Arab Music: A Survey of Its History and Its Modern Practice

2021 ◽  
Author(s):  
Leo Plenckers
Keyword(s):  
19Th Century ◽  
Folk Music ◽  
Hip Hop ◽  
Musical Instruments ◽  
Basic Knowledge ◽  
Music Notation ◽  
Musical Notation ◽  
Comprehensive Survey ◽  
Arab Music ◽  
The 19Th Century

'Arab Music: A survey of its history and modern practice' is primarily meant for the general Western reader with some basic knowledge of music and music notation. It aims at correcting the still prevalent romantic image of Arab music, spread in the 19th century, as exotic and typified by long, plaintive and erotic sounding melodic lines and inciting rhythms. It offers the reader a comprehensive survey of the history and the development of Arab music and musical theory from its pre-Islamic roots until 1970, as well as a discussion of the major genres and forms practiced today, such as the Egyptian gīl, the Algerian raï and Palestinian hip hop. Other topics touched upon are musical instruments and folk music. The analysis of each genre is accompanied by a complete musical notation of an exemplary composition or improvisation, including lyrics and translation.

scholarly journals Comparing rhythm in speech and music: The case of English and Polish

2014 ◽  
Vol 1 (1) ◽  
pp. 55-71 ◽  
Author(s):  
Mateusz Jekiel
Keyword(s):  
Folk Music ◽  
Instrumental Music ◽  
Classical Music ◽  
Initial Study ◽  
Music Notation ◽  
Temporal Patterning ◽  
Speech Rhythm ◽  
Musical Notation ◽  
Variability Index ◽  
Point Of Departure

Abstract The point of departure for the following study is Patel and Daniele (2003), who suggested that the rhythm of a culture’s language is reflected in its instrumental music. The former study used the normalised pairwise variability index (henceforth nPVI), a measure of temporal patterning in speech, to compare the variability of vocalic duration in recorded speech samples with the variability of note duration in music notation on the example of English and French speech and classical music. The aim of this experiment is to test whether the linguistic rhythm conventionalised in the language of a community affects the rhythm in the musical practice of that community, by focusing on English and Polish speech and classical, as well as folk music. The nPVI values were obtained from a set of English and Polish recorded news-like sentences, and from musical notation of English and Polish classical and folk musical themes. The results suggest that reflections of Polish speech rhythm may be more apparent in folk music than in classical music, though more data are needed to test this idea. This initial study suggests that the method used might bring more fruitful results when comparing speech rhythm with less formalized and more traditional musical themes.

Nematode systematics: past, present and future

Nematology ◽  
2000 ◽  
Vol 2 (1) ◽  
pp. 3-7 ◽  
Author(s):  
August Coomans
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Phylogenetic Relationships ◽  
Molecular Techniques ◽  
Basic Knowledge ◽  
Phylogenetic Systematics ◽  
Morphological Approach ◽  
The Sixties ◽  
Funding Opportunities ◽  
The 19Th Century

AbstractA brief overview is given of nematode taxonomy since its beginnings in the second half of the 19th century. Most of the work concerned α-taxonomy, but in the thirties and subsequently from the sixties several classifications have been proposed. Since the eighties phylogenetic systematics was introduced as the underlying theory. Due to the pioneering work of several famous nematode taxonomists in the first half of the 20th century an increased interest for the discipline arose. Very unfortunately, this interest decreased in more recent times to an alarming extent. The difficulty to correctly identify and to describe the rapidly increasing numbers of taxa has discouraged many young scientists and diverted them toward more appealing disciplines. Taxonomy provides nevertheless the basic knowledge for studies on biodiversity as well as for analyses of ecological and phylogenetic relationships. Molecular techniques have made systematics again exciting; when combined with the more traditional morphological approach, they will lead to new insights. Hopefully, these will arouse the interest of young scientists. Even then the future of nematode taxonomy will depend on the funding opportunities provided by national and international authorities. La systématique des nématodes est brièvement revue depuis ses origines dans la seconde moitié du 19ème siècle. La plupart des travaux sont relatifs l’ α-taxinomie, mais dans les années trente et ensuite dans les années soixante, plusieurs classifications ont été proposées. Depuis les années 80, la systématique phylogénétique a été introduite comme la théorie sous-jacente. Grâce au travail de pionnier de plusieurs taxinomistes célèbres dans la première moitié du 20ème siècle, un intérêt accru est apparu pour la discipline. Très malheureusement, cet intérêt a décru récemment jusqu’à un niveau alarmant. La difficulté d’identifier correctement et de décrire un nombre de taxons augmentant rapidement a découragé de nombreux jeunes scientifiques et les a poussé vers des disciplines plus attirantes. La taxinomie cependant apporte la connaissance de base tant pour des études de biodiversité que pour des études de relations écologiques et phylogénétiques. Les techniques moléculaires ont rendu la systématique à nouveau attractive; lorsqu’elles seront combinées avec l’approche morphologique plus traditionnelle, elles conduiront à de nouveaux développements. Heureusement, elles vont réveiller l’intérêt des jeunes chercheurs. Malgré cela, le futur de la taxinomie des nématodes dépendra des opportunités de financement par les autorités nationales et internationales.

scholarly journals Numerus surdus y armonía musical. Sobre el temperamento igual y el fin del reinado pitagórico de los números

2021 ◽  
pp. 137
Author(s):  
Lianggi Espinoza ◽  
Juan Redmond ◽  
Pablo César Palacios Torres ◽  
Ismael Cortez Aguilera
Keyword(s):  
19Th Century ◽  
Musical Instruments ◽  
History Of Philosophy ◽  
16Th Century ◽  
The Moon ◽  
The West ◽  
String Instruments ◽  
Equal Temperament ◽  
History Of ◽  
The 19Th Century

AbstractThe development of philosophical ideas throughout history has sometimes been assisted by the use of handcrafted instruments. Some paradigmatic cases, such as the invention of the telescope or the microscope, show that many philosophical approaches have been the result of the intervention of such instruments. The aim of this article is to show the determining role that stringed musical instruments with frets had in the crisis and generation of philosophical paradigms. In fact, just as the observations of the moon with the telescope broke more than a thousand years of Aristotelian hegemony, the fretted string instruments, predecessors of the guitar, played a central role in the collapse of one of the most influential approaches in the history of Philosophy: Pythagorism. We focus on the fundamental hallmarks of Pythagorism and on how, during the 16th century and from the fretted string instruments, the mathematical-musical notion of equal temperament emerged, which from the middle of the 19th century will be established as the prevailing philosophical-musical paradigm of the West.

scholarly journals Die Anfänge der Volksmusikbewegung. Begriffsbestimmung und Sammelstrategien

2021 ◽  
pp. 601-623
Author(s):  
Peter Gretzel
Keyword(s):  
19Th Century ◽  
Folk Music ◽  
Music Research ◽  
The 19Th Century

The beginnings of the folk music movement. Definition and collecting strategies. In the 19th century, a folk music movement emerged in Lower Austria, fueled by the 18th century’s awakening interest in everything to do with the “peasantry”. One of the main characteristics and inspirations of this movement was the collecting, gathering and transliterating of songs and tunes handed down orally. The lack of a clearly defined concept of folk music due to the absence of scholarly folk music research led to diverging collectors’ movements and strategies; the collections reveal a conflict between national and supranational tendencies (Gesamtsstaatspatriotismus), both of which served the documentation and the cultivation of folk music on the part of the cultured classes. This “authentic” and collected folk music was intended as a counterbalance to the commercial interpretations performed on stages by “national singers”. Via dedicated collections, the folk music movement essentially shaped the folk-musical topography of the 19th century.

scholarly journals ASAL USUL, PENGOLAHAN DAN SIMBOL RAGAM GERAK TARIAN SUMANGGAK ETNIK TOMBONUO

2019 ◽  
pp. 47-78
Author(s):  
CHENG JIA MIN ◽  
LOW KOK ON
Keyword(s):  
Ethnic Group ◽  
Research Methods ◽  
19Th Century ◽  
Field Trips ◽  
Musical Instruments ◽  
Dance Movement ◽  
Video Recordings ◽  
Dance Movements ◽  
Performance Context ◽  
The 19Th Century

ABSTRAK  Tarian Sumanggak moden telah diolah oleh Suana Kabora berdasarkan pergerakan ritual muinsamung dan monginsamung etnik Tombonuo di daerah Pitas, Sabah pada tahun 1983. Fokus kajian ini tertumpu kepada aspek perubahan, pengolahan dan simbol ragam gerak tarian Sumanggak moden. Bagi mengumpul data kajian, tiga siri kerja lapangan dijalankan di empat buah kampung di daerah Pitas. Kaedah temu bual, pemerhatian, rakaman video dan pengambilan gambar telah digunakan dalam kajian lapangan. Analisis secara interpretasi mendapati asal usul nama tarian Sumanggak diperoleh daripada perbuatan membuka gadur (bekas yang diperbuat daripada tembaga), yang dikenali sebagai adat Sumanggak. Persembahan tarian Sumanggak didapati mengalami perubahan dari zaman mengayau sehinggalah zaman kini. Tarian ini berasal daripada upacara muinsamung, yang dikendalikan semasa rombongan mengayau dalam perjalanan kembali ke kampung. Pada zaman pentadbiran British (akhir kurun ke-19), konsep persembahan tarian Sumanggak berubah kerana upacara muinsamung telah ditukar kepada upacara monginsamung. Oleh itu, aspek-aspek persembahan tarian Sumanggak seperti ragam gerak, kostum, alat muzik, dan prop mengalami perubahan dari segi fungsi dan pengolahan. Setiap ragam gerak didapati mempunyai simbol yang berkait rapat dengan ritual tradisional etnik Tombonuo.   ABSTRACT The modern Sumanggak dance was adapted by Suana Kabora in 1983, based on the movements depicted from the muinsamung and monginsamung rituals of the Tombonuo ethnic group in Pitas district, Sabah. This study focuses on the aspects of the performance, the adaption and the symbols that are portrayed in the dance movements of the modern Sumanggak dance. This study involved three field trips to collect data from four villages in Tombonuo in Pitas district. Among the research methods employed were interviews, observations, video recordings and photography. Based on the interpretation and analysis of the study, it was found that the name of the modern Sumanggak dance originated from the act of opening the gadur (vessel made of bronze), which is known as Sumanggak. The performance context of the Sumanggak dance focused on the head-hunting period to the British administration era until the present time. The Sumanggak dance originated from the muinsamung ritual, which was performed at the time of the arrival of the head-hunting group at their village. During the British administration era (end of the 19th century), the Sumanggak dance had undergone some modifications due to transition from the muinsamung ritual to the monginsamung ritual. The aspect of the dance movements, the costume, the musical instruments and the props had undergone changes in terms of function and adaption. Each symbol of the dance movement has also been found to be closely related to the muinsamung and monginsamung rituals.

scholarly journals Kolberg’s opinions on changes in the choice of instruments in 19th century folk music

2014 ◽  
Vol 11 (1) ◽  
pp. 6-12
Author(s):  
Zbigniew Jerzy Przerembski
Keyword(s):  
World War I ◽  
19Th Century ◽  
Folk Music ◽  
Well Being ◽  
Folk Song ◽  
Musical Background ◽  
Expressive Performance ◽  
Culture Heritage ◽  
The 19Th Century ◽  
Choice Of Instruments

Abstract In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were further fuelled by the final (third) Partition of Poland by Austria, Prussia and Russia, declared in 1795 and lasting till the end of World War I. Oskar Kolberg noticed and described changes in the musical landscape of villages and little towns of the former Polish Republic in the 19th century, as well as in the choice of instruments. To be quite precise, musical instruments are not featured as a separate subject of his research, but various references, though scattered, are quite numerous, and are presented against a social, cultural and musical background, which provides an opportunity to draw certain conclusions concerning folk music instrumental practice. However, changes in the makeup of folk music ensembles resulted in the disappearance of traditional instruments, which were being replaced by the newer, factory-produced ones. This process worried Kolberg and he noticed its symptoms also in a wider, European context, where bagpipes or dulcimers were being supplanted not only by “itinerant orchestras” but also by barrel organs or even violins. Writing about our country, Poland, he combined a positive opinion on the subject of improvised and expressive performance of folk violinists with a negative one on clarinet players and mechanical instruments. Summing up, the musical landscape of Polish villages and both small and larger towns was definitely influenced in the 19th century by the symptoms of phenomena which much later acquired a wider dimension and were defined as globalization and commercialization. Sensing them, Oskar Kolberg viewed the well-being of the traditional culture heritage with apprehension.

scholarly journals What is English music? The Twentieth Century Experience

2007 ◽  
Vol 43 (1) ◽  
pp. 147-166
Author(s):  
Niall O'Loughlin
Keyword(s):  
Twentieth Century ◽  
National Identity ◽  
20Th Century ◽  
19Th Century ◽  
Folk Music ◽  
National Character ◽  
English Music ◽  
The 19Th Century

Many countries in the 19th century wanted to assert their national character, with music being one way of doing so. We can distinguish four ways in which in music national identity can be established: composers may use the folk music, they can base their music on folk music, they can set the words of a nation to music and the last possibility can be found in the idea of an association of certain music with specific events and festivities in a tradition. The author discusses in detail these four possibilities of the establishment of Englishness in music in 20th century.

The Art Songs of Kodály

Tempo ◽  
1963 ◽  
pp. 2-12
Author(s):  
Cynthia Jolly
Keyword(s):  
19Th Century ◽  
Folk Music ◽  
Art Song ◽  
Art Songs ◽  
Art Music ◽  
Slow Process ◽  
The West ◽  
The 19Th Century ◽  
True Measure ◽  
West European

It would be an error to underestimate the magnitude of Kodály's achievement in his art-songs by relating them too closely to the West European art-song instead of setting them against their national background. He was working almost from scratch: as he remarks in Folk Music of Hungary (p. 13), the country was not musically literate until the end of the 19th century. His songs lack the slow process of evolution which made the Lied: Schubert was the culmination of many centuries of reciprocal interplay between folk music and art music, between music and poetry. To create a Hungarian art-song within the lifetime of a single composer was an act of faith and astonishing audacity, and the true measure of the achievement will probably only come clear after decades, if not centuries.

scholarly journals From Coast to Coast: The Mapping of the Adriatic Sea by the Joint Forces of the Austro-Hungarian and Italian Hydrographic Offices

2019 ◽  
Vol 1 ◽  
pp. 1-1
Author(s):  
Mirela Altić
Keyword(s):  
19Th Century ◽  
Adriatic Sea ◽  
Eastern Coast ◽  
Joint Forces ◽  
Comprehensive Survey ◽  
Adriatic Coast ◽  
Joint Mapping ◽  
Papal States ◽  
The 19Th Century ◽  
The Military

<p><strong>Abstract.</strong> With the establishment of the second Austrian rule on the eastern Adriatic coast (1815), after several centuries, the Adriatic Sea was divided between two sides – Italian (Papal States and Kingdom of Two Sicilies) which ruled the western Adriatic coast, and the Austrian, which ruled the eastern coast and Lombardy-Venetia. Such division of the Adriatic Sea between the two powers in constant tension adversely affected the dynamics of mapping, and in the mid-19th century, there was a serious setback in mapping. In the 1860s, the strengthening of Italian and Austrian realms (Italy began its unification in 1860, and the Austrian Empire was converted into the Austro-Hungarian Monarchy in 1867) created a need for cooperation between the two empires on the joint mapping of the Adriatic Sea, which was to enable the production of modern charts based on a comprehensive survey covering the whole sea surface area, from coast to coast.</p><p>For the purposes of the hydrographic survey, both imperial powers established their hydrographic offices as part of their military (naval) forces. The Austrian Empire established its Hydrographic Office in 1860, at first in Trieste and, from 1869 onwards, in the city of Pula (<i>Hydrographisches Amt der k. u. k. Kriegsmarine</i>). Its Italian counterpart, the <i>Istituto idrografico della Marina</i>, was founded in 1872 with its headquarters in Genoa (yet its first administrative act appeared as early as 1867). A systematic survey of the Adriatic Sea was started on its eastern side by the Austrian Hydrographic Office. It was conducted from 1866 to 1870 under the supervision of the experienced mariner and hydrographer Tobias Ritter von Oesterreicher. After land and sea surveys had been carried out on the basis of a dense triangulation network (first-, second-, and third-order triangulation), the first edition of the hydrographic charts of the eastern Adriatic coast was prepared by the Military Geographical Institute in Vienna and published by W. Essmann in Trieste as early as 1870 (and reissued in 1872). The survey resulted in a general chart of the Adriatic at a scale of 1:1 000 000, four course charts of the whole Adriatic Sea at a scale of 1:350 000, thirty-one coastal charts of the eastern Adriatic at scales of 1:40 000 to 1:100 000, and fifty-seven harbour charts at scales of 1:20 000 to 1:30 000. The survey of the Italian side of the Adriatic was conducted under the supervision of Counter-Admiral Duke Antonio Imbert, who earlier assisted Oesterreicher in the survey of the eastern coast. It started in 1867 and, by the end of 1873, conducted by the joint forces of the Austro-Hungarian and Italian hydrographic offices, resulted in a series of twenty-four charts at a scale of 1:100 000. Printed by the Military Geographical Institute in Vienna in 1873, together with a series covering the eastern Adriatic coast, these charts continued to serve as the main base map in the Office’s cartographic production for several decades, but also as a template for maps of Adriatic issued by foreign hydrographic offices, including that of the British Admiralty.</p><p>The collaboration between the Austrian and Italian hydrographic offices continued, jointly promoting the improvement of quality of nautical charts of the Adriatic and the development of the hydrographic service in general. Apart from producing the first modern charts of the Adriatic, this survey marked the beginning of a state institutions for hydrographic exploration, including first measurements of geomagnetism, salinity, currents, and tides. The 19th-century charting thus played a crucial role in the birth of the official hydrographic services and the development of modern hydrographic exploration of the Adriatic. The proposed paper is based on archival sources.</p></p>

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