scholarly journals Research on the Contemporary Study of Vocal Music Art Trend from the Aesthetics Perspective and Rhythm Background

2016 ◽  
Author(s):  
Lijuan Zhao
Keyword(s):  
Vocal Music ◽  
Contemporary Study

Beyond Drama: Monteverdi, Marino, and the Sixth Book of Madrigals (1614)

2016 ◽  
Vol 69 (1) ◽  
pp. 1-46
Author(s):  
Tim Carter
Keyword(s):  
Seventeenth Century ◽  
Vocal Music ◽  
Downward Spiral ◽  
Giambattista Marino

Monteverdi's Il sesto libro de madrigali a cinque voci (1614) is often viewed as an outlier in his secular output. His Fourth and Fifth Books (1603, 1605) were firmly embroiled in the controversy with Artusi over the seconda pratica, while his Seventh (1619) sees him shifting style in favor of the new trends that were starting to dominate music in early seventeenth-century Italy: the Sixth Book falls between the cracks. But it also suffers—in modern eyes, at least—for the fact that it reflects the composer's first encounters with the poetry of Giambattista Marino, marking what many see as the start of a fundamental reorientation, if not downward spiral, in his secular vocal music. The problems are exposed by one of the Marino settings in the Sixth Book, “Batto, qui pianse Ergasto: ecco la riva,” in which an unnamed speaker tells Batto how Ergasto has been abandoned by Clori. The text has often been misunderstood. Uncovering the sources for the story—and the literary identities of Batto, Ergasto, and Clori—forces a new reading of the poetry and more particularly of Monteverdi's music. It also answers some profound questions in terms of how best to address issues of narration and representation, and of diegesis and mimesis, in this complex repertory.

PEMIKIRAN FIKIH KONTEMPORER MUHAMAD SYAHRUR TENTANG POLIGAMI DAN JILBAB

1970 ◽  
Vol 5 (1) ◽  
pp. 67-80
Author(s):  
Abdul Mustaqim
Keyword(s):  
Term Limit ◽  
Elastic Domain ◽  
Islamic Jurisprudence ◽  
Contemporary Study ◽  
Individual Interpretation

One fresh contribution to the contemporary study of fiqh (Islamic jurisprudence) is the theory of limits (nazariyyah al-hudud) promoted by a Syirian liberal Islamic figure, Muhammad Syahrur. Syahrur’s theory of limits solves the epistemological deadlock of previous works. Syahrur asserts that the theory of limits is an approach within ijtihad (individual interpretation) to study the muhkamat verses (clear and direct verses of law) of the Qur’an. The term “limit” (hudud) used by Syahrur refers to the meaning of “the bounds or restrictions of God which should not be violated, contained in the dynamic, flexible, and elastic domain of ijtihad. By using the theory of limit, Syahrur tries to re-constructs both concept poligamy and jilbab as contribution to the contemporary study of Islamic jurisprudence.

Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century

2019 ◽  
pp. 500-515
Author(s):  
Nataliia Kosaniak
Keyword(s):  
Choral Music ◽  
Instrumental Music ◽  
Symphony Orchestra ◽  
Vocal Music ◽  
The United States ◽  
Musical Life ◽  
Western European ◽  
Vocal Works ◽  
Post War ◽  
Talented Artist

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

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