Art Song

A través de su imperio y de su influencia cultural, la Monarquía Hispánica contribuyó a la difusión de los códigos y modas de la danza europea en los territorios de sus virreinatos, al tiempo que integró, mediante diversos procesos de hibridación, algunas de las tradiciones coreográficas propias de estas culturas.
El segundo encuentro del ciclo PANHISPANIA FESTIVA se inscribe en este amplio marco de reflexión con ponencias y performances que se ajustan a las siguientes líneas de trabajo:
— la circulación de las formas coreográficas por estos territorios (Nápoles, virreinato de México, virreinato de Perú, Filipinas): ¿a través de qué actores (maestros de danza, compa- ñías) y medios (tratados técnicos, impresos teatrales, grabados) se transmitieron?
— el sentido político de unas danzas que eran parte de fiestas celebradas fuera del centro de la Monarquía Hispánica, y por tanto lejos del poder central.
— la forma en la que cada uno de los actores de estos intercambios contemplaba las danzas del “Otro”, fuera indígena o español: ¿cómo y con qué medios se documentaban (escritos, imágenes, práctica de la danza)? cuál era el significado (testimonial, antropológico y político) de las prácticas de hibridación?
— la metodología o las cuestiones epistemológicas relacionadas. (¿cómo y porqué trabajar esas danzas hoy?).

Par l’ampleur de son empire et de son influence culturelle, la Monarchie hispanique contribua à la diffusion des codes et des modes de la danse européenne jusque dans les territoires de ses vice-royaumes, tout en intégrant par différents procédés d’hybridation, certaines des traditions chorégraphiques propres à ces cultures.
C’est dans ce grand cadre de réflexion que se situe ce second volet du cycle PANHISPANIA FESTIVA consacré à la danse autour des questions suivantes :
— la circulation des formes chorégraphiques sur l’ensemble de ces territoires (Naples, vice- royaume du Mexique, vice-royaume du Pérou, Philippines) : par quels acteurs (maîtres à danser, compagnies) et supports (traités techniques, imprimés théâtraux, gravures) étaient-elles transmises ?
— les enjeux de pouvoir spécifiques que recelait la danse dans le contexte de fêtes célé- brées hors du centre de la Monarchie Hispanique et donc loin du pouvoir central.
— le regard porté par chacun des acteurs concernés sur les danses de l’ «Autre » qu’il soit indigène ou espagnol : comment étaient-elles documentées (par l’écrit, l’image, le corps ?) quel est le sens (testimonial, anthropologique et politique) des pratiques d’hybridation ?
— la méthodologie ou les questionnements épistémologiques afférentes (comment et pourquoi travailler ces danses aujourd’hui ?).

This article reassesses Berlioz's complex relationship to the French romance. Berlioz is often regarded as a musical revolutionary who made his mark writing massive, path-breaking symphonies – a far cry from the popular songs that became a staple of the bourgeois woman's salon. Yet he wrote romances throughout his life. How are we to understand these songs in the context of his overall output? What did the genre mean to him? How do his romances relate to the larger works on which his reputation rests? I explore these questions in relation to the romances he composed or revised between 1842 and 1850, a period often regarded as a fallow one for Berlioz but one that nonetheless saw a surge of songwriting activity. Drawing upon recent theories about the autobiographical construction of Berlioz's music, and considering when these songs were written or revised, to whom they were dedicated, what images were associated with them and how their texts relate to the events of Berlio...

Essay written by Barry Davis about Herbert Gantschacher's activities with a new packed schedule of lectures and masterclasses at the JAMD - Jerusalem Academy of Music and Dance. During the courses of this week, April 7-9 2024, he will enlighten JAMD students, and staff about Ullmann, and other composers related to Ullmann's work at a couple of lectures he is due to give at the academy this time focussing on the music composed at Theresienstadt during the "Freizeitgestaltung" (Leisure Time Activities) written by Viktor Ullmann, Hans Krása (his children's opera "Brundibár" was performed more than 50 times in the "Freizeitgestaltung" at Theresienstadt), Pavel Haas (his composition "Study for Stringorchestra" was performed by the only permanent existing orchestra of the "Freizeitgestaltung" which existed under the umbrella of Ullmann's "Collegium Musicum" led by the later famous conductor Karel Ančerl as the conductor of the Radio Symphony Orchestra Prague, the artistic director of the Czech Philharmonic, and as the music director of the Toronto Symphony Orchestra after Ančerl left Czechoslovakia about the end of the Prague Spring and the occupation), and Ziknund Schul (a young gifted composer, who died at Theresienstadt, and at Schul's funeral Viktor Ullmann gave his speech at his coffin honouring Schul). Alexander Drčar, from the Mozarteum University in Salzburg, serves as a teacher of these masterclasses

The Carinthian Lectures And Master Class Project related to the Culture of Memorial related to music of the composers Viktor Ullmann, Hans Krása, Zikmund Schul, and Pavel Haas from The Great War, The First World War and the invention of "Freizeitgestaltung" (Leisure Time Activities) in the different theatres of wars and the reinvention of "Freizeitgestaltung" (Leisure Time Activities) under the conditions of a concentration camp like Theresienstadt (Terezin) in The Second World War, a project of ARBOS-Company for Music and Theatre coproduced with the JAMD-Jerusalem Academy of Music and Dance. The Carinthian Lectures and Master Class Project related to the Culture of Memorial on the theme of the "Freizeitgestaltung" (Leisure Time Activities) in the different theatres of wars (from the Western Front to the Eastern Front and the Christmas Peace to the Carnian and Julian Alps and the River Isonzo) in the First World War and the reinvention of the "Freizeitgestaltung" (Leisure Time Activities) under the conditions of a concentration camp like Theresienstadt (Terezin) in the Second World War presented on the examples of the musicians and composers Ullmann, Krása, Schul, Haas.

This is the foreword from my recent edition of Seven Songs on Texts of African American Poets by Florence B. Price, published in the original keys and transpositions for high voice by ClarNan Editions (Fayetteville, AR) in January, 2024. The songs, all previously unpublished, are on poems by John H. Owens, Paul Laurence Dunbar, Langston Hughes, and Melvin B. Tolson. The edition is available here: https://www.classicalvocalrep.com/products/Seven-Songs-on-Texts-of-African-American-Poets-by-Florence-Price-Original-Keys-Medium-Voice-416706.html?sid=76888cbfcb87858f97c8767163525e66

Se estudian tres canciones de Carlos Guastavino: Pampa sola, Pampa
fértil y Pampamapa, escritas en la década de 1960. Producidas en
Argentina durante el llamado boom del folclore, las dos primeras
musicalizan poemas de Guiche Aizemberg y la tercera, de Hamlet Lima
Quintana. Incluidas Pampa sola y Pampamapa dentro de la colección
“Canción Estampa”, sus portadas fueron ilustradas por Ricardo
Supisiche y Oscar Díaz respectivamente. Pampa fértil, en cambio,
permaneció inédita y su publicación póstuma sucedió en el marco de una
investigación musicológica. En este artículo se analiza la convergencia
artística de estas creaciones, que buscan una representación de la pampa
argentina a través de una síntesis entre música, plástica y literatura.

The three artworks by Goutam Sarma have carved a niche of their own in an art-exhibition organized by the 1989 alumni of the Government College of Art & Craft at the prestigious Academy of Fine Arts, North Gallery, Cathedral Road, Kolkata during the third week of February 2024. Sarma's works are introspective, philosophical and immensely thought-provoking. With some rare brushstrokes, he captures the continuum of love as it is enshrined in the musicality of everyday life and beyond.

My research delves into the lived experiences of professional football scouts, and part of my back story is, I was one of them. Years on, a valuable dimension of my becoming a doctoral researcher on this topic has been performing my data in song. My field notes transformed into lyrics and musical score, with my trusty guitar, I invite you to listen and share in my lived experience of scouting and making sense of the Nowhere Men.  My phenomenological study has explored what it means to ‘be’ a football scout. Through encounters with the Nowhere Men in the field, my autoethnographic accounts, observations and unstructured interviews have enabled me to probe how the Nowhere Men attribute meaning to ‘becoming’ and ‘being’ a football scout. My research takes the reader into the scouting underworld, laden with existential ambiguity, anxiety and conflict, inviting us ‘onto the terrace’ to explore what it is like to ‘be’ a scout. My song,  40p a Mile and a Sausage Roll,  reveals the pittance scouts receive for their gruelling, lonely hours spent on the road in search of a ‘gem’, a footballing ‘genius’ or in some cases for them, life's meaning.

Avtor se posveča upravičenosti uporabe besedne zveze »romantični samospev« kot oznake za slovensko ustvarjanje 19. stoletja v tej zvrsti. Svoje opazovanje izpeljuje iz dveh možnih razumevanj pojma »romantika«: 1. kot oznake za glasbeno ustvarjalnost med leti 1820 in 1850; in kot oznake za del glasbene ustvarjalnosti 19. stoletja, zaznamovan z estetsko idejo »romantične presežnosti«, ki se kaže v poudarjenem preseganju dotedanjih vsebinskih in oblikovnih omejitev.

This research explores American art songs of the 21 st century. The paper provides a listing of 54 composers based in the United States and the art songs they composed from 2000 to 2023 which are available either through publishers or the composers' websites. The research is divided into three categories: art songs with piano, chamber works with voice, and works for solo voice and large ensemble. The paper also includes biographies of each composer. This research provides singers, voice teachers, and collaborative pianists a useful resource to gain familiarity with the American art-song repertoire of the current century.

Si bien las canciones de cuna parecen haber sido una constante dentro del repertorio vocal de cámara producido por compositores del nacionalismo musical argentino, el caso de las Seis... que Carlos Guastavino escribió basándose en poemas de Gabriela Mistral, merece especial atención. La manera en que se combinan en ellas el texto y la música y el modo en que las normativas respecto del género femenino se traduce en el aspecto musical son aspectos que importa revisar en función del desmontaje del canon del nacionalismo musical argentino. Construcción que fue cobrando cuerpo a lo largo de la primera mitad del  siglo XX, formó parte de un sólido ideario que hegemonizó el espacio simbólico.

Strategi yang digunakan oleh Good Night Dear dalam mempromosikan karya lagu yaitu dengan cara melakukan Segmentasi, Targeting, dan Positioning (STP) terhadap karya mereka. Strategi yang dilakukan Good Night Dear sudah mengarah ke tahap komunikasi pemasaran terpadu (integrated marketing communication) karena strategi yang dilakukan mempunyai relevansi dengan enam dimensi utama yang terdapat pada integrated marketing communication.

The aim of this article is to present the possibility of adapting the category of melancholy to the analysis of the word (poetic) and musical works. In the first part, different definitions of melancholy created by philosophers and cultural researchers are taken under consideration. Then I try to interpret the word and musical layers of the poem (and the song) called Crépuscule du soir mystique in the light of solutions typical for melancholic moods. In the last part of the article, I propose to extract a separate expressive category, which will be helpful to analyze pieces from the circle of symbolism in particular.

Benjamin Ipavec is deemed to be the key composer of Slovenian nationalistic movement in the 19th Century. But he also composed solo songs with piano accompaniment on German texts. He is typical representative of musical “biedermeier”. He attempted to achieve the synthesis of perfect form and profound emotional expression.

Throughout the entire evolution of events in the history of music, we are finding the presence of a miniature genre, with a fulminatory evolution in the Romantic period. A syncretic genre, by combining poetry with music, lied generated a highly complex and artistically refined result, hence the preferred leaning of musicians towards it. In the approach of a mythologic page transposed into a Romantic view, in Ganymed we find two figures of genius connected: Goethe – writer and philosopher with a special inclination towards versified creations, with a remarkable, long-lasting activity and with a highly profound view on life – and Schubert – prolific composer, with the most representative contribution in the evolution of this genre, by setting down demarcations and also excelling from a quantitative point of view. This analysis begins from the opposite decoding of the acoustic message, from the point of view of the vocal interpreter, including here most of the implicit aspects: from ph...