scholarly journals “Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music

2020 ◽  
Vol 19 (19) ◽  
pp. 268-284
Author(s):  
Fuyin Yang
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Publishing House ◽  
Research Problem ◽  
Folk Songs ◽  
Direct Access ◽  
Music Publishing ◽  
Musical Space ◽  
The 19Th Century

Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distortion of the ingrained ideas about it. This theme is mainly reflected in the publications of Italian experts in the second half of the 20 century D. Carpitella, E. De Martino, R. De Simone, and in the 21 century R. Di Mauro (2013). Interest in this genre intensified in the musical science of China also. This is due to the extraordinary melody of Neapolitan songs, which is consonant with Chinese samples. Chinese singers increasingly include the popular canzone Napoletana in their repertoire. In the musical science of China, this topic has been developed since the last decades of the 20th century in the studies of Song Jing (1985), Wu Shikai (1997), Pei Yisi (2011), Liu Shanshan (2007), Fang Yahong (2011), Chang Jinge (2018). However, many scientific works are of the same type, which is caused by the lack of direct access to the study of musical, poetic, bibliographic material. In the same time, the 19th century deserves attention as a period of the rapid spread of Neapolitan folk songs in the musical art of Europe. The outstanding role in these processes belongs to the representatives of the creative dynasty – Teodoro Cottrau (1827–1879), the author of the famous “Santa Lucia”, and his father Guillaume-Louis Cottrau (1797–1847). Given the current lack of knowledge on this topic, as the research goal of this article, we consider it necessary to get acquainted with the creative figure of G.-L. Cottrau, which contributed to the spread of Neapolitan folk songs in the European music of the 19th century. For the first time in the musical science of Ukraine and China, the collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments” is used as an object of research compiled by G.-L. Cottrau, as well as selected fragments of operatic works by G. Paisiello and D. Cimarosa. In this work, the historicalcomparative and biographical research methods are used, as well as generally accepted models of musicological and performing analysis of music. Results. When studying the Canzone Napoletana, the research problem lies in the difficulties of reconstructing song samples of the 16th–19th centuries. It is necessary to restore their exact chronology, authorship, conduct a comparative analysis of numerous editions, and comprehend the processes of historical evolution. This situation is known to most ethnological scholars, who are actually engaged in musical archeology and bring back almost lost samples of the past from oblivion. Thanks to the processes of national self-determination that swept Italy in the second half of the 20th century, a decisive breakthrough was made in ethnomusicology in the study of the musical and poetic heritage of the Neapolitan region. This is a strong help for any researcher dealing with this topic. The composer and music publisher Guillaume-Louis Cottrau belonged to a famous surname in France. Hisfather served Joachim-Napoléon Murat, Napoleon Bonaparte’s son-in-law. As a child, he ended up in Italy, in Naples, forever falling in love with this land and its culture. Subsequently, Guillaume-Louis adopted Neapolitan citizenship. Being engaged in the affairs of the music publishing house and composing, Guillaume-Louis made up and published in 1824 a collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments”. This includes 104 Canzone Napoletana. Afterwards, the number of songs in different issues was increasing slightly (up to 113), the authorship of some fragments was clarifying, but the main block of tunes remained unchanged. This collection gained immense popularity in the music salons of France. It has been reprinted several times. According to R. di Mauro (2013), about sixty of the 104 songs in the first edition were written by G.-L. Cottrau, the rest are the result of processing of folk originals or songs by other authors. The essence of the undertaken arrangement consisted not only in recording musical and poetic texts (often in several versions), not only in creating a piano accompaniment part in the style of salon music-making. The composer personally collected these cantos and lyrics to them, communicating with servants, peasants, merchants, artisans, direct bearers of the oral musical tradition from different parts of the Neapolitan region. It includes old peasant songs, epic ballads, fragments from operas by G. Paisiello, D. Cimarosa, and other composers of the 18th century, which became truly people’s. This article compares the composer and folk versions of the Serenade of Pulcinella by Paisiello and Cimarosa, which were included in the first edition of the collection under the folk guise. Conclusions. The publication of the Neapolitan songs collection “Passatempi musicali” by G.-L. Cottrau played the role of actualizing this song genre in the musical space of the Romantic era. Its popularization outside Italy, repeated reprints made it possible to “legalize” the song South Italian folklore in the European musical space.

Origine et diffusion des expressions romanes du type jaune paille

2021 ◽  
Vol 133 (1) ◽  
pp. 3-27
Author(s):  
Sara Matrisciano ◽  
Franz Rainer
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
17Th Century ◽  
16Th Century ◽  
Romance Languages ◽  
Short Discussion ◽  
Colour Term ◽  
The 19Th Century ◽  
And Diffusion

All major Romance languages have patterns of the type jaune paille for expressing shades of colour represented by some prototypical object. The first constituent of this pattern is a colour term, while the second one designates a prototypical representative of the colour shade. The present paper starts with a short discussion of the controversial grammatical status of this pattern and its constituents. Its main aim, however, concerns the origin and diffusion of this pattern. We have not found hard and fast evidence that Medieval Italian pigment compounds of the type verderame influenced the rise of the jaune paille pattern, which first appears in French in the 16th century. This pattern continued to be a minority solution during the 17th century, but established itself during the 18th century. In the 19th century, Italian, Spanish and Portuguese adopted the pattern jaune paille, while it did not reach Catalan and Romanian before the 20th century.

scholarly journals Considerations to some forms of the verb a fi: sum and sunt

Diacronia ◽  
2018 ◽  
Author(s):  
Gheorghe Chivu
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
History Of ◽  
Literary Writing ◽  
The 19Th Century

The history of the verbal forms sum and sunt, introduced into the literary writing by the Transylvanian Latinist School, reveals a winding process in the elaboration of certain cultured norms proper to the modern literary Romanian. Not at all linear, this process was concurrently influenced by two, often divergent, tendencies that were active from the end of the 18th century up to the beginning of the 20th century: the use of some cultured forms, borrowed from Latin or created according to Latin patterns; and the revitalization of certain linguistic forms with regional diffusion. Initially proposed as literary pronunciations, the two verbal forms were soon adopted and used as etymological graphic forms that corresponded to sîm and suntu from certain conservative patois. During the second half of the 19th century (sum), and during the first decades of the 20th century (sunt), the two graphic forms became orthoepic norms as well, due to the phonological tradition of the Romanian writing.

Classical Architecture in Europe and North America since 1700

Classics ◽  
2018 ◽  
Author(s):  
Elizabeth Macaulay-Lewis
Keyword(s):  
United States ◽  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
The United States ◽  
Classical Antiquity ◽  
Early 20Th Century ◽  
Classical Architecture ◽  
Greco Roman ◽  
The 19Th Century

Since the Western Roman Empire collapsed, classical, or Greco-Roman, architecture has served as a model to articulate the cultural, artistic, political, and ideological goals of later civilizations, empires, nations, and individuals. The Renaissance marked the first major, widespread re-engagement with classical antiquity in art, literature, and architecture. Debates over classical antiquity and its relation to the modern world continued ever since. One such important debate was that of the quarrel between the Ancients and Moderns, which resulted when Charles Perrault published his Parallèles des anciens et des modernes in 1688. This dispute focused on whether the modern age could surpass antiquity, especially in literature. The Greco-Roman controversy (1750s and 1760s) was another example of Europeans engaging with the classical past; this debate focused on whether Greek or Roman art was of greater historical value; an argument has continued unabated to this day. Figures like Johann Joachim Winckelmann argued (in publications such as Winckelmann 1764, cited under Early Archaeological Publications on Greece and Classical Ruins in the Roman East, on Greek art) for the supremacy of Greek forms, while others like Giovanni Battista Piranesi (whose 1748–1778 views of Rome are reproduced in Ficacci 2011, cited under Early Archaeological Publications on Italy) advocated for Rome’s preeminence. Such debates demonstrate how classical antiquity was an essential part of the intellectual and artistic milieu of 18th-century Europe. This bibliography focuses on the appropriation of classical architecture in the creation of built forms from 1700 to the present in Europe and North America, which is typically called neoclassical or neo-classical, both of which are acceptable. Scholars often define the neoclassical period as lasting from c. 1750 to 1830, when European art and architecture predominantly appropriated classical forms and ideas. The influence of classical architecture continued in popularity throughout the 19th century and early 20th century in the United States. The early 19th century saw the flourishing of the Greek Revival, where Greek forms dominated artistic and architectural production, both in Europe and the United States. The ascendance of Queen Victoria in 1837 marked a shift toward a preference for the Gothic and Medieval forms. Neoclassical forms saw a resurgence in the second half of the 19th century, as Roman architectural forms became increasingly popular as an expression of empire. The term “Neo-classical” was coined as early as January 1872 by Robert Kerr, who used the term positively. It later took on certain negative overtones, when it was used as a derogatory epithet by an unknown writer in the Times of London in 1892. Neoclassical architecture has fared no better with the rise of modernism in the early 20th century onward and since then it has been seen as old-fashioned and derivative. Neoclassical architecture was not a mindless imitation of classical architectural forms and interiors. The interest in classical architecture and the creation of neoclassical architecture was spurred on by important archaeological discoveries in the mid-18th century, which widened the perception of Greek and Roman buildings. The remarkable flexibility of ancient architecture to embody the grandeur of an empire, as well as the principles of a nascent democracy, meant that it had great potential to be interpreted and reinterpreted by countless architects, patrons, empires, and nation states—in different ways and at different times from the 18th to the 20th century. This bibliography is organized thematically (e.g., General Overviews; Companions, Handbooks, and Theoretical Works; Reference Works; Early General Archaeological Publications; The Reception of Pompeii, Herculaneum, and the Bay of Naples; and World’s Fairs and Expositions) and then geographically, creating country- or region-specific bibliographies. While this model of organization has some flaws, it aims to avoid repetition and highlights the interconnected nature and process of the reception of classical architecture in later periods.

scholarly journals Foreign Layer of the Chuvash Book

2020 ◽  
pp. 28-32
Author(s):  
Alena Mikhajlovna Ivanova ◽  
Eduard Valentinovich Fomin
Keyword(s):  
Foreign Language ◽  
Qualitative Analysis ◽  
20Th Century ◽  
19Th Century ◽  
Publishing House ◽  
Scientific Publications ◽  
The Past ◽  
The World ◽  
The 19Th Century ◽  
Parallel Texts

The article is devoted to the consideration of extraterritorial publications on the Chuvash theme. The purpose of the work is to identify the essential features of the foreign layer of the Chuvash book. The conclusions of the work are based on a quantitative and qualitative analysis of bibliographic indexes and a direct study of the books themselves de visu. The authors of the article consider foreign books as an important component of modern Chuvash culture, endowed with communicative, cognitive-cumulative, ethno-presentative and educational functions. Extraterritorial editions of the Chuvash book appeared in the first half of the 19th century, and only by the end of the 20th century they formed an independent layer. At the same time, one should objectively speak of two exteriorics – the Chuvash and by the poet G. Aygi. Each of them is represented by almost 150 publications. The predominant problematic of the foreign language layer of the Chuvash book proper is the Chuvash language. Moreover, its notable aspect is the publication of books in the Chuvash language or their publication with parallel texts in Sweden and Turkey. G. Aygi’s foreign publications are already represented by collections of poems in Russian, published by the publishing house of the artist N. Dronnikov in France. This work is a publication that should provide an introduction to the scientific use of literature that has not yet become the property of the Chuvash Studies. Its task is to promote the full functioning of modern Chuvash science in conjunction with the world one. The authors come to the conclusion that, in general, the foreign layer of the Chuvash book has an enduring value, and many of the scientific publications published in the past are rightly elevated to the rank of classical ones by the scientists.

scholarly journals Formation and Development of the Iconography of the Mesmeric Seance in the Second Half of the 18th — Late 19th Centuries

2021 ◽  
Vol 11 (2) ◽  
pp. 224-242
Author(s):  
Daria O. Martynova ◽  
◽  
Keyword(s):  
Popular Culture ◽  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Comic Book ◽  
Wonder Woman ◽  
Patriarchal Society ◽  
The Face ◽  
The 19Th Century ◽  
Second Wave

Analyzing the evolution of the iconography of such a phenomenon as mesmerism in the second half of the 18th — mid-19th centuries, the author shows that the scenario of modern hypnotic representation and its gestures were established by mesmerists in the second half of the 18th century, followers of the parascientific theory that caused discussions and intrigued doctors and artists for centuries. Analyzing the development of the iconography of mesmeric seance, the author identifies two waves of popularity of this subject: the first wave in the 70–80s of the 18th century and the second wave during the first decade of the 19th century and beginning of the 20th century. Such a duration is due to the fascination with the supernatural and inexplicable, reflected in various styles and trends. In this article, the author tries to show how the development of the iconography of the mesmeric seance provoked the appearance of the hypnotist or magician trickster, who became integrated into popular culture that later began to mark the majority of hypnotic actions, spiritualistic sessions or miracle shows. The author also illustrates how the image of a “controller” in the face of a man formed and confirmed the paradigm of a powerless, mysterious and controlled woman. As a result, it is concluded that hypnosis and mesmerism became common theatrical spectacles in the 20th century, cultivating the power of men (patriarchal society) over an exhausted woman, which is reflected in the works of Georges Méliès, Alfred Hitchcock, and even in the comic book Wonder woman.

scholarly journals 9. The Romantic German Lied – An Overview

2021 ◽  
Vol 21 (1) ◽  
pp. 71-77
Author(s):  
Doina Dimitriu Ursachi
Keyword(s):  
19Th Century ◽  
Fundamental Form ◽  
18Th Century ◽  
Folk Songs ◽  
Art Form ◽  
Musical Structures ◽  
German School ◽  
Voice And Piano ◽  
The 19Th Century ◽  
Form Of Expression

Abstract The lied represents a fundamental form of expression of the cantability and of the relation of the melody with the poetic. And, although the model of the cultural lied could still be heard in the music of the 18th century in the compositions of the Viennese classical school - in Haydn folk songs and, especially, in forms somewhat akin to the aria of Mozart or Beethoven – the landmarks of this genre were established precisely by the romantics of the 19th century, representatives in most of the German school. Schubert, Schumann, Franz, Mendelssohn-Bartholdy, Wagner, Brahms, Wolf etc. transformed the song into a cultural art form, incorporating images of popular origin into literary-musical structures for voice and piano making use of technical possibilities and expressiveness specific to romanticism.

scholarly journals A late-winter to early-spring temperature reconstruction for southeastern Norway from 1758 to 2006

2007 ◽  
Vol 46 ◽  
pp. 404-408 ◽  
Author(s):  
Ø. Nordli ◽  
E. Lundstad ◽  
A.E.J. Ogilvie
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
Temperature Reconstruction ◽  
Early Spring ◽  
Late Winter ◽  
Spring Temperature ◽  
Early 19Th Century ◽  
The Mean ◽  
The 19Th Century

AbstractSystematic temperature observations were not undertaken in Norway until the early 19th century, and even then only sporadically. Climate-proxy data may be used to reconstruct temperatures before this period, but until now there have not been any climate proxies available for late winter. This situation has recently changed, as a diary containing historical ice break-up data from a farm near lake Randsfjord in southeastern Norway has been discovered. These data, together with observations from lake Mjøsa in the same region, make it possible to reconstruct temperature back to 1758. The reconstructed series, combined with instrumental series from the area near the lake, were merged into one composite time series covering the period 1758–2006. The lowest temperatures are seen during the Dalton sunspot minimum in the early 19th century. The 20th century was 1.3˚C warmer than the 19th century, whereas the 19th century was 0.4˚C warmer than the last 43 years of the 18th century. During the period 1758–1850, the mean temperature was 1.4˚C lower than the mean value of the 20th century. The warmth observed in the 1990s and at the start of the 21st century is unprecedented during the whole series.

scholarly journals Lithuanian National Costume in the 19th Century and in the 2nd Half of the 20th Century: Cultural Pollution and Remains of Authenticity

Societies ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 17
Author(s):  
Eglė Kumpikaitė ◽  
Rimvydas Milašius
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
19Th Century ◽  
Raw Materials ◽  
Folk Songs ◽  
Rural Tourism ◽  
Not Given ◽  
Similar Materials ◽  
Weave Pattern ◽  
The 19Th Century

Lithuanian authors, authors abroad, and artists have presented Lithuanian folk clothes in their works. However, the oldest examples of these representations are not very reliable, because the authors painted them according to the descriptions of other people or copied works among each other. In the 20th century, the national costume of Lithuania changed considerably. Attention was not given to ethnographic regional peculiarities; instead, similar materials were chosen without any analysis. This article performs a comparative analysis of folk (the 19th century to the first half of the 20th century) and national (the second half of the 20th century) Lithuanian costumes to establish signs of cultural pollution and remaining authenticity. Over 500 articles of clothing with different purposes are collected from Lithuanian museums. Fabric parameters, such as raw materials, weaving technique, weave, pattern, decoration elements, etc., are established. The research results show that authentic folk clothes of the 19th century differ from the national costume of the second half of the 20th century in their cut, decoration, and patterns. No differences between ethnographic regions survived in the national costumes. Thus, at present, we must preserve our tangible heritage and re-create, as authentically as possible, national costume for folk songs and dance ensembles, folk restaurants, and rural tourism homesteads.

scholarly journals Evolution of epidemiological thought in medicine taking into account the evolution of Polish epidemiology in the 20th century

2020 ◽  
pp. 169-179
Author(s):  
Renata E. Paliga
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
18Th Century ◽  
The United States ◽  
Epidemiological Studies ◽  
Population Based ◽  
Communicable Diseases ◽  
Non Communicable Diseases ◽  
Administrative Services ◽  
The 19Th Century

Communicable diseases have accompanied humanity since the beginning of its existence. The first descriptions of diseases appeared in the 8th century B.C. in the Iliad, Homer. Epidemics of communicable diseases were often described in social context by poets, historians, and chroniclers. Medicine as a science until the 19th century could not provide answers concerning the aetiology of epidemic diseases or propose therapies with measurable benefits. For centuries the fight against epidemics was the duty of administrative services. Quarantine, isolation (including forced isolation), sanitary cordons, and disinfection procedures involving the moxibustion, burning of objects, clothing and bodies, etc. were introduced very early on. The knowledge of practical measures taken during repeated epidemics of various communicable diseases in Europe laid the foundations for the development of social medicine in the 18th century. In the 19th century, methods such as statistics, comparison of patient groups, mathematics and others were introduced to assess the effectiveness of prophylactic and therapeutic measures. In the 19th century it became possible to distinguish a new science – epidemiology. The missing element was the so-called “bacteriological breakthrough”. After the discovery and description of bacteria, there was a tumultuous development of bacteriology, vaccines were created and huge financial resources were allocated to bacteriological institutes. After extensive use of chemotherapeutics and antibiotics, it turned out in the mid-20th century that the mortality from communicable diseasesis statistically lower in some countries than in others.In the 1940s, population-based cardiological studies using epidemiological patterns were introduced in the United States, and in the 1950s epidemiological congresses worldwide accepted that it was reasonable for epidemiology to investigate the occurrence and causes of communicable and non-communicable diseases. In Poland, in 1964, at the 4th Congress of the Polish Society of Epidemiologists and Doctors of Infectious Diseases in Cracow, a decision was made to extend epidemiological studies to non-communicable diseases.

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