Defining the Irish Choral Nationalists: The Composers and their Music

The genre of folk song arrangement at the present stage: cultural and historical aspect

The purpose of this article is to determine the main musical performance features of the vocal repertoire of students-actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) and highlight their role in the selection of vocal works in the field of stage arts. Research methodology. General scientific methods are used in this article: cognitive, analytical, comparative; particular musical-theoretical methods: musical­analytical method, vocal­performing analysis. Results. Some of the most significant musical and artistic features of the arrangement of Ukrainian folk songs, which serve their widespread use in the repertoire of future specialists of the dramatic scene, in particular, are: the variety of their genre and thematic composition, the lightness of the verbal text, the simple form of musical verse, which together create suitable conditions for solving musical, vocal­technical and artistic-performing tasks of the work. Widely used in the vocal repertoire of students-actresses (on the example of KhSAC) are the Ukrainian composers’ arrangement of folk songs of a narrow range (from a minor sixth to a perfect octave), where performers are not given complex vocal and technical tasks, however, they require future actresses to master such important factors of singing phonation as singing breathing, various types of sound science (legato, staccato), expressive articulation, as well as a vivid acting embodiment of the vocal and artistic image of the work. Novelty. For the first time, the article considers the specificity of the singing repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) in the musical­performing plane and identifies the main parameters of introducing this musical material into the vocal repertoire of future stage art specialists. The practical significance. The article contains information that is useful for professional representatives of drama arts sphere, vocal pedagogy and students-actors in the aspect of vocal and performing skills development. Сonclusions. The main musical performance characteristics of the vocal repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for female voice accompanied by a piano) are defined as follows: a narrow vocal range of the song, which is important for the vocal performance of actresses, whose singing range is generally not complete (most often reaches up to one and a half octaves); consistency of the musical material with a change in the mode and tone altitude (fretonal pitch), which allows to freely select the desired tonality that is most convenient for the performer; expressive artistic and emotional content of the work, which together play a leading role in the selection of the singing repertoire of future specialists in the dramatic sphere.

The publication, based on the study of biographical and autobiographical information, characterizes the educational, professional artistic, and educational activities of Ukrainian artists of the middle 19th and early 20th centuries. An analysis of the role of artists as active participants in the national, cultural, intellectual, and social life of Ukrainian society is presented. The author has studied not only the artistic heritage of artists, but also their multifaceted activities, which covered educational, journalistic, and organizational spheres. The article highlights theoretical positions on the educational activities of Ukrainian artists, which are illustrated by specific examples of their experience and influence on the state of society and professional and general education in Ukraine in the 19th - 20th centuries. The author touches on the problems of the direction of the high society of the middle 19th - early 20th centuries. on the development of Ukrainian culture and education; highlights biographical and autobiographical information about Ukrainian artists of the 19th - 20th centuries; reveals the role of the educational activities of Ukrainian artists, their influence on the formation of public opinion; focuses on the relationship between artistic activity with educational and pedagogical practice, the organization of art circles, schools, the creation of studios and participation in cultural and educational societies. Their pedagogical work in schools, colleges, and academies contributed to the formation of a galaxy of famous Ukrainian artists who continued the national artistic and educational tradition of their predecessors. The work also highlights the problem of self-identification of Ukrainian artists as educators and public figures, since art is considered a powerful tool for influencing and shaping public opinion, a means of broadcasting the idea of national revival, social and cultural renewal of the state. Artists took the position not only of creators of aesthetic values, but also of leaders of the national idea, founders of an intellectual space capable of uniting society around common ideological values. The publication highlights the need to understand the heritage of Ukrainian artists of the middle 19th and early 20th centuries not only as artists, but also as outstanding figures of education, who contributed to the formation of national identity with their work.

Even though the publication of Johann Kaspar Zeuss’s monumental Grammatica Celtica (Zeuss 1853) marks the beginning of the modern, scientific study of the Old Irish language, short excerpts of the most important textual witnesses of Old Irish, the so-called Old Irish glosses, preserved in 8th–9th-century manuscripts on the European Continent, had appeared in print since the early 18th century. This article gives an overview of these early publications from the 18th and early 19th century by Johann Georg von Eckhart, Domenico Vallarsi, Lodovico Antonio Muratori, and Vittorio Amedeo Peyron, and assesses their role as early trailblazers in the study of Old Irish.

The chapter aims to demonstrate how singing folk songs and folk song arrangements can strengthen the multiple dimensions of choral singers’ musicianship. Students entering a choral program often already know a selection of folk songs. The choral director can use this repertoire to develop vocal production, part-work, music literacy, improvisation, composition, and arranging and listening skills. The chapter ends with an overview of Kodaly’s choral legacy: The Kodály Choral Library, two- and three-part repertoire composed by Kodály based on folk stylistic elements, his classical art music, and his unaccompanied choral compositions. This repertoire can be used to develop sight-reading, part-hearing and part-singing skills and as an introduction to choral repertoire in general.

Music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century

Statement of the problem. The development of musical art in the 20th and early 21st centuries is a complex and multidimensional process that attracts the attention of many musicologists. One of its features was the emergence of an extensive system of various styles and genres, the existence and development of which is parallel to the paradigm of academic music. Pop music in all its various manifestations, musical styles associated with the functioning of numerous subcultures – all these phenomena are only in some aspects of their functioning related to academic musical art, but this sometimes leads to the appearance of synthetic styles, such as, for example, symphorock. Some of the musical styles that do not belong to the paradigm of academic music become centers of the emergence of various genre alternatives to the already formed and tested system of genres of academic music. This opinion also applies to arrangements of folk songs. The question of the interaction of Ukrainian folklore and styles of popular music in domestic musicology was investigated by O. Shevchenko (2023), D. Shramov’iat (2021), V. Horobets, O. Snopko, N. Regesha (2017), T. Pistunova and H. Postoi (2017), V. Tormakhova (2017). N. Ovsiannikova (2022), A. Furdychko (2017), Yu. Pokalchuk (2000). However, the functions of percussion in the genre of folk song processing in the works of Ukrainian pop and rock bands are actually not given attention in modern musicological thought. Objectives, methods and novelty of the research. The principles of form-making, timbre dramaturgy, etc. are determined by the instrumentation typical for each individual style, in which percussion is often a kind of identifier of the style. This role of percussion instruments encourages a deeper study of this phenomenon, that determines the scientific novelty of our work. Determining the specifics of the use of percussion in arrangements of Ukrainian folk songs, which is carried out for the first time, is the purpose of this study. In order to achieve it, the methods of musicological, comparative, imagesemantic analyze were applied. Research results and conclusion. The analysis of a number of arrangements of Ukrainian folk songs made it possible to come to the conclusion that the percussion instruments in them perform various functions, the main of which are the creation of a suitable rhythmic background for the unfolding of the musical texture and participation in the process of transformation of musical images in combination with other instruments. Moreover, in some cases, drums and percussion come to the fore and perform the function of an element of texture, which, together with vocals, concentrates all other texture components around it. In other cases, the drums play the role of an integral part of the rhythm section, without focusing additional attention of the listener on themselves.

Following a period of close to a century when the Irish language was placed at the margins of the education system under British rule, there was a radical change in curriculum provision following political independence in Ireland in the 1920s. The importance of the Irish language in defining sovereignty, national identity, and nationhood in the Irish Free State was central to these curricular changes. Within months of the achievement of political independence, curriculum policy was revised to include provision for the teaching of the Irish language to all pupils in primary schools as well as the use of Irish as the medium of instruction in infant classes (the first two years of primary school). The education system became the linchpin in the political and cultural campaign to restore the Irish language as the vernacular. This paper critically examines how nationalist thinking in Ireland, which had its origins in nineteenth-century European discourses, impacted on curriculum decisions pertaining to the Irish language in the early 1900s. Focusing on the interrelationship between nationalism, language, and education, it traces the process and provisions of curriculum development in Ireland in the 1920s. Overall the paper argues that the influence of nationalism as understood in the wider European context of the time shifted emphasis in Ireland away from bilingualism (Irish and English languages) to the revival of the Irish language in the 1920s, primarily through the education system, to add political legitimacy to the new Irish Free State.

The compositional features were considered and the portals of the facades of buildings of the late 19th and early 20th centuries were classified. in Kyiv. Their symbolism, structure and structural construction, stylistics and characteristic architectural and decorative features were studied. The purpose of the study: to investigate and analyze the compositional, stylistic and semantic features of the portals of the facades of buildings of the late 19th and early 20th centuries. in Kyiv, to develop the principles of classification of portals and conduct their classification. Methodology. The research was conducted on the basis of the following methods: empirical, theoretical and empirical-theoretical. The empirical method includes observation, photo-fixation, graphic sketches and constructions, comparisons and generalizations. Theoretical techniques include: going from the abstract to the concrete, abstraction, concretization, identification and separation. Most of the work was carried out using empirical and theoretical methods. The results. Photographs, graphic sketches and classification of building portals of the late 19th and early 20th centuries were carried out. in Kyiv based on the developed compositional-constructive and stylistic principles of classification. It was found that the portals are located mainly on the main compositional axes of the facades of historical buildings, namely on the main vertical divisions, which are highlighted by risalites, bay windows, attics, towers and often changed scale and shape of windows. The role of the portals in the overall composition of the building and the problem of violation of the compositional integrity of the facades due to the replacement or destruction of individual parts and elements of the portals have been revealed. In particular, as a result of unsuccessful repairs and renovations in some buildings of the historical center, the entrance doors were replaced with faceless, rough, unscaled ones, which distorted not only individual facades, but also entire sections of the urban environment. The scientific novelty and practical significance of the research lies in the identification of the compositional and semantic features of the portals of the facades of Kyiv buildings of the late 19th and early 20th centuries, as well as in the detailed analysis of the compositional structure, constructive and stylistic components of the portals. A scientific novelty is the developed classification of the portals of the historical buildings of Kyiv. The research will contribute to the deepening of theoretical and practical knowledge about the peculiarities of Kyiv portals of the specified period, which can be used in the restoration and reconstruction of buildings of the late 19th - early 20th centuries. in Kyiv. The developed classification of portals will be a useful educational reference material for students - future architects and designers who are interested in the peculiarities of Kyiv's historical buildings.

The paper examines the fall of marital fertility in Tasmania, the second settled Australian colony, in the late 19th and early 20th centuries. The paper investigates when marital fertility fell, whether the fall was mainly due to stopping or spacing behaviours, and why it fell at this time. The database used for the research was created by reconstituting the birth histories of couples marrying in Tasmania in 1860, 1870, 1880 and 1890, using digitised 19th century Tasmanian vital registration data plus many other sources. Despite Tasmania’s location on the other side of the world, the fertility decline had remarkable similarities with the historical fertility decline in continental Western Europe, England and other English-speaking countries. Fertility started to decline in the late 1880s and the fertility decline became well established during the 1890s. The fall in fertility in late 19th century Tasmania was primarily due to the practice of stopping behaviour in the 1880 and 1890 cohorts, although birth spacing was also used as a strategy by the 1890 cohort. The findings provide support for some of the prominent theories of fertility transition.

Oireachtas na Gaeilge and Sean-Nós Song Competition, 1940–2012:Regionalism, Nationalism, and Gaelicness Éamonn Costello (bio) This article investigates the ideology of the Oireachtas na Gaeilge (henceforth Oireachtas) through the prism of Irish-language song competition, with particular emphasis on the most highly regarded sean-nós song competition, currently referred to as Corn Uí Riada. The Oireachtas, an annual festival to promote the Irish language, was established by the Gaelic League in 1897. Sean-nós translates as old style (or old way, fashion, or method), and it is currently widely used to describe unaccompanied traditional solo singing in the Irish language. The term sean-nós was first introduced by members of the Gaelic League and Oireachtas in 1903 to make a distinction between traditional Irish-language song and newly composed song in the Irish language, both of which were performed at the Oireachtas from its beginning. However, in reality, until 1924 the term sean-nós referred to repertoire rather than a particular performance practice of traditional singers, and quite often this included traditional repertoire sung in a Western-art style. Distinct phases of use and meaning of the label can be traced across several decades. From 1897 to 1924 traditional repertoire performed in the Western-art style functioned as an aural metaphor for a middle-class cultural-nationalist vision of Gaelicness. However, over time sean-nós came to signify a more regionalist/communitarian and vernacular vision of Gaelicness. From the mid-1970s onward Western-art style began to fall out of favor with Oireachtas attendees, and during that period vernacular-style singing emerged as the singing style of the Oireachtas. Sean-nós came to refer to vernacular-style singing as well as traditional repertoire. However, cultural-nationalist ideology and ideas concerning high and low culture continued to [End Page 160] shape how song within the festival was conceptualized. Adjudicator-report sheets demonstrate that within an Oireachtas frame sean-nós was simultaneously regarded as both national vocal art music and a collection of regionally bounded vernacular vocal musics. Here it is argued that this contradictory view of sean-nós is a result of a semantic conflation of discordant views on the nature and definition of Gaelicness: on the one hand that Gaelicness is a national art music, and on the other that Gaelicness is essentially vernacular and subnational in character. Song Competition in the Gaelic Revival All forms of nationalism are predicated on the same basic core principle that members of the nation share a common bond, and the basis of that bond varies according to the form that nationalism takes. Nationalism of the Gaelic cultural-revival period, the late nineteenth and early twentieth centuries, was primarily ethnolinguistic and cultural (Anderson 6). Its adherents viewed the Irish language as an expression and manifestation of Gaelicness and a Gaelic mentalité. The objective of the Gaelic League, and by extension the Oireachtas, was to preserve the Irish language where it was still spoken and to reinstate it as the common vernacular where it had ceased to be spoken in order to reconnect Irish people with the Gaelic mentalité. Song, because of its language component, was seen as a particularly powerful vehicle for language revival (Ó Laoire, "National Identity" 160). At the beginning of the Gaelic Revival there was little contemporary Irish-language literature in existence, and one of the aims of the Oireachtas was to help foster and promote a wide range of Irish-language literature, including contemporary Irish-language song (Purdon 37). A competition for song composition was held at the very first Oireachtas in 1897, and singing competitions were added to the program in the following year (Ó Súilleabháin 95). From 1898 to 1924 competitors performed newly composed and traditional repertoire in various Oireachtas singing competitions (Imeachta 1898–1924). The 1898–99 programs, which were almost entirely written in English, used the term "folk song" in the description of the song-collection competition, but no specific nomenclature was used in either program to distinguish between traditional and newly composed [End Page 161] song in any of the singing competitions. Instead, all of the singing competitions were grouped...

Ciklus Svetog Dimitrija u Pećkoj patrijaršiji - II

During the 19th and early 20th centuries in the Arkhangelsk North, sea fishing and hunting were exercised by artels (collective associations). It can be explained by the region’s severe climate and difficult conditions for fishing and hunting, which make working by oneself impossible. This paper is relevant due to the almost complete lack of studies on the internal organization and legal status of sea fishing and hunting artels on Novaya Zemlya and Spitsbergen in the 19th and early 20th centuries. Moreover, studies on these associations are necessary for further research into the Russian experience of sea bioresource exploitation in the Arctic during the 19th and early 20th centuries. The paper aimed to examine the structure and legal status of sea fishing and hunting artels on Novaya Zemlya and Spitsbergen throughout the aforementioned period. The materials included legal acts that regulated the work of artels in the 19th and early 20th centuries, published sources about fishing and hunting artels on Novaya Zemlya and Spitsbergen, as well as documents kept in the State Archives of the Arkhangelsk Region. To perform the analysis, the author utilized the historical-systematic and historicalgenetic methods. The article dwells on the rules and customs that existed in Novaya Zemlya and Spitsbergen artels during the period under study, revealing how the structure of these associations had been changing. In conclusion, the author identified the applicable area of law for these artels in the 19th and early 20th centuries as well as the principles that contributed to their preservation.

One of the main components of the football industry today is its infrastructure. Training facilities, stadiums with stands for spectators, sports bases, retail outlets, museums of various teams and clubs all play key roles in the sport. In Britain, such amenities began to appear in the first half of the 19th century, in continental Western Europe — around the mid-1800s, and in the central and eastern parts of the Old World — even later, at the turn of the 20th century. The development of football infrastructure in Sofia is an illustrative example not only in the context of one city or country, but also for the region as a whole. Since in the late 19th and early 20th centuries the capital of Bulgaria saw the formation of traditions which determined the subsequent development of the city’s sports infrastructure, through this case study we can trace from where the complex of ideas related to establishing suitable sports facilities spread to Bulgaria and Southeastern Europe, how the process of formation and accumulation of knowledge in this specialized sphere unfolded, and how such facilities were actually built. The initiative to set up sports grounds belonged to Bulgarian educational institutions and societies, and such projects were financed by club members. The social groups that played the decisive role in the transfer of knowledge to the sports industry, namely to the construction of football playing grounds, were local youth with the experience of studies abroad and foreign teachers who worked in Bulgaria. The main routes of diffusion of this type of information originated in Switzerland and the Ottoman Empire. It was from these countries that the capital of the Balkan state received knowledge about the existing norms and rules for the construction of football fields. However, unlike in other European cities during this period, the sports infrastructure in Sofia in the late 19th and early 20th centuries did not yet become a component of business projects aiming to make a profit from renting out such facilities or from selling tickets to football fans.

Can the 16th and early 17th centuries in Poland‐Lithuania and some other east‐central European countries be characterized as a “Golden Age” in human capital? We trace the development of a specific human capital indicator during this period: numeracy. We draw upon new evidence for Poland and Russia from the early 17th century onwards; and for Belarus, Ukraine, and Lithuania from the 18th century onwards; controlling for potential selectivity issues. Poland had quite high levels of numeracy during the early 17th century, but these levels subsequently fell below those of even southern Europe. As in other countries in the area, numeracy levels in Poland were lower than those of western Europe during the 17th, 18th, and early 19th centuries. This finding might support the hypothesis that the second serfdom process, which gained momentum during the 17th century, was one of the core reasons why human capital accumulation was delayed in eastern Europe. The major wars in the region also had devastating effects on numeracy levels. (KEYWORDS: Central‐Eastern Europe; historical Demography; Eastern Europe; Human Capital; Numeracy; Age‐Heaping; census microdata)