Studia Musicologica最新文献_第10页

In Favour with Queen and Nation: Giulia Grisi, the “Fugitive Norma” in London 女王和国家的宠儿：伦敦“逃亡的诺玛”朱利亚·格里西

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.9

Judit Zsovár

{"title":"In Favour with Queen and Nation: Giulia Grisi, the “Fugitive Norma” in London","authors":"Judit Zsovár","doi":"10.1556/6.2018.59.3-4.9","DOIUrl":"https://doi.org/10.1556/6.2018.59.3-4.9","url":null,"abstract":"\u0000 Giulia Grisi (1811–1869), the first Adalgisa in Vincenzo Bellini's Norma (Milan, 1831), broke her Italian contract and left for Paris in 1832, where she became prima donna under Gioachino Rossini at the Théâtre Italien. In addition, she made her London debut in 1834, replacing Maria Malibran in the young Victoria's eyes and ears with her singing, acting, and flawless beauty, especially in the operas of the future Queen's favourite, Vincenzo Bellini. Grisi's real goal, however, was to conquer Giuditta Pasta's throne by embodying Norma: she first performed the role in London in 1835, and then in almost every season until 1861. Despite her success, she was unjustly attacked for copying Pasta, as established by Thomas G. Kaufman. Bellini himself likewise misjudged her, stating that “the elevated characters she does not understand, does not feel, because she has neither the instinct nor the education to sustain them with the nobility and the lofty style they demand.” “In Norma she will be a nonentity; … the role of Adalgisa is the only one suited to her character.” Nonetheless, even hostile critics like Henry F. Chorley had to acknowledge that “her Norma, doubtless her grandest performance … was an improvement on the model [i.e. Pasta]; … there was in it the wild ferocity of the tigress, but a certain frantic charm therewith, which carried away the hearer – nay, which possibly belongs to the true reading of the character.” The purpose of this article is to investigate Grisi's London reception, primarily in the context of her Norma performances.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49338321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Katharina Uhde, The Music of Joseph Joachim Katharina Uhde，Joseph Joachim的音乐

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.11

M. Kawabata

引用次数: 0

Präsentationen des Fremden in der tschechischen Musik zwischen Anziehung und Abstoßung. Eine Studie tschechischer Fremd- und Selbstbilder 陌生人在捷克斯洛伐克放的音乐既性感又反感关于捷克异族及自画像的研究

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.10

Lenka Křupková

{"title":"Präsentationen des Fremden in der tschechischen Musik zwischen Anziehung und Abstoßung. Eine Studie tschechischer Fremd- und Selbstbilder","authors":"Lenka Křupková","doi":"10.1556/6.2018.59.3-4.10","DOIUrl":"https://doi.org/10.1556/6.2018.59.3-4.10","url":null,"abstract":"\u0000 The Czechs have limited personal experience with foreign non-European cultures, people of different appearances and other religions. Apart from the not always latent xenophobic attitude towards “other” cultures, Czechs are known to have an almost paranoid fear of the decisions of larger nations. These are two complementary factors that determine the cultural profile of the Czech nation. Czech history, rich in moments and periods of the nation's failure, its humiliation and frustration, provides numerous examples serving to explain this situation. Everything foreign, new and unknown attracts an audience and at the same time repels it. This study demonstrates, using several examples from Czech music, how ambivalent the perception of “the other” can be: as something that fascinates but at the same time evokes fear and a feeling of threat. This experience with the ambivalent meaning of “the other” is surely not only characteristic of Czechs. Other nations also view “the other” as a projection wall of their desires and fantasies as well as fears. One can find similar motifs in other art works of a different provenience. In the case of small nations, however, these themes can be accentuated by the influence of particular historical situations and viewed from the perspective of established interpretations.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44692229","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Folklorism and Classical Tradition in László Lajtha's Late String Quartets 民俗与古典传统在László拉伊塔的晚期弦乐四重奏

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.5

Viktória Ozsvárt

引用次数: 0

“He Has Lifted the Iron Curtain”: Reflections on Ján Cikker's Literaturopern and Their Reception “他揭开了铁幕”——对詹·希克尔文学创作及其接受的思考

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.6

Vladimír Zvara

引用次数: 0

Preservation and Creation Plainchant Notation of the Pauline Order in 14th–18th-century Hungary 14–18世纪匈牙利波林骑士团的保存与创造

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.8

Gabriella Gilányi

{"title":"Preservation and Creation Plainchant Notation of the Pauline Order in 14th–18th-century Hungary","authors":"Gabriella Gilányi","doi":"10.1556/6.2018.59.3-4.8","DOIUrl":"https://doi.org/10.1556/6.2018.59.3-4.8","url":null,"abstract":"\u0000 This study surveys the musical notation appearing in the liturgical manuscripts of the Order of St. Paul the First Hermit from the fourteenth until the eighteenth century. As a Hungarian foundation, the Pauline Order adopted one of the most elaborate and proportionate Gregorian chant notations of the medieval Catholic Church, the mature calligraphic Hungarian/Esztergom style, and used it faithfully, but in a special eremitical way in its liturgical manuscripts over an exceptionally long period, far beyond the Middle Ages. The research sought to study all the Pauline liturgical codices and codex fragments in which this Esztergom-Pauline notation emerges, then record the single neume shapes and supplementary signs of each source in a database. Systematic comparison has produced many results. On the one hand, it revealed the chronological developments of the Pauline notation over about four centuries. On the other hand, it has been possible to differentiate notation variants, to separate a rounded-flexible and a later more angular, standardized Pauline writing form based on the sources, thereby grasping the transition to Gothic penmanship at the turn of the fifteenth and sixteenth centuries. A further result of the study is the discovery of some retrospective Pauline notation types connected to the Early Modern and Baroque period, after the Tridentine Council. The characteristics of the notations of the choir books in the Croatian and the Hungarian Pauline provinces have been well defined and some individual subtypes distinguished – e.g. a writing variant of the centre of the Croatian Pauline province, Lepoglava.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49435912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Music Iconography, Opera, Gender and Cultural Revolution – The Case Study of the Kwok On Collection (Portugal) 音乐意象、歌剧、性别与文化大革命——郭安藏品(葡萄牙)个案研究

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.7

L. Rocha

引用次数: 2

Claude Debussy, Géza Vilmos Zágon's Pierrot lunaire, and the Question of Prosodic Accent 克劳德·德彪西、格姆萨·维尔莫斯Zágon的皮埃罗·卢纳尔与韵律重音问题

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.1

Denis Herlin

引用次数: 0

Krisztina Lajosi: Staging the Nation: Opera and Nationalism in 19th-Century Hungary Krisztina Lajosi:《民族的舞台:19世纪匈牙利的歌剧与民族主义》

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.12

David E. Schneider

{"title":"Krisztina Lajosi: Staging the Nation: Opera and Nationalism in 19th-Century Hungary","authors":"David E. Schneider","doi":"10.1556/6.2018.59.3-4.12","DOIUrl":"https://doi.org/10.1556/6.2018.59.3-4.12","url":null,"abstract":"The dawn of the twenty-first century has seen a dramatic increase of interest in nineteenth-century Hungarian opera and its most important composer and conductor Ferenc Erkel (1810–1893). Perhaps the highest profile project has been Csaba Káel’s 2003 film of Erkel’s opera Bánk bán (Bánk the Viceroy; 1861). Less widely circulated are productions and recordings of Erkel’s lesser-known operas – some of them first modern performances and recordings – undertaken by the Hungarian State Opera of Kolozsvár/Cluj-Napoca, Romania.1 In recent years this innovative small company has also produced József Ruzitska’s Béla futása (Béla’s flight, 1822), the first Hungarian opera the music of which has survived. The Hungarian State Opera in Budapest has had Erkel’s best-known operas Hunyadi László (1844) and Bánk bán in its repertoire almost continuously since their premieres, and has recently mounted new productions of them. In a move highly symbolic of the importance of Erkel’s work to Hungarian national identity, the Hungarian State Opera featured Bánk bán as the headliner for their first tour to the United States (New York City, fall 2018), which was the first professional performance of an Erkel opera in North America.2","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43044494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914) Dohnányi与传统钢琴五重奏E小调第二首，作品26（1914）

IF 0.1 3区艺术学

Studia Musicologica Pub Date : 2018-12-01 DOI: 10.1556/6.2018.59.3-4.3

David Vondráček

{"title":"Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)","authors":"David Vondráček","doi":"10.1556/6.2018.59.3-4.3","DOIUrl":"https://doi.org/10.1556/6.2018.59.3-4.3","url":null,"abstract":"\u0000 Dohnányi's Second Piano Quintet in E-flat minor was written in 1914 and is less well-known than his first one dating from 1895. The composer has been called a traditionalist, so it is worth examining how tradition appears in this work. The outer movements of the three-movement-form are both elegiac and weighty. The beginning bears the key signature of E-flat major instead of minor, but the keys are changing rapidly as the piece progresses. This is reminiscent of Franz Schubert or of Antonín Dvořák, for instance in his Piano Quartet (op. 87) inspired by Brahms. The third movement's opening is a homage to Beethoven's late String Quartet in A Minor (op. 132). While the latter works on a sub-thematic level, Dohnányi presents an elaborated theme in fugal technique, which in 1914 was a more conservative approach than Beethoven's in 1825. For Dohnányi, the symmetric structures are not a way out of traditional tonality (unlike for Bartók, who also frequently used symmetries), but rather are a way of extending it. The formal concept is no less interesting. The recapitulation of the first movement's material within the third is evocative of the double-function form used by Franz Liszt. While Liszt conflated the traditional multi-movement form into a new one-movement form, Dohnányi – so to speak – concealed the characteristics of the new one-movement form inside a traditional three-movement form. Thus, one could ask if the accusations against Dohnányi for being a traditionalist are justified. Perhaps instead we should reconsider how traditionalism and modernity are situated in our own set of aesthetic values.","PeriodicalId":34943,"journal":{"name":"Studia Musicologica","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46013391","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0