{"title":"Re-forming Music: Martin Luther’s Impact on Church Music through the Lutheran Reformation","authors":"Soraya Wiese","doi":"10.15385/jmo.2021.12.2.2","DOIUrl":"https://doi.org/10.15385/jmo.2021.12.2.2","url":null,"abstract":"","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87275184","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}
{"title":"Fighting the Philistines: Robert Schumann and the Davidsbündler","authors":"Stephen J. White","doi":"10.15385/JMO.2021.12.1.1","DOIUrl":"https://doi.org/10.15385/JMO.2021.12.1.1","url":null,"abstract":"Robert Schumann was an eccentric composer and musical critic who influenced the Romantic-era musical community through the formation of the Davidsbündler. This “league of David” was Schumann’s idea of a musical society which exemplified a distinctly pure style of modern musical composition. The style of the Davidsbündler was based on the idea that music must reflect the personal life experiences of its composer. Needing a journal to publish musical writings of Davidsbündler, Schumann created the New Journal for Music. Having himself suffered from mental instability throughout his life, Schumann’s music often displayed unique levels of polarity and passion in order to show his own life experiences. Schumann’s mental polarity and instability was directly showcased in his music through the natures of fictional characters Florestan and Eusebius. These characters are clearly displayed though the piano works Carnival and the Davidsbündlertänze. Through the use of modern musical compositional techniques such as chromaticism and syncopation along with clear characterizations of Florestan and Eusebius, the Davidsbündlertänze stands as a testament to the ideals of the Davidsbündler.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84554347","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}
{"title":"Johannes Brahms’s Horn Trio and Its Unique Place in the Chamber Music Repertoire","authors":"Chloë Sodonis","doi":"10.15385/JMO.2021.12.1.3","DOIUrl":"https://doi.org/10.15385/JMO.2021.12.1.3","url":null,"abstract":"The purpose of this research is to explore the elements in Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40, that contribute to its unique position in the vast and revered library of chamber music. These include Brahms's use of folksong, five-measure phrases, a variation on sonata form, developing variation, emotional elements, and unique instrumentation. The German folk song, Es soll sich ja keiner mit der Liebe abgeben is almost identical to the opening fourth movement theme of the horn trio. Brahms incorporates portions of this melody throughout all four movements of his horn trio which demonstrates an internal unity and cohesive use of folksong that contribute to his work’s individuality. This is one of many examples of Brahms’s attention to detail and use of surprising elements that allow his horn trio to stand out among thousands of other works. Through studying portions of Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40., analyzing distinctive qualities of this work, and comparing these elements to those of other chamber works of the time, one can conclude that this piece has a unique place in the chamber music repertoire.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"79 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86731640","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}
{"title":"Is La bohѐme a verismo Opera?","authors":"Leah P. Bartlam","doi":"10.15385/jmo.2020.11.1.1","DOIUrl":"https://doi.org/10.15385/jmo.2020.11.1.1","url":null,"abstract":"Verismo is an Italian term that came to be used in reference to literature, theatre, and opera during the end of the nineteenth century. According to William Berger, “verismo is often translated as ‘realism’ but the word is closer to ‘truth’ in Italian.” The term was applied to literature beginning in the 1870s, and began to be applied to opera during the 1890s. However, it has never been particularly well understood. Evaluating it today is especially difficult because the modern perceptions of the term are not quite the same as the original meaning. La bohѐme was composed by Giacomo Puccini in 1895 and was based on the novel Scѐnes de la vie de bohѐme by Henri Murger. Since it was written in the verismo period and was based on literature, La bohѐme has been categorized as a verismo opera by many. To others, on the other hand, La bohѐme does not fit the definition of verismo either in part or in whole. This paper will examine the original use of the term verismo, Puccini’s original intentions, and La bohѐme itself. For research, this paper draws on the score of La bohѐme, biographies of Puccini, letters by Puccini, scholarly analyses, critical articles, and research on Italian operatic history. La bohѐme exhibits the characteristics of verismo opera based on these considerations.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"83 6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80076112","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}
{"title":"The Effects of Music Therapy on Individuals Suffering from Psychiatric Disorders: A Literature Review and Look into Future Prospects","authors":"Zachary J. Krauss","doi":"10.15385/jmo.2019.10.2.2","DOIUrl":"https://doi.org/10.15385/jmo.2019.10.2.2","url":null,"abstract":"Music therapy is a field of psychology and psychotherapy that exists under the broad field of study known as expressive arts therapy. This form of therapy is experiential in nature, and it gives participants vehicles through which they can tell their stories and share their emotions while actively exploring their thoughts. Music therapy has proven to be an effective treatment for a myriad of psychological disorders, including anxiety, depression, bipolar disorder, PTSD, and schizophrenia. In order to grant a base level of understanding, research was conducted examining the methods and approaches used in music therapy, along with the psychological and physiological effects that it has on its participants. Primary findings show that the trend in research is toward a more broad-spectrum use of music therapy, as well as an expansion of the current treatment contexts and conventions. Secondary findings revolve around the limited literature regarding music therapy and its association with those who suffer from psychiatric disorders and are already receiving pharmacologic treatment. Tertiary findings will revolve around the discovery of various neurobiological and neurophysiological findings related to music therapy and its effects on the brain.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"79 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78445805","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}
{"title":"Understanding the Cultural and Nationalistic Impacts of the moguchaya kuchka","authors":"Austin M. Doub","doi":"10.15385/jmo.2019.10.2.1","DOIUrl":"https://doi.org/10.15385/jmo.2019.10.2.1","url":null,"abstract":"This paper explores Russian culture beginning in the mid nineteenth-century as the leading group of composers and musicians known as the moguchaya kuchka, or The Mighty Five, sought to influence Russian culture and develop a \"pure\" school of Russian music amid rampant westernization. Comprised of César Cui, Alexander Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimsky-Korsakov, this group of inspired musicians opposed westernization and supported Official Nationalism by the incorporation of folklore, local village traditions, and promotion of their Tsar as a supreme political leader. In particular, the works of Balakirev, Cui, and Mussorgsky established cultural pride and contributed to Russian nationalism. Through studying the works and cultural context of these three influential composers, one can gain both a better understanding of the essence of Russian Official Nationalism in the nineteenth century and an enriched appreciation for the prevalent Russian musical styles and compositional techniques that were employed to achieve a unique \"Russian\" sound.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72832795","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}
{"title":"The Basel Museum of Music: Instrumental History","authors":"Elaine Hutton","doi":"10.15385/jmo.2019.10.2.4","DOIUrl":"https://doi.org/10.15385/jmo.2019.10.2.4","url":null,"abstract":"Basel, Switzerland thrives with a rich musical culture and history, and the Museum of Music at the Basel Historical Museum is truly a rare gem demonstrating the influence of instruments in Swiss cultural development. The museum houses an exquisite collection of instruments which beautifully encompasses an extensive timeline of musical and instrumental diversity. Unique beauty of the uncommon and the experimental is showcased in a manner that educates and inspires. The span of genre and style demonstrated by the array of composers and instrument builders recognized imparts just how important a role music plays in Basel. For one museum to weave so many different threads of musical significance into one magnificent tapestry is a significant achievement both musically and culturally. Following is a brief synopsis of a few select instruments from the collection. This discussion includes a harp built by renowned French musician and master craftsman Sébastien Erard. An overview of Erard’s inventive contributions to the musical world and the functions of his harp offers a greater understanding of the significance and capabilities of this instrument. Also included is a closer look at the fascinating harpguitar. Following the development of this unique troubadour instrument through history offers a glimpse at a lesser-known side of the strings family. Finally, the museum houses a beautiful memory of the medieval: the remarkable strings and keys of the nyckelharpa. The range of sound and song this instrument is capable of producing is given a brief highlight at the end of this discourse. Basel’s Museum of Music offers a priceless gift of music, history, and insight, illuminated by a few of the exquisite instruments in the following offering.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83240152","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}
{"title":"Music next to Theology: The Impact and Influence of Martin Luther's Reformation on Johann Sebastian Bach","authors":"J. Ryan","doi":"10.15385/jmo.2019.10.2.3","DOIUrl":"https://doi.org/10.15385/jmo.2019.10.2.3","url":null,"abstract":"The artistic figure and music of Johann Sebastian Bach looms large in the history of Western arts and culture. His influences were many, but one strong influence in his life's work was that of the Protestant Reformation and the theology of the Lutheran church. Through this research, it is evident that Bach strongly held to the doctrines and theology of the Lutheran church and that his employment in the Lutheran church was not merely a vocation for him, but an outward expression of his inward religious and theological conviction. This position is evidenced by the writings and teachings of Martin Luther, specifically his writings on music. In these writings, Luther argues that music and theology are complementary of one another, and that music in the church is one of the strongest ways through which to communicate theology and the truth of scripture. The practice of the Lutheran church also suggests that Bach had a strong understanding of Lutheran theology, specifically the Lutheran catechisms. Finally, in the sacred works of Bach himself, specifically his cantatas, the theology of the Lutheran church and the religious conviction of the Protestant Reformation can be clearly observed. This research has been assembled through the study of historical documentation in the form of primary and secondary sources.","PeriodicalId":30542,"journal":{"name":"Musical Offerings","volume":"52 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83956566","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}