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Dance-Type Narration in Stanisław Moniuszko's Operas

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Journal xyz 2017; 1 (2): 122–135 The First Decade (1964-1972) Research ArticleBeyond the Max Musterman, Paul Placeholder What Is So Different About Neuroenhancement?Dogma of a Was ist so anders am Neuroenhancement? Pharmacological and Mental Self-transformation in Ethic Comparison‘National Style’: Pharmakologische und mentale Selbstveränderung im ethischen Vergleich https://doi.org/10.1515/xyz-2017-0010 received February 9, 2013; accepted March 25, 2013; published online JulyDance-Type 12, 2014 Narration in Stanisław Moniuszko’s Operas Abstract: In the concept of the aesthetic formation of knowledge and its as soon as possible and success-oriented application, insights and profits without the reference to the arguments developed around 1900. The main investigation also includes the period between the entry into force and the presentation in its current version. Their function as part of the literary portrayal and narrative technique. Keywords: Function, transmission, investigation, principal, period Dedicated to Paul Placeholder 1 Studies and Investigations GRZEGORZ ZIEZIULA The main investigation also includes the period between the entryThe Institute into force of Art andof the Polish Academy of Sciences Email: [email protected] the presentation in its current version. Their function as part of the literary por- trayal and narrative technique. *Max Musterman: Institute of Marine Biology, National Taiwan Ocean University, 2 Pei-Ning Road Keelung 20224, Taiwan (R.O.C), e-mail: [email protected] Paul Placeholder: Institute of Marine Biology, National Taiwan Ocean University, 2 Pei-Ning Road ThisKeelung publication 20224, Taiwan has (R.O.C), been e-mail:financed [email protected] from the funds of the Ministry of Science and Higher Education. Journal xyz 2017; 1 (2): 122–135 Open Access. Open Access.© 2017 Mustermann© 2019 Grzegorz and Placeholder, Zieziula, published by by De Sciendo. Gruyter. ThisThis work work is is licensed under the Creative Commons licensedAttribution-NonCommercial-NoDerivatives under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. 4.0 License. The First Decade (1964-1972) Research Article Max Musterman, Paul Placeholder What Is So Different About Neuroenhancement? Was ist so anders am Neuroenhancement? Pharmacological and Mental Self-transformation in Ethic Comparison Pharmakologische und mentale Selbstveränderung im ethischen Vergleich https://doi.org/10.1515/xyz-2017-0010 received February 9, 2013; accepted March 25, 2013; published online July 12, 2014 Abstract: In the concept of the aesthetic formation of knowledge and its as soon as possible and success-oriented application, insights and profits without the reference to the arguments developed around 1900. The main investigation also includes the period between the entry into force and the presentation in its current version. Their function as part of the literary portrayal and narrative technique. Keywords: Function, transmission, investigation, principal, period Dedicated to Paul Placeholder 1 Studies and Investigations The main investigation also includes the period between the entry into force and the presentation in its current version. Their function as part of the literary por- trayal and narrative technique. *Max Musterman: Institute of Marine Biology, National Taiwan Ocean University, 2 Pei-Ning Road Keelung 20224, Taiwan (R.O.C), e-mail: [email protected] Paul Placeholder: Institute of Marine Biology, National Taiwan Ocean University, 2 Pei-Ning Road Keelung 20224, Taiwan (R.O.C), e-mail: [email protected] Open Access. © 2017 Mustermann and Placeholder, published by De Gruyter. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. Beyond the Dogma of a ‘National Style’: Dance-Type Narration in Stanisław Moniuszko’s Operas Musicology Today • Vol. 16 • 2019 DOI: 10.2478/muso-2018-0006 ABSTRACT many handbooks), which claims that the 2nd half of the century saw the emancipation of the so-called ‘national A privileged position in discourse on 19th-century opera is occupied by schools’1 or ‘national trends’2. Their representatives narration concerning the emancipation of national styles. In order to formed a new colourful stylistic panorama, which was work out a fresh approach in scientific study of this subject, it seems crucial that we should abandon the ethnocentric perspective. This was ostensibly conceived in opposition to the two ‘leading’ th th one of the main postulates of Jean-Marie Pradier’s utopian project of universal European styles of the 18 and early 19 ethnoscenology. Importantly, Pradier also stressed the physical aspect centuries: the Italian and the French one3. This was of all stage practice. In the times of Rossini, Verdi, Gounod and supposed to correspond to the wider political context of Moniuszko, the physicality of the spectacle was associated not only with the peripheries gaining independence and of their quiet singing, but also with choreography. The links between 19th-century opera and its broadly conceived dance component are the subject of a rebellion against the centres of authoritarian power (of highly inspiring essay by Maribeth Clark, whose arguments, theses and which cultural colonialism was always an emanation), conclusions we also present here in detail. situated in the capitals of the multi-ethnic empires. Stanisław Moniuszko’s operatic style is commonly associated with The distinction into the (historically) gradually eroding Polish dance rhythms. Still, salon dance should also be considered, cultural ‘centres’ and the ‘peripheries’ which were gaining apart from national dances, as one of the keys to the composer’s entire oeuvre. In a study of his stage works from both the Vilnius and the impetus and derived pride from their separate identity Warsaw periods, the dance idiom will not be limited to the presence of – can hardly be questioned. One must also remember, dance rhythms in the protagonists’ arias or to the ballet sections. Dance however, that the so-called ‘national composers’ were never qualities can be discerned in Moniuszko’s music on a much deeper, completely cut off from cosmopolitan European trends, fundamental level of the construction of operatic narration. Dance is because each ‘periphery’ had its own music institutions frequently a hidden mechanism that serves as an axis of development for the presented events or as an element that organises the dramaturgy and opera companies that intensely propagated the of entire scenes and instrumental passages. This paper is an attempt to take a fresh look at the role of the dance idiom in Moniuszko’s operatic narrations, an initial reconnaissance, in which I point to the sources of the composer’s inspirations and illustrate 1 Cf. A. Chodkowski (Ed.), (1995). Narodowe szkoły w muzyce my theses with specific examples. [The National Schools in Music]. In: Encyklopedia muzyki [Music Encyclopedia]. Warszawa: PWN, p. 596: “the directions which Key words: Stanisław Moniuszko, Maribeth Clark, Jean-Marie Pradier, became distinguishable in the mid-19th century in the music of th 19 -century opera, salon dances many countries emphasised native elements under the influence of the awakening sense of national identity. Music began to 1. draw inspiration from local folklore, while operas and symphonic poems frequently referred to scenes and events from the nation’s The 19th century brought a rapid rise in nationalistic history.” A similar approach is represented by Naďa Hrčková in: ideologies and a previously unheard-of emancipation of N. Hrčková (Ed.), (2010). Dejiny hudby V: Hudba 19. storočia [History of Music V: 19th-Century Music]. Bratislava: Ikar, pp. 51– regional centres of culture. Its legacy includes a set of 54, 66–72. Cf. also: E. Dziębowska. O polskiej szkole narodowej ready-made templates for the perception and evaluation [On the Polish National School]. In: Z. Chechlińska (Ed.), (1971). of art, including operatic works and their composers. Szkice o kulturze muzycznej XIX wieku [Notes on 19th-Century The century saw not only the enormous success of Italian Music Culture]. Warszawa: PWN, pp. 13–32. According to composers (Rossini, Bellini, Donizetti, Verdi) on operatic Dziębowska, the notion of the ‘national school’ is a fluid one. She defines it as “a set of features typical of the musical culture of a stages, but also that of the masters of the French opera given national environment.” (now gradually restored to our collective memory, such 2 Cf. Muzyka drugiej połowy XIX w. Narodowe kierunki w muzyce as Auber, Adam, Hérold, Halévy, Meyerbeer, Gounod), [Music of the 2nd Half of the 19th Century. National Directions in as well as of eminent outsiders (or provincial artists, as Music]. In: B. Muchenberg, (1989). Pogadanki o muzyce, Vol. 2. sceptics might call them), who developed in the shadow Kraków PWM, pp. 108–227. of the greats, far from Europe’s leading cultural centres. 3 Alfred Einstein mentions a “nationalistic idea” and “national Stanisław Moniuszko (1819–1872), ‘father of the Polish dialects.” Cf. A. Einstein, (1965). Muzyka w epoce romantyzmu opera’, belongs to that latter group. [Music in the Romantic Era], M. Jarocińska & S. Jarociński In order to properly appreciate such figures, historians (Transl.), Warszawa: PWN, pp. 32–34, 88–94. Einstein writes: th th “in the course of the 19 century, Romanticism awakened every of 19 -century music and opera created a convincing, nation, one by one, from the largest to the smallest […] until, popular type of narration (still
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    UNDERSTANDING THE LIRICO-SPINTO SOPRANO VOICE THROUGH THE REPERTOIRE OF GIOVANE SCUOLA COMPOSERS Youna Jang Hartgraves Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Jeffrey Snider, Major Professor William Joyner, Committee Member Silvio De Santis, Committee Member Stephen Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hartgraves, Youna Jang. Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers. Doctor of Musical Arts (Performance), August 2017, 53 pp., 10 tables, 6 figures, bibliography, 66 titles. As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.’ This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices.
  • Nature, Weber and a Revision of the French Sublime

    Nature, Weber and a Revision of the French Sublime

    Nature, Weber and a Revision of the French Sublime Naturaleza, Weber y una revisión del concepto francés de lo sublime Joseph E. Morgan Nature, Weber, and a Revision of the French Sublime Joseph E. Morgan This article investigates the emergence Este artículo aborda la aparición y and evolution of two mainstream evolución de dos de los grandes temas romantic tropes (the relationship románticos, la relación entre lo bello y between the beautiful and the sublime lo sublime, así como la que existe entre as well as that between man and el hombre y la naturaleza, en la nature) in the philosophy, aesthetics filosofía, la estética y la pintura de la and painting of Carl Maria von Weber’s época de Carl Maria von Weber. El foco time, directing it towards an analysis of se dirige hacia el análisis de la expresión Weber’s musical style and expression as y el estilo musicales de Weber, tal y manifested in his insert aria for Luigi como se manifiesta en la inserción de Cherubini’s Lodoïska “Was Sag Ich,” (J. su aria “Was sag ich?” (J.239) que 239). The essay argues that the escribió para la ópera Lodoïska de Luigi cosmopolitan characteristic of Weber’s Cherubini. Este estudio propone que el operatic expression, that is, his merging carácter cosmopolita de las óperas de of French and Italian styles of operatic Weber (con su fusión de los estilos expression, was a natural consequence operísticos francés e italiano) fue una of his participation in the synaesthetic consecuencia natural de su movement of the Romantic era.