Musical Offerings最新文献

The Four Pillars of Choral Music Education 合唱音乐教育的四大支柱

Musical Offerings Pub Date : 2023-01-01 DOI: 10.15385/jmo.2023.14.1.3

Joanna Setness

{"title":"The Four Pillars of Choral Music Education","authors":"Joanna Setness","doi":"10.15385/jmo.2023.14.1.3","DOIUrl":"https://doi.org/10.15385/jmo.2023.14.1.3","url":null,"abstract":"This paper investigates how the philosophy of several key choral music educators influenced their working methods and the principles that they emphasized in their teaching. Lowell Mason, named the “Father of Music Education”, and the first public school music teacher in Boston, spearheaded the school singing movement in the mid 1800’s. F. Melius Christiansen, teaching at St. Olaf College in Northfield, MN left a legacy of the “ideal” choral sound and elevated the choir to a prestigious position in schools. John Finley Williamson, with the Westminster Choir, blended “sung-speech” and the quality of individual sound to produce an entirely different measurement of choral success. Finally, Robert Shaw, a highly acclaimed choral director, used Rhythmic-Diction and awareness of stylistic authenticity to drive his choir of professional adult singers to new heights. The philosophy of each of these choral educators directly influenced all of their working methods and choices, even their choice of singers. This project will briefly unearth the roots of choral music in music education followed by a comparative study of the director’s philosophies that drove their educational methods. The study will conclude with an assessment of the significance of these directors’ contributions to contemporary choral music education.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81937772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Singing Planets Don't Sing; They Speak 会唱歌的行星不会唱歌;他们说

Musical Offerings Pub Date : 2023-01-01 DOI: 10.15385/jmo.2023.14.1.2

Joanna Lauer

引用次数: 0

A Herderian Perspective on Finland, Sibelius, and the Kalevala 芬兰、西贝柳斯和卡勒瓦拉的赫德尔视角

Musical Offerings Pub Date : 2023-01-01 DOI: 10.15385/jmo.2023.14.1.1

Philip Cataldo

{"title":"A Herderian Perspective on Finland, Sibelius, and the Kalevala","authors":"Philip Cataldo","doi":"10.15385/jmo.2023.14.1.1","DOIUrl":"https://doi.org/10.15385/jmo.2023.14.1.1","url":null,"abstract":"Situated amidst the revolutionary spirits of 19th-century Europe, Finnish nationalists sought to bring an end to roughly half a millennium of foreign rule for their land and their people. According to the German philosopher Johann Gottfried Herder, a community must have a common language and a common history in order to constitute a nation. At this time, Finland had neither. Although Herder’s political philosophy is considered crucial to understanding the nationalist movements that took place in Europe during this period, Finland’s peculiar success in attaining and sustaining independence has until this point remained unexplained relative to a Herderian framework. This study consists primarily of a distillation of Herder’s philosophy and an investigation of Finland’s history, with a particular focus on the music of the composer Jean Sibelius and the Kalevala, a collection of Finnish mythological stories. The findings of this investigation suggest that the emergence of the Finnish nation can be understood within a Herderian framework because the music of Sibelius and the Kalevala fulfilled the roles of a common language and common history. This provides a more nuanced understanding of both Herder’s philosophy and the relationship between music and language.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"61 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83416161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Medieval Methods: Guido D’Arezzo’s Innovative Approaches to Music Education 中世纪方法:Guido D 'Arezzo音乐教育的创新方法

Musical Offerings Pub Date : 2022-01-01 DOI: 10.15385/jmo.2022.13.2.1

Lydia Kee

引用次数: 0

Total Artwork: Wagner's Philosophies on Art and Music in the Ring Cycle 整体艺术:瓦格纳在《指环》中的艺术和音乐哲学

Musical Offerings Pub Date : 2022-01-01 DOI: 10.15385/jmo.2022.13.1.2

Soraya Peront

{"title":"Total Artwork: Wagner's Philosophies on Art and Music in the Ring Cycle","authors":"Soraya Peront","doi":"10.15385/jmo.2022.13.1.2","DOIUrl":"https://doi.org/10.15385/jmo.2022.13.1.2","url":null,"abstract":"Richard Wagner is one of the most renowned composers of the Romantic period, due to his intensely emotional music, captivating operatic plots, and his unique idea to combine visual art, vocal music, and instrumental music in an unprecedented way. His music is acclaimed for being highly progressive for its time; Wagner also held unique philosophical beliefs which formed the foundation for his music. Wagner’s pioneering ideas about art, music, and the way they should be paired together led to the composition of many operas that still have a place in the permanent repertoire today, including Der Ring des Nibelungen, or the Ring cycle. The Ring cycle is the pinnacle of Wagner’s compositional career. Though his previous operas were innovative, it was the Ring into which Wagner poured his most groundbreaking ideas, taking over twenty years to complete it. The cycle consists of four independent operas that contain a continuous storyline and musical themes, all tied together through leitmotifs and equally featuring instrumental music, vocal music, and visual art. Ultimately, Richard Wagner’s philosophies about art and music led to his use of leitmotifs and his support of Gesamtkunstwerk, which influenced his compositional techniques in the Ring cycle.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"46 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88311813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Copland and Communism: Mystery and Mayhem 科普兰与共产主义:神秘与混乱

Musical Offerings Pub Date : 2022-01-01 DOI: 10.15385/jmo.2022.13.1.3

Emilie Schulze

{"title":"Copland and Communism: Mystery and Mayhem","authors":"Emilie Schulze","doi":"10.15385/jmo.2022.13.1.3","DOIUrl":"https://doi.org/10.15385/jmo.2022.13.1.3","url":null,"abstract":"In the midst of the second Red Scare, Aaron Copland, an American composer, came under fire for his communist tendencies. Between the 1930s and 1950s, he joined the left-leaning populist Popular Front, composed a protest song, wrote Lincoln Portrait and Fanfare for the Common Man, traveled to South America, spoke at the Cultural and Scientific Conference for World Peace, and donated to communist leaning organizations such as the American-Soviet Musical Society. Due to Copland’s personal communist leanings, Eisenhower’s Inaugural Concert Committee censored a performance of Copland’s Lincoln Portrait in 1953. HUAC (The House Committee on Un-American Activities) brought Copland to the committee and questioned him on his communist connections. Copland clearly denied any and all communist activities or affiliations. This raised the questions: what impact did the contemporary political climate have on Copland’s music? What actual ties did he have to communism? Does it matter? To answer these questions, I examined the primary sources in the Copland Collection at the Library of Congress, during the fall of 2019. In addition to selected secondary sources, I focused on the relevant letters, hearing records, and other materials contained in Box 427: the box on HUAC. In addition to the Performing Arts Reading Room Aaron Copland Collection, I utilized the Folklife Collection and their resources on Aaron Copland. I will conclude there is significant external evidence Copland associated with communists, but since Copland himself continuously denied the identity, it is difficult to conclude whether Copland was or was not in fact a communist. It is much easier to conclude that Copland was, at the very least, politically left-leaning, although his political beliefs held a secondary role to the musical style in his compositions.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85353803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Tomorrow Our Seeds Will Grow: The Miseducation of Lauryn Hill and the Changing Landscape of Hip-Hop 明天我们的种子将会成长:劳伦·希尔的错误教育和嘻哈音乐的变化

Musical Offerings Pub Date : 2022-01-01 DOI: 10.15385/jmo.2022.13.2.3

Emma Beachy

引用次数: 0

The Jubilee Singers: Free or Enslaved? 禧年歌手:自由还是被奴役?

Musical Offerings Pub Date : 2022-01-01 DOI: 10.15385/jmo.2022.13.1.1

Micaiah Jones

引用次数: 0

Joyful, Joyful! The Musical Significance of Beethoven's Ninth 快乐,快乐!贝多芬第九交响曲的音乐意义

Musical Offerings Pub Date : 2022-01-01 DOI: 10.15385/jmo.2022.13.2.2

Allison Zieg