, peatoimetaja Kerri Kotta (muusikateooria) Žanna Pärtlas (etnomusikoloogia) Jaan Ross (muusikapsühholoogia) Toomas Siitan (muusikaajalugu) Anu Sõõro, toimetaja TOIMETUSKOLLEEGIUM: Mimi S. Daitz (New York City University, USA) Jeffers Engelhardt (Amherst College, USA) Mart Humal (Eesti Muusika- ja Teatriakadeemia, Eesti) Diana Krull (University of Stockholm, Rootsi) Timo Leisiö (University of Tampere, Soome) Margus Pärtlas (Eesti Muusika- ja Teatriakadeemia, Eesti) Johan Sundberg (Royal Institute of Technology, Rootsi) Avo Sõmer (University of Connecticut, USA) Res musicale avaldamiseks esitatud artiklid retsenseeritakse anonüümselt kahe vastava valdkonna asjatundja poolt. Keeletoimetaja Triin Kaalep Kujundus Tuuli Aule Rävala pst 16 10101 Tallinn, Eesti Tel.: +372 6675717 e-mail: [email protected] www.muusikateadus.ee/resmusica © 2009 EMTS, EMTA, autorid Trükitud AS Pakett trükikojas ISSN 1736-8553 4 Sisukord: 47 — 7 Karl Traugott Goldbach — Arthur von Oettingen ja tema Toimetuselt orthotonophonium oma aja 9 kontekstis — Resümee Toomas Siitan Baltisaksa ja eesti kultuuri- 71 — ruumid 19. sajandi teise poole Seija Lappalainen Eesti- ja Liivimaal: kooriseltsid Fredrik Pacius ja Richard ja identiteedikujundus Faltin – kaks sakslast Soome Resümee muusikaelu ehitamas 21 Resümee — Martin Loeser 85 — Akadeemilised muusikaõpetajad Fabian Dahlström Läänemere piirkonna ülikoolides: „Piae cantionese” traditsioon ühe ametikoha loomisest ja Soomes 1616–1900 kujundamisest 19. sajandil võrdlevas perspektiivis Resümee Resümee 101 — 29 Arvustused — Aleksander Pulver: Jaan Rossi muusika- Geiu Rohtla psühholoogilised capriccio’d. Jaan Ross, Kaksteist loengut muusikapsühholoogiast Muusikaõpetaja koht Tartu (Tartu 2007) ülikoolis 1803–1807 103 Resümee — Kommentaar 39 Mart Humal: Kommentaar Oettingeni — ortotonofooniumi häälestuse kohta Andreas Waczkat Friedrich Konrad Griepenkerl 109 (1782–1849), Braunschweigi — Kroonika Collegium Carolinumi Anu Paulus: Muusikateadusliku elu professor ja Braunschweigi kroonika 2004–2008 Lauluakadeemia esimene 113 direktor — Resümee Autorid 5 Toimetuselt Aastaraamat Res musica tahab olla eesti muusikateadlaste jaoks kõige laiemaks foorumiks, milles avaldatakse artikleid kõigist muusika uurimisega seotud valdkondadest ja võimalikult rahvusvahelise autorkonna poolt. Ajakirja eesmärgiks on arendada eestikeelset muusikateaduslikku diskursust, kuid selle kõrval ka seostada seda nii meie enda kui väliskolleegide võõrkeelse diskursusega, mis sõltuvalt keele valikust sageli orienteerub erinevatele mõtlemis- ja kirjutamistraditsioonidele. Seega on eesmärgiks ka sünteesida praegu domineerivat ingliskeelset diskursust nii saksakeelse kui 20. sajandil Baltikumis tugevalt esindatud venekeelse muusikateaduse traditsioonidega. Planeeritud on avaldada nii üksikuid artikleid kui terviklikke numbreid eelkõige eesti keeles, kuid selle kõrval sõltuvalt teemast ka inglise ja saksa keeles, igal juhul aga ulatuslike tõlgitud resümeedega. Peale uurimuslike artiklite sisaldab aastaraamat arvustuste ja muusikateadusliku elu kroonika rubriigi. Aastaraamatu väljaandjateks on EMTA muusikateaduse osakond ja Eesti Muusikateaduse Selts. Kõik artiklid retsenseeritakse enne ilmumist vastavalt teemale akadeemilises uurimistöös osalevate muusikateadlaste poolt ning nii kaastööde kui retsensentide leidmisel toetab toimetust rahvusvaheline kolleegium. Viimasel kahel aastakümnel on eesti keele oskus rahvusvahelise uurijaskonna hulgas laienenud, nii et ka eestikeelsetele artiklitele on võimalik saada tagasisidet kaugemalt. Samas kavatseb toimetus kasutada võimalust tõlkida ühe köite kaastööd kas eesti või võõrkeelde, kui artiklivalik moodustab temaatilise terviku ja võiks adresseerida spetsiifi lisemat lugejaskonda (nagu näiteks eesti kultuuriavalikkus laiemalt; või mõnel teisel juhul näiteks rahvusvaheline teatud teema uurijaskond). Aastaraamatu esimene väljaanne sisaldab muusikaloo-teemalisi uurimusi. Selle artiklivaliku algtõukeks oli 2007. aastal Tartu Ülikooli Raamatukogus toimunud konverents „Ülikooli muusika- direktori amet 200” ja keskseks teemaks muusikaelu või muusika uurimine Läänemeremaade ülikoolides 19. sajandil. Lisatud on mõned selle teemaga haakuvad üldisemad artiklid. Urve Lippus 7 rahvuslike ideede levitamisel, märgib Tuglas Baltisaksa ja ja eesti eesti kultuuri- kultuuri- ometi, et laulupeole järgnes pigem rahvusliku ruumidruum 19. 19. sajandi sajandi teise teise poole poole liikumise stagneerumine: Eesti- jaja Liivimaal: Liivimaal: kooriseltsid kooriseltsid …legaliseerudes ja ikka laiemaid masse vallutades muutus rahvuslik liikumine ise ja identiteedikujundusidentiteedikujundus ka üldmeeleolulisemaks ning kaotas oma — agressiivse potentsi. Ta kaldus seniselt Toomas Siitan võitluspinnalt ja peaaegu samastus selle aeglase rahvavalgustustööga, mida nii menukalt oli teinud Jannsen. Ja lõpuks kuulus tema lipukandjate hulka 1990. aastate algul räägiti eesti muusikatead- igaüks, kes aga leidis isamaa ilusa ja emakeele kõlava olevat. Kuid need teisejärgulised väärtused laste hulgas palju paradigmamuutusest meie just loiutasid ja lämmatasid liikumist rahvuslik- muusikalises historiograafi as, kusjuures tookord sotsiaalse nähtusena. Seesugust rahvuslust ei uskusime end vastanduvat ajalookirjutuse kartnud selle maa senised isandad kuigi suurel nõukogudeaegsele traditsioonile, mis esindas määral, nagu nad polnud kartnud ka Jannseni meile võõrast ja vaenulikku ideoloogiat. Samas kavatsetud laulupidu (Tuglas 1932: 27). on Urve Lippus oma kirjutistes korduvalt juhtinud tähelepanu sellele, et mingit eriliselt 1920. ja 1930. aastate kirjutistes kritiseeriti nõukogulikku muusikalookäsitlust Eestis õieti sageli rahvusliku liikumise tegelaste alalhoid- ei tekkinudki: eesti muusikaloo jutustamine likkust ja koostöövalmidust baltisakslastega, ja kirjutamine toetus siin kogu nõukogude aja positiivse kangelasena nähti selles kontekstis sellelesamale põhiskeemile ja peaasjalikult eelkõige Carl Robert Jakobsoni ning näiteks koguni samale ideoloogiale, millest ta oli lähtunud peab Tuglas ka oluliseks rõhutada tema oma kujunemise ja kanoniseerumise ajal 1920. demonstratiivset eemalejäämist esimesest ja 1930. aastatel (Lippus 2002; Lippus 2008). laulupeost: Jakobson oli küll Tartus, kuid ei Eesti kaasaegses muusikalookirjutuses võtnud peost osa isegi mitte pealtvaatajana toimunud peamine suunamuutus on seotud (Tuglas 1932: 26). 20. sajandi esimesel kolman- kitsalt rahvusliku vaatepunktiga, mis oli talle dikul sai eesti kultuuriloo kirjutamise kaanoniks omane kuni 20. sajandi lõpukümnendini: nagu 19. sajandi teise poole rahvusliku liikumise Eesti kultuuriloo puhul üldiselt, kalduti ka kujutamine kaheks leeriks lõhenenuna: leeride muusikaloos varem piirduma üksnes eesti vastandamise peakriteeriumiks oli suhtumine kultuuriruumi puutuvate faktidega ning mööda baltisakslastesse ja nende kultuuripärandisse vaatama nii baltisaksa kultuuriruumist tervikuna ning sümbolkujudeks olid saksasõbralikule kui ka nende kahe kultuuriruumi seostest. leerile Jannsen ja rahvusradikaalidele Jakobson. Selle vaatekoha juured on juba 19. sajandi Vaieldamatult väga teenekat Jannsenit on lõpus, ent see kinnistus 1920. aastatel – Eesti sealjuures sageli otseselt süüdistatud omakasu- Vabariigi algusaegadel, mil siinsed haritlased püüdlikus koostöös baltisaksa aadlike ja vaimu- ehitasid üles Eesti rahvusriiklikku identiteeti, likega ning koguni eesti rahvuslike huvide maha- ning nagu identiteedi konstrueerimisel loomulik, müümises, süüdistuse aluseks on olnud Eesti ei keskendutud sealjuures mitte üksnes Postimehe veergude sulgemine rahvusradi- kujunevas kultuuriruumis ühiselt jagatavale kaalidele ja rüütelkonna väidetav rahaline toetus „omale”, vaid ka võõrale ehk kultuurilisele ajalehele. Jannseni tegevuse ühekülgses, kitsalt „teisele”, millele end vastandada – identiteet pole rahvuslikust vaatepunktist tõlgendamises on mõeldav alteriteedita ja iga identiteedikogemus muutus toimunud alles viimasel aastakümnel.1 sisaldab muu hulgas ka „vaenlasepilti”. Selline saksavaenulik hoiak on eriti paradok- Selline vaenlasepilt seostus 20. sajandi saalne eesti muusikalises historiograafi as, alguse haritlaste mõttemaailmas eelkõige kus sai üldiseks tavaks käsitada saksa elemente siinse baltisaksa kultuuripärandiga. Sajandi eesti muusikale olemuslikult võõrana, vaatamata esimese kolmandiku valdavaid meeleolusid sellele et siinse kodanliku muusikaelu kõik eesti kultuuriloo võtmeprobleemi suhtes esitleb struktuurielemendid on esmalt ilmunud balti- vahest kõige sisukamalt Friedebert Tuglase saksa kultuuriruumis ning et siinse rahvusliku mahukas monograafi a „Eesti Kirjameeste Selts”: muusikakultuuri tõus 19. sajandil toetub muusikaloo seisukohalt on väga huvitav näiteks eeskätt sajandi algul Saksamaal aset leidnud Tuglase ja tema põlvkonnakaaslaste suhtumine haridusreformidele (näiteks Hans Georg Nägeli eesti kooriliikumisse, laulupidude traditsiooni ja Bernhard Christoph Ludwig Natorpi ideedele). algatamisse Johann Voldemar Jannseni poolt 1869. aastal ning nende tähendusse rahvusliku 1 Eelkõige pean silmas Malle Salupere artikleid (Salupere 1999; liikumise seisukohalt. Eitamata ürituse olulisust Salupere 2001) ning tema monograafi at (Salupere 2006). 9 Baltisaksa ja eesti kultuuriruumid 19. sajandi teise poole Eesti- ja Liivimaal: kooriseltsid ja identiteedikujundus Sellel pinnal ilmekalt vastandlikena algatati heliloojate liedertafellikest paladest” (Vahter
Load more

Recommended publications
  • ICMPC11 Schedule at a Glan
    Upadted 7/9/10 SCHEDULE AT A GLANCE 8/23-27/10 MONDAY 8/23 REGISTRATION REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby 8:00-9:00AM Kane 130 Kane 110 Gowen 301 Smith 120 KANE - Walker Ames Room Session Rooms Gowen 201 WELCOME/KEYNOTE ADDRESS: Welcome and Opening Singing: when it hurts, when it helps, Keynote 9-10:30AM and when it changes brains. Gottfried Schlaug BREAK: 10:30-11:00AM Break Break Break Break Break Break INVITED SYMPOSIUM: SESSION 1 Effects of Musical Experience on Development During MUSIC THERAPY 1 SOCIAL PSYCHOLOGY 1 TONAL PERCEPTION 1 11-12:30 Infancy Laurel Trainor PA 021 Modeling Musical Structure from the Audience: Emergent PA027 The Effect of Structure and Rate Variation on Key-Finding SYM31:Beat Induction as a Fundamental Musical Skill PA 025 A Theory of Music and Sadness: A Role for Prolactin? 11:00 Rhythmic Models from Spontaneous Vocalizations in Samba Culture Morwaread Farbood, Gary Marcus, Panayotis Mavromatis, David Henkjan Honing David Huron Luiz Naveda, Fabien Gouyon, Marc Leman Poeppel SYM32: New Perspectives on Consonance and Dissonance PA 018 Improvisational Psychodynamic Music Therapy for PA110 Influences of Minority Status and Social Identity on the PA057 Common and Rare Musical Keys Are Absolutely Different: 11:30 Judy Plantinga, Sandra E. Trehub Depression: Randomized Controlled Trial Elaboration of Unfamiliar Music by Adolescents Implicit Absolute Pitch, Exposure
    [Show full text]
  • The Influence of Characteristics on Music Enjoyment and Preference
    Page 12 Oshkosh Scholar The Influence of Characteristics on Music Enjoyment and Preference Kristie Wirth, author Dr. Quin Chrobak, Psychology, faculty mentor Kristie Wirth is a senior at UW Oshkosh studying psychology and French. She plans to pursue a Ph.D. in counseling psychology after graduating. Her ideal career would involve both teaching and counseling at a university. She conducted the following research study as part of the McNair Scholars Program during spring 2012. Dr. Quin Chrobak received his B.A. from Drew University, his M.A. from American University, and his Ph.D. in experimental psychology from Kent State University. His research focuses on understanding how memory and cognition operate in complex real-world situations. Most recently, his research has begun to explore the notion that the nature of the relationship between witnessed and suggested/fabricated events may contribute to the false memory development. Abstract Past research has indicated that two specific personality traits, openness and empathy, may contribute to greater enjoyment of music that expresses negative emotions. Individuals with elevated levels of depressive symptoms may similarly have a preference for negative music. However, no research to date has explored the impact of both personality traits and depressive symptoms in the same investigation. The current study measured both music enjoyment (how much people like certain music) and music preference (how often people choose to listen to certain music) after exposure to negative, neutral, and positive music. Supporting prior research, this study indicated that individuals high in overall empathy (the ability to experience the emotions of another) had a greater enjoyment of negative emotional music.
    [Show full text]
  • Editorial: Embodiment in Music
    i Editorial: Embodiment in Music Editorial Andrea Schiavio1 & Nikki Moran2 1 Centre for Systematic Musicology, University of Graz, Austria 2 Reid School of Music, The University of Edinburgh, UK This special issue of the Journal of Interdisciplinary Music Studies (JIMS) focuses on the theme “Embodiment in Music”, reflecting the main topic of the latest Conference of Interdisciplinary Musicology held in Graz (CIM19). The present volume involves empirical and conceptual contributions exploring embodied music cognition from a variety of angles, combining selected papers presented at this conference with original submissions. The period of time since CIM19 took place has been marked by disruption. This is a period that has seen dramatic shifts in western consciousness towards globally impactful issues: the mass human crisis of forced migration and displacement; burgeoning awareness brought about through social justice campaigns; our climate- altered reality and the imminent, accelerating consequences. Our state of being under Covid-19 seems to have rendered existing disproportions of wealth, health and opportunity more apparent. What was previously subconscious, remote knowledge of prejudice and bias – aggressions concerning race, culture, gender, nature – seem now to have risen closer to the surface of daily life than perhaps at any previous point in living memory. As editors, we have taken particular care to respond to these issues as they pertain to academic research. We have been most grateful to all authors for their collaboration in decisions regarding stylistic language choices and the reduction of scientific bias. We are also grateful to the conference organizing committee in Graz, all authors, reviewers, and assistants who helped make this special issue possible.
    [Show full text]
  • Classical Net Review
    The Internet's Premier Classical Music Source BOOK REVIEW The Psychology of Music Diana Deutsch, editor Academic Press, Third Edition, 2013, pp xvii + 765 ISBN-10: 012381460X ISBN-13: 978-0123814609 The psychology of music was first explored in detail in modern times in a book of that name by Carl E. Seashore… Psychology Of Music was published in 1919. Dover's paperback edition of almost 450 pages (ISBN- 10: 0486218511; ISBN-13: 978-0486218519) is still in print from half a century later (1967) and remains a good starting point for those wishing to understand the relationship between our minds and music, chiefly as a series of physical processes. From the last quarter of the twentieth century onwards much research and many theories have changed the models we have of the mind when listening to or playing music. Changes in music itself, of course, have dictated that the nature of human interaction with it has grown. Unsurprisingly, books covering the subject have proliferated too. These range from examinations of how memory affects our experience of music through various forms of mental disabilities, therapies and deviations from "standard" auditory reception, to attempts to explain music appreciation psychologically. Donald Hodges' and David Conrad Sebald's Music in the Human Experience: An Introduction to Music Psychology (ISBN-10: 0415881862; ISBN-13: 978- 0415881869) makes a good introduction to the subject; while Aniruddh Patel's Music, Language, and the Brain (ISBN-10: 0199755302; ISBN-13: 978-0199755301) is a good (and now classic/reference) overview. Oliver Sacks' Musicophilia: Tales of Music and the Brain (ISBN-10: 1400033535; ISBN-13: 978-1400033539) examines specific areas from a clinical perspective.
    [Show full text]
  • Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HARMONIC EXPECTATION IN TWELVE-BAR BLUES PROGRESSIONS By BRYN HUGHES A dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2011 The members of the committee approve the dissertation of Bryn Hughes defended on July 1, 2011. ___________________________________ Nancy Rogers Professor Directing Dissertation ___________________________________ Denise Von Glahn University Representative ___________________________________ Matthew Shaftel Committee Member ___________________________________ Clifton Callender Committee Member Approved: _____________________________________ Evan Jones, Chair, Department of Music Theory and Composition _____________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii To my father, Robert David Moyse, for teaching me about the blues, and to the love of my life, Jillian Bracken. Thanks for believing in me. iii ACKNOWLEDGEMENTS Before thanking anyone in particular, I would like to express my praise for the Florida State University music theory program. The students and faculty provided me with the perfect combination of guidance, enthusiasm, and support to allow me to succeed. My outlook on the field of music theory and on academic life in general was profoundly shaped by my time as a student at FSU. I would like to express my thanks to Richard Parks and Catherine Nolan, both of whom I studied under during my time as a student at the University of Western Ontario and inspired and motivated me to make music theory a career.
    [Show full text]
  • The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-Flat Major (BWV 243A)*
    The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)* By Robert M. Cammarota Apart from changes in tonality and instrumentation, the two versions of J. S. Bach's Magnificat differ from each other mainly in the presence offour Christmas interpolations in the earlier E-flat major setting (BWV 243a).' These include newly composed settings of the first strophe of Luther's lied "Vom Himmel hoch, da komm ich her" (1539); the last four verses of "Freut euch und jubiliert," a celebrated lied whose origin is unknown; "Gloria in excelsis Deo" (Luke 2:14); and the last four verses and Alleluia of "Virga Jesse floruit," attributed to Paul Eber (1570).2 The custom of troping the Magnificat at vespers on major feasts, particu­ larly Christmas, Easter, and Pentecost, was cultivated in German-speaking lands of central and eastern Europe from the 14th through the 17th centu­ ries; it continued to be observed in Leipzig during the first quarter of the 18th century. The procedure involved the interpolation of hymns and popu­ lar songs (lieder) appropriate to the feast into a polyphonic or, later, a con­ certed setting of the Magnificat. The texts of these interpolations were in Latin, German, or macaronic Latin-German. Although the origin oftroping the Magnificat is unknown, the practice has been traced back to the mid-14th century. The earliest examples of Magnifi­ cat tropes occur in the Seckauer Cantional of 1345.' These include "Magnifi­ cat Pater ingenitus a quo sunt omnia" and "Magnificat Stella nova radiat. "4 Both are designated for the Feast of the Nativity.' The tropes to the Magnificat were known by different names during the 16th, 17th, and early 18th centuries.
    [Show full text]
  • Download (3MB)
    Lipsey, Eleanor Laura (2018) Music motifs in Six Dynasties texts. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/32199 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Music motifs in Six Dynasties texts Eleanor Laura Lipsey Thesis submitted for the degree of PhD 2018 Department of East Asian Languages and Cultures China & Inner Asia Section SOAS, University of London 1 Abstract This is a study of the music culture of the Six Dynasties era (220–589 CE), as represented in certain texts of the period, to uncover clues to the music culture that can be found in textual references to music. This study diverges from most scholarship on Six Dynasties music culture in four major ways. The first concerns the type of text examined: since the standard histories have been extensively researched, I work with other types of literature. The second is the casual and indirect nature of the references to music that I analyze: particularly when the focus of research is on ideas, most scholarship is directed at formal essays that explicitly address questions about the nature of music.
    [Show full text]
  • The Search for Consistent Intonation: an Exploration and Guide for Violoncellists
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS Daniel Hoppe University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.380 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hoppe, Daniel, "THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS" (2017). Theses and Dissertations--Music. 98. https://uknowledge.uky.edu/music_etds/98 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Baroque and Classical Style in Selected Organ Works of The
    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
    [Show full text]
  • Analysis of Emotional Dimensions in Music Using Time Series Techniques
    Analysis of Emotional Dimensions in Music Using Time Series Techniques Emery Schubert Few who have experienced the thrill of emotional interactions with music would deny that such experiences are important and enriching. These intoxicating episodes can be superior to any heightening or soothing drug because they occur without unpleasant side-effects. The fact that music can express such emotions—move people to tears of lament and to teeth-clenching ecstasy—is, for many, a wondrous mystery. How is it that by manipulating combinations of innocuous acoustic parameters composers and performers can produce such potent effects? The question has occupied scholars and practitioners for over twenty centuries. One of the many problems that face researchers is the lack of objective data available for comparing music and emotion. Further, experimental research in this area has tended to treat music as a stimulus that can be dealt with by a single point response. While experimental methodology requires an element of reductionism, in this article I argue that it is possible to obtain an additional dimension to the understanding of emotion in music by tracking emotional responses to music continuously. My work is based on the fundamental assumption that there are underlying rules that govern the relationship between music and emotion within a given culture.1 The strength of the experimental approach has been summarised by Pike, who indicated the benefit of collecting responses from several people instead of the introspections of the 1 My approach implies both a reductionist and behaviourist approach. While the approach of the reductionist is present, I rebuff the claim of a behaviourist approach.
    [Show full text]
  • The Christology of Bach's St John Passion
    PARADOSIS 3 (2016) ‘Zeig uns durch deine Passion’: The Christology of Bach’s St John Passion Andreas Loewe St Paul’s Cathedral Melbourne Melbourne Conservatorium of Music Introduction On a wet, early spring afternoon, on Good Friday 1724, the congregants of Leipzig’s Nikolaikirche witnessed the first performance of Bach’s St John Passion.1 For at least a generation, Good Friday in Leipzig’s principal Lutheran churches—St Thomas’, St Nikolai and the ‘New’ Church—had concluded with the singing of Johann Walter’s chanted Passion.2 As part of the final liturgical observance of the day, the story of the death of Jesus would be sung, combining words and music in order to reflect on the significance of that day. Bach took the proclamation of the cross to a new level – theologically and musically. Rather than use a poetic retelling of the Passion story as his textual basis, Bach made use of a single gospel account, matched with contemporary poems and traditional chorales to retell the trial and death of Jesus. By providing regular opportunities for theological reflection, he purposefully created a “sermon in sound” and so, in his music making, he closely mirrors Lutheran Baroque homiletic principles. An orthodox Lutheran believer throughout his life, Bach’s Passion serves as a vehicle to invite his listeners to make their own his belief that it was “through Christ’s agony and death” that “all the world’s 1 Andreas Elias Büchner, Johann Kanold, Vollständiges und accurates Universal-Register, Aller wichtigen und merckwürdigen Materien (Erfurt: Jungnicol, 1736), 680. 2 As popularised in Gottfried Vopelius, ed., Neu Leipziger Gesangbuch/ Von den schönsten und besten Liedern verfasset/ In welchem Nicht allein des sel.
    [Show full text]
  • The Treatment of the Chorale Wie Scan Leuchtet Der Iorgenstern in Organ Compositions from the Seven Teenth Century to the Twentieth Century
    379 THE TREATMENT OF THE CHORALE WIE SCAN LEUCHTET DER IORGENSTERN IN ORGAN COMPOSITIONS FROM THE SEVEN TEENTH CENTURY TO THE TWENTIETH CENTURY THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Paul Winston Renick, B. M. Denton, Texas August, 1961 PREFACE The chorale Wie schn iihtet derMorgenstern was popular from its very outset in 1589. That it has retained its popularity down to the present day is evident by its continually appearing in hymnbooks and being used as a cantus in organ compositions as well as forming the basis for other media of musical composition. The treatment of organ compositions based on this single chorale not only exemplifies the curiously novel attraction that this tune has held for composers, but also supplies a common denominator by which the history of the organ chorale can be generally stated. iii TABLE OF CONTENTS Page PREFACE . * . * . * . * * * . * . LIST OF ILLUSTRATIONS . .0.0..0... 0 .0. .. V Chapter I. THE LUTHERAN CHORALE. .. .. The Development of the Chorale up to Bach The Chorale Wie sch8n leuchtet der Morgenstern II. BEGINNINGS OF THE ORGAN CHORALE . .14 III* ORGAN CHORALS BASED ON WIE SCHN IN THE BAROQUE ERA .. *. .. * . .. 25 Samuel Scheidt Dietrich Buxtehude Johann Christoph Bach Johann Pachelbel Johann Heinrich Buttstet Andreas Armsdorf J. S. Bach IV. ORGAN COMPOSITIONS BASED ON WIE SCHON ...... 42 AFTER BACH . 4 Johann Christian Rinck Max Reger Sigf rid Karg-Elert Heinrich Kaminsky Ernst Pepping Johann Nepomuk David Flor Peeters and Garth Edmund son V.
    [Show full text]