Music Historiography Research Articles

Research on the Communication Thought of Lin Qiansan and Guo Moruo in Music Historiography

Research on the Communication Thought of Lin Qiansan and Guo Moruo in Music Historiography

Music and Religion in the Spiritual World of the Hungarian Aristocracy: The Case of Count Anton Erdődy (1714–1769)

This study deals with the forms and expressions of the Christian piety of the Hungarian aristocracy in the early modern period on the example of Anton Erdődy (1714–1769), a representative of one of the most influential and most ancient Hungarian–Croatian noble families. The personal piety of this socially high-ranking aristocrat was shaped by familial, social, and spiritual traditions, which determined the nature of his artistic patronage. The unique Baroque organ preserved in the chapel of his no longer existing mansion in Trenčianske Bohuslavice, Slovakia (former Bohuslavice, Upper Hungary) is a magnificent manifestation of this patronage. The reconstruction of Anton Erdődy’s idea of the spiritual world and of his piety enables us to formulate a hypothesis that the atypical architectural and structural design of this organ did not result only from the aesthetic requirements of its commissioner, but also had a theological foundation and religious essence in addition to its visual effect. This study is the result of extensive heuristic research and analysis of sources and extant artefacts using the methods of music historiography.

Juan Manuel Gaitán y Arteaga, the influenced musician [final

Name: Alba Conejo Mangas. Main subject: Historical violin. Research supervisor: Wouter Verschuren. Title of the research: Juan Manuel Gaitán y Arteaga, the "influenced" musician. Research question: Is it possible to distinguish the influence of pre-flamenco in the villancicos of Juan Manuel Gaitán y Arteaga? Summary of results: During my research, I never imagined finding music from Lima or Guatemala composed by Juan Manuel Gaitán y Arteaga, a musician from Córdoba, Spain, in the XVIII century, who had never been in these places. This discovery presented an interesting challenge: to bring back to life scores that had been forgotten for over two hundred years and to explore the music played in Córdoba Cathedral during the middle of the XVIII century. My interest on Juan Manuel Gaitán y Arteaga started when I listened to a beautiful villancico "Voy buscando mi cordero" by Gaitán y Arteaga, performed by La Orquesta Barroca de Sevilla with Enrico Onofri. Despite being sacred music composed for the church and for weekly mass, it was written in Spanish and carried a distinct Spanish folkloric flavour. Did Juan Manuel Gaitán y Arteaga have a connection with XVIII century Spanish folk music? This caught my attention and spurred me to delve deeper into his music, particularly his villancicos. I soon realized how little-known Juan Manuel's music is today The line of research I pursued falls within the realm of musicological-historical research. The musicological techniques employed include those related to musical historiography, such as the chronological organization of historical-musical events, particularly in Córdoba. Additionally, it involves an understanding of musical compositions, forms, and styles, as well as musical aesthetics, encompassing the conception of music, its functions, and purposes. The objectives are: to understand the musical personality of Gaitán y Arteaga in his villancicos and the relation between the folkloric and ecclesiastical world in Spain on XVIII C. Biography: Born in Las Palmas de Gran Canaria, she finished her modern bachelor under the guidance of Gordan Nikolic in Rotterdam. It was then, that she started her interest in historical performance. After her graduation, she studied for her baroque bachelor's in Brussels under the guidance of Ryo Terakado, and in 2022 she started her master's degree at The Hague Conservatory with professor Ryo Terakado too.

Wilhelm Stenhammar

Wilhelm Stenhammar’s contributions to Swedish musical life around 1900 are widely acknowledged. But his activities stretched well beyond the Swedish borders. The present article approaches Stenhammar from a transnational perspective, placing him in the broader context of European musical modernism around 1900. Following a clarification of the use of the terms ‘modernity’ and ‘modernism’ in the light of recent research on modernism in music, Stenhammar’s identity as a European modernist is discussed with special focus on Copenhagen and Berlin. Stenhammar’s compositional strategies in the finale of his String Quartet no. 3 op. 18 in F major are then analysed in terms of musical self-reflection, offering a new perspective on his compositional agency with a wealth of musical traditions at his disposal. At a time when travelling across borders by steam train had become a common part of modern life, transcultural interconnectedness seems to be a common framework for musicians to identify as modern composers. Keywords: Wilhelm Stenhammar, Henrik Hennings, Louis Glass, modernism, modernity, music analysis, self-reflection, European music historiography.

Autobiographical Truth or a Figure of Paralipsis? The Rimsky-Korsakov Case

The image of Nikolai Rimsky-Korsakov as the “national composer” was formed in Russian musical historiography through the eforts of musicologist Boris Asagev and under the inhuence of autobiographical narrative, including Korsakov’s Chronicle of My Musical Life. At the same time, the composer’s words about his work were carefully selected and censored under the ideological climate of the USSR. As a result, Rimsky-Korsakov still appears in many ways as a national musical curiosity outside the European musical tradition. Explorations in the territory of omissions and censors reveal the composer as an inquisitive (and jealous) listener of the musical ideas of others. Having a keen ear for reminiscence, Korsakov regularly incorporated what he had heard from many and very diferent European composers, including Richard Wagner, Frédéric Chopin, Gaetano Donizetti, Édouard Lalo, Johan Svendsen, and Edvard Grieg, into his music, and above all, into his operas. Rimsky-Korsakov’s self-suicient originality turns out to be a hoax. What is manifested in Korsakov’s claim for the truth about himself is the hitherto actual canon of “the composer himself.” That is, the belief in the truth of the composer’s will, intentions, words about himself and his art, and as a consequence, the chimerical equality of the composer with the author.

Influence of Western Modernist Trends on Kyiv Music end Theoretical School In 1915–1925 Years

The purpose of the article is to reveal the scientific ideas of the first in Ukraine center of musicologists, formed in Kyiv in 1915–1925 years. The methodology was formed on the application of historical, gnoseological, formal-logical, systematic approaches using special-historical (comparatives and historical typology) methods of research. The scientific novelty of the article is that for the first time in Ukrainian musical historiography, an attempt was made to analyze the scientific, organizational and musicaltheoretical achievements of Ukrainian musicologists on the platform of a certain philosophical and cultural movement with its transformations in education and science on the example of the Kiev Scientific and Music School of the early twentieth century. The Conclusions. The group of the first professional musicologists in Ukraine should enter the history of Ukrainian music science as the Kyiv Music and Theoretical School. The unifying factor for them were common tasks (building the structure of national music education, searching for the essence of music science and the directions of its research research) and fundamental musical and theoretical principles. Filled with special knowledge and enriched with certain experience, leading figures of musical culture in Kiev in a short time (apprehension from 1916 to 1924) for the first time in Ukraine developed a three-stage structure of musical education of youth (B. Yavorsky), painted ways of development of musical science (B. Yavorsky, A. Butskoy). In its organizational activity, new post-revolutionary opportunities were used, and in scientific research they were based on the world's most common moderator philosophical theories. In the teachings about musical thinking and the structure of musical language B. Yavorsky and A. Butskoy consciously or intuitively embodied the ideas of many leading modernist philosophers in the West (especially E. Husserl, A. Bergson, V. Warringer). Despite the rejection of their innovative views at that time, some of them remain effective and relevant today.

Musiikin aatehistoriaa

In his book Music, Ideas, History: Texts 1990–2022 Matti Huttunen sheds light on the world of Western art music by showing how past historiographies of music have given it form and meaning. While grounded in Dahlhaus’ principles of structural history, Huttunen also challenges such models by allowing greater interpretive multidimensionality. In future accounts of Finnish musicology, Huttunen’s writings may provide a focus for a “long 20th century” of musical historiography.

Research on the Communication Thought of Lin Qiansan and Guo Moruo in Music Historiography

The exchange of musical historiographical ideas between Lin Qisan and Guo Moruo reflects the exchange of musical academic ideas between China and Japan in the early 20th century, and is a reflection of the exchange and convergence of historical views, perspectives, and research methods in Chinese and Japanese music historiography, as well as the formation of their musical ideas under the joint action of Japanese sinological and Chinese historical thinking. At the beginning of the 20th century, China was faced with a dilemma, both politically and culturally, as to whether to adopt full Westernization or to adhere to Chinese culture? Or should stick to Chinese culture? Many scholars went to Japan to search answers to the question of whether to adopt full Westernization or to adhere to Chinese culture, and how to learn from the success of Japan’s modern reformation. Chinese and Japanese cultural scholars, including Li Shutong, Zeng Zhimin, Guo Moruo and Lin Qiansan, all expressed their cultural orientation and research thoughts in the ideological dialogue of cultural exchange. Among them, Shutong Li, Zhimin Zeng et al.’s practice in music in the Academy, Lin Qiansan and Guo Moruo et al.’s exploration of music theory, Tanabe’s “History of Chinese Music”, and Lin Qiansan’s “Study on Yan Music in the Sui and Tang Dynasties” are all brief reflections of the musical cultural exchanges between China and Japan in the last century. In particular, Guo Moruo ‘s translation of Lin Qiansan’s “Study of Yan Music Tunes in the Sui and Tang Dynasties” has become an important academic reference for later scholars studying the culture of Yan music in the Sui and Tang Dynasties. At the same time, Qiansan Lin and Guo Moruo’s music thought also profoundly influenced the construction of music historiography in Japan and China. This paper argues that, if want to explore the spirituality of the ideas of Lin Qisan and Guo Moruo in the turbulent environment of the intersection and collision of Chinese and Japanese cultural thoughts in the 20th century, the cultural and ideological backgrounds of Lin Qiansan and Guo Moruo, their coinciding academic perspectives, and the revelation and significance of the interaction of musical ideas in their respective times should be analyzed and studied.

„Schlafe, mein Prinzchen“ des Berliner Arztes Carl Eduard Flies (1770–1829) im Kontext von „Stilldebatte“, Autorschaft und Haskala

Even today, songs from the 18th century can be found in nursery rhyme books or music boxes to sing babies to sleep. The lullaby “Schlafe, mein Prinzchen” is one of them. In music historiography, it has been a matter of debate whether it was set to music by Wolfgang Amadeus Mozart or by Isaac Beer (Carl Eduard) Flies. As an amateur composer the latter was active in the social environment of the Berlin salons of the 1790s, and as a doctor he practised and published until the first quarter of the 19th century. In the context of this paper, I propose to compare a close reading of the lullaby and Flies’ journal article “Ueber den modischen Misbrauch, den vornehme Mütter mit dem Selbststillen treiben”, which was published in 1800 in the Journal des Luxus und der Moden with the broad 18th-century debate about the breastfeeding of infants by the mother (as opposed to being fed by a wet nurse). The new approach, which incorporates the medical-historical perspective and that of gender studies, offers an insight that not only determines a “mother-image” in Flies’ publication in its contemporary context, but vice versa also reveals the discursive strategies in the historical dispute about the authorship of the lullaby.

The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries, by Anna Maria Busse Berger

<i>The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries</i>, by Anna Maria Busse Berger

Benedicto Sáenz 'Libera Me': Occidentalisms in Latin America Nineteenth-Century Sacred Music

This article uses concepts of Occidentalism and the musical analysis of a funerary responsory by nineteenth-century Guatemalan composer Benedicto Sáenz (1807-1857) to examine possible reasons why music from nineteenth-century Latin America remains relatively neglected in the region and beyond, unlike the better explored repertoires from colonial times and from the twentieth and twenty-first centuries. Based on Latin American postcolonial notions of Occidentalism as the construction of the Western Hemisphere by Western Europe in the sixteenth and seventeenth centuries, and analysis of Sáenzs responsory&nbsp;Libera Me within the context of changing political, social, and musical trends in nineteenth-century Guatemala, I argue that nineteenth-century music in Latin America reflects local struggles to engage with two competing models of European modernity: the “first modernity” of the Spanish colonial empire and the “second modernity” of the Enlightenment, Liberalism, and the French Revolution. Responding to influences from both modernities,&nbsp;Libera Me expresses local European habiti that do not fit Orientalist narratives of Latin American Otherness or nationalist narratives of local distinctiveness which have influenced the musical historiography in the region.

Navigating the Local Elites: Travelling Musicians and their Encounters with the Russian Court and Aristocracy in the Mid-Nineteenth Century

This article studies the interactions of travelling musicians with the Russian court and aristocracy from the 1830s to the 1870s. Drawing on a broad corpus of memoirs, travel reports and personal documents of musicians who visited St Petersburg and Moscow in the course of their careers, it discusses the courtly dimensions of the Italian Opera; the role of the aristocracy and court in the organization of concert life under Nicholas I (r. 1825–1855); the relevant changes and continuities under Alexander II (r. 1855–1881), when concert life would undergo rapid professionalization; and finally, the symbolic dimensions of the rewards offered by the Russian elites.The persistent significance of imperial and noble recognition in this period, it is argued, added considerably to Russia's appeal for foreign musicians. Many visitors developed a positive, reciprocal relation with the Russian regime and its elites, even if the values, hierarchies and traditions of the autocratic regime could be at odds with the social status and sense of independence of successful performers. In musical discourse, reports of musicians’ visits circulated an image of Russia – an urban image of luxury, refinement and high society – that contrasted with the stereotype of wild and barbarous expanses that have so far attracted most attention in music historiography; and their descriptions of the imperial court and family tended to match the image – of imposing authority and benevolence – the Romanov monarchy sought to project.

The Castrato Remains—or, Galvanizing the Corpse of Musical Style

This article considers the spectral afterlives of castrati in nineteenth-century music historiography, reading them as transhistorical mediators between the “stuff” of archives and embodied musical experience. The article first sketches out the germane late eighteenth-century notions of feeling, art history, and aesthetics—from the empirical potential of sensibility to J. J. Winckelmann's systematization of classical art—that invited people to imagine certain bodies as capable of sensing history and, in turn, of rendering history “sense-able” through artistic style. Bringing these historical threads into dialogue with recent theories of queer temporality and queer aesthetics, the article argues that castrato singers were cast as once-living art objects and thereby invested musically, dramaturgically, and bodily with the same hybrid temporalities associated with artifacts of material culture—enabling later writers to invoke castrati as having materialized both the ephemerality and the historical situatedness of past musical styles. Moving from the generalized castrato figure to one particularly salient example, the article then focuses on three writers' representations of Gasparo Pacchierotti (1740–1821). The authors discussed here—Alessandro Pepoli (1790s), Stendhal (1820s), and Vernon Lee (1880s)—each portrayed Pacchierotti as embodying the frictions between the singer's late eighteenth-century moment and the writer's own hybrid present. Imaginatively encountering Pacchierotti as, respectively, a living body, a remembered voice, and material remains, each grappled with the limitations—and the stakes—of music histories. Ultimately, the castrato emerges from these scattered remains as a ghost of the feelings, fictions, and fantasies that haunt historiography.

Nadia Boulanger and Her World, edited by Jeanice Brooks

<i>Nadia Boulanger and Her World</i>, edited by Jeanice Brooks

Music General Education for Cultural Diversity－Focusing on American Music Historiography

Music is considered as one of the most effective mediums to enhance cultural diversity. As Korea becomes a more multicultural society, many scholarly works have been examining concepts and theories regarding multiculturalism and cultural diversity. Moreover, an increasing number of scholarly works pertaining to music have been written which aim to teach cultural diversity to students intent on becoming world citizens. Previous works have focused on music curriculum development, comparative studies of multiculturalism in the US and Australia, comparative studies of music textbooks, and the limits of the concept of multiculturalism. However, those studies encompass other types of music which exclude music based on western music idioms. Thus, this study aims to investigate the case of multiculturalism and to examine multicuturalism as it appears in music from the US. To do so, this study focuses on one of the textbooks written by Richard Crawford and Larry Hamberlin that is widely used in America. The research positions this textbook as a turning point in the changing of American music historiography and shows how the coverage of American music history has broadened from classical music to other diverse musical genres. Furthermore, this study will not only analyze the perspective of certain scholars, but will also examine the sort of musical diversity that has been accepted in American music historiography. Finally, this article will shed light on the new way to understand multiculturalism from a different angle.

Between Exoticism and Ethnomusicology: Musical Representations of Greenland and India on European Interwar Radio

ABSTRACT In this article, I investigate how colonized cultures were presented to “home” radio audiences through sound (music, speech, sound montages) during the inter-war years. The focus is on how a small group of broadcasts containing musical representations of the colonies of Greenland and India afforded the imaginative work and temporary imagined communities to Austrian, Danish, and British radio listeners in relation to the spatiality and otherness of distant peoples and locations. I suggest a typology of four modes of musical representation in broadcasts reaching from the European tradition of musical exoticism to the use of recordings of indigenous music. Biography: Morten Michelsen is a popular music scholar and professor of musicology at Aarhus University. His research interests include popular music and mediation, music radio and sound studies, historical radio studies, questions of taste and music criticism, and popular music historiography. 2013–2018 he led the research project A Century of Radio and Music In Denmark ( www.Ramund.ikk.ku.dk) and contributed to other large research projects concerned with radio. Among his recent publications on sound, music, and radio are three anthologies on music radio, including Tunes for All? (Aarhus University Press, 2018) on Danish music radio and Music Radio: Building Communities, Mediating Genres (Routledge, 2019) on international music radio.

Music Theatre by Arnold Schoenberg and Alban Berg and its influence on the Ukrainian theatre in 1910-1920th

In general, despite the grandiose epochal historical upheavals in Europe at the beginning of the 20th century, nevertheless, music theatre found itself in quite favorable conditions with a flexible cultural policy, with an inherent openness to new national phenomena. The circumstances were other in Ukrainian music and theatre art. This is especially noticeable where the policy of ideological centrism and the totalitarian control dominated too much in music with the imposing on composers such the creative method as socialist realism. So every experienced researcher is well aware of the standpoint of the aesthetics of socialist realism in the mid-20th century with ideological accusations of the ideas of bourgeois music culture of Western Europe. Thus, until recently, it was not possible to consider in details the issue of international contiguities between Ukrainian music Avant-garde of the 1900s and European musical theatre in Expressionism trends due to ideological restrictions in scientific research. The relevance of the study. In contemporary musicologists thinking there remains the problem of an insufficient of overcoming the inertia of post-socialist ideological dogmas in as consequences from the previous period of Ukrainian music historiography. The problem of the lack of deep study and reassessment of the music-art processes taking place in the Ukrainian music Avant-garde theatre at the turn of the XIX-XX centuries continues to exist. The purpose of the paper is desire to grow the researching interest to international contiguities between traditions of Ukrainian music-and-drama theatre, in particular, thanks to Borys Lyatoshinskiy’s art creativity, and European music expressionism by A. Schoenberg and A. Berg. It examines the influence of the musical-theoretical views of representatives of the New (Second) Viennese School (Arnold Schoenberg, Alban Berg) on Ukrainian drama theatre (“Berezil” by Les' Kurbas) through the music activities of Borys Lyatoshinskiy as the representative of Ukrainian Avant-garde of the first quarter of the 1900s. The research methodology included: methods of biographical analysis (in the case of studying the creativity of personalities such as Arnold Schoenberg, Borys Lyatoshinskiy, Les' Kurbas), comparative studies (in analysis between the intercultural national Ukrainian music theatre and traditions expressionism by New-Viennese), and critical thinking methods (in the reassessment of the meanings of the aesthetics standpoints of previous era).

Towards “The Nature and Secrets of Music”: W. C. Printz and the natural history tradition

&#x0D; &#x0D; &#x0D; The present article provides arecontextualization of Wolfgang Caspar Printz’s (1641–1717) landmark music history published in 1690 (Historische Beschreibung der edelen Sing- und Kling-Kunst). later commentators have read it as a primitive, naïve and even failed attempt at writing the history of music. Still, they seem to agree that the text, in virtue of its subject matter, forms part of a canon of music historiography. The present article will seek the interpretative key in the wider intellectual context, outside of the narrow confines of texts about the musical past. It will advance the thesis that Printz built his music historiography from elements of the natural history tradition. Two arguments support this thesis. First, it will be argued that the organization of the material in chapters XIv, Xv and XvI betrays the influence of a classical version of taxonomy closely associated with the natural history tradition. Secondly, that Printz’s inquiry into the purpose of music reveals his reliance on a concept of nature similarly rooted in natural history.&#x0D; &#x0D; &#x0D;

Ende der Neuen Musik

The term "Neue Musik" was coined for a special concept of fundamental musical innovation within Austro-German music theory of the early 20th century, and it found no terminological equivalent beyond the German language. Established by Paul Bekker with his lecture “Neue Musik” in 1919, composers such as Stockhausen or Ligeti embraced the term with its emphatic claim to innovation and new departures. However, one hundred years on the term "Neue Musik" is often used mainly as a synonym for any type of contemporary music. This article questions whether the term "Neue Musik" is still an appropriate framework for a current theory of musical composition. Not only have the specific musical circumstances changed within the course of the 20th century, but also the political and social conditions have altered drastically after two world wars which had given special impulses to those composers who strove for a new foundation of music after 1918 and 1945 respectively. This article argues that the age of "Neue Musik" has come to an end in the late 20th century, and thus it is now necessary to introduce alternative terminological concepts and methodical directions for music historiography.

Equality and Inequality: Four Famous Contemporary Chinese Female Composers and Their Works

The researches revolving around (in)equality and music composition have been concentrating on two strands: one focused on the inequality phenomenon of female composers’ status, rights and opportunities in music historiography and the other one focused on the essence of this inequality phenomenon. More and more Chinese female composers are extremely active in international stage. Especially, those composers who were born around 1970s including Cheng Huihui, Tian Leilei, Du Yun, Wang Ying are the well-known Chinese female composers in recent years around the world. This research will reveal along with the equality and inequality phenomenon of the contemporary Chinese female composers and how equality and inequality to be reflected in their works.