scholarly journals The Classical Music Culture of South India

Indialogs ◽  
2014 ◽  
Vol 1 ◽  
pp. 134
Author(s):  
Mohan Ramanan
Keyword(s):  
South India ◽  
Classical Music ◽  
Music Culture

scholarly journals Khorezm Dutor Moments

2021 ◽  
Vol 03 (04) ◽  
pp. 199-202
Author(s):  
Shodmonova Durdona ◽  
◽  
◽  
◽  
Keyword(s):  
Classical Music ◽  
Music Culture ◽  
Modern Music ◽  
The Status

Issues related to the classical samples of Uzbek classical music heritage occupy one of the leading places in the modern music culture. In this regard, among the Bukhara Shashmakomi, Fergana-Tashkent status roads, Khorezm status categories, Dutor status, in our opinion, are of great interest. In particular, the study of the generality and differences in the interpretation of their old rare and diverse new performance, in full case or in the recording of parts into a note, is of paramount importance. This article is about the status of Khorezm

scholarly journals The principle of modeling as a means of classification of instrumental ensembles with a domra

2021 ◽  
pp. 11-19
Author(s):  
Elena Vladimirovna Lygina
Keyword(s):  
Classical Music ◽  
Music Performance ◽  
Pop Music ◽  
Music Culture ◽  
Modern Music ◽  
The Creation ◽  
And Performance ◽  
Instrumental Ensembles ◽  
Vast Range

The present article, developing a comprehensive approach to the classification of instrumental ensembles with a domra, aims at detecting the principles which can serve as a basis for the creation of various models of such objects. The author suggests analyzing the aspects of existence of the phenomenon under study from various positions: as music groups, and from the viewpoint of music compositions created for such groups. The article considers and compares the models of concert groups according to the number of their members and instrumental components, as well as according to the genre and style peculiarities of the repertoire of instrumental ensembles with a domra and their cooperation with composers. This classification method helps to comprehensively cover the work of a large number of musicians, both the members of ensembles and composers. The modeling of various systems of the creation of methods of classification of instrumental ensembles helps to study the peculiarities of the existence of such groups in modern music culture. The author arrives at the conclusion that at present, the music performance spectrum of Russia contains a vast range of ensembles with various instrumental contents and different numbers of members. The diversity of genre and style models of such groups is reflected in their repertoire - from folklore, classical music and modern composers schools to jazz, rock, pop-music and performance.   

scholarly journals THE THREE KEYS TO A MUSICAL TREASURE

2021 ◽  
pp. 173-182
Keyword(s):  
Classical Music ◽  
Music Teachers ◽  
Art Music ◽  
Music Listening ◽  
Music Culture ◽  
Musical Activity ◽  
Musical Perception ◽  
Musical Taste ◽  
Musical Heritage

The role of music in the upbringing of a harmoniously developed generation is invaluable. Unlike other forms of art, music is a miraculous tool capable of activating a person’s most delicate feelings, emotions, and rich emotional reserves in a person. This article presents the pedagogical aspects of the formation of personality in the lessons of music culture, suggestions on the use of national melodies, the opportunities of our musical heritage, and suggestions on the use of Uzbek classical music in the development of artistic taste of future music teachers. The three aspects of musical activity, namely the ability to listen to music, musical taste, and musical sensitivity, are analyzed as factors that determine the extent to which a music listener or performer’s overall artistic taste has developed. Keywords: music, sound, aesthetic education, piece of music, listening to music, musical taste, musical perception, rhythm, timbre, artistic taste.

Antonín Dvořák's New World Symphony

2021 ◽  
Author(s):  
Douglas W. Shadle
Keyword(s):  
Nineteenth Century ◽  
New World ◽  
Classical Music ◽  
Jim Crow ◽  
Racial Politics ◽  
Music Culture ◽  
Concert Hall ◽  
Musical Thought ◽  
Jim Crow Era ◽  
American Racism

Antonín Dvořák’s New World Symphony exposed the deep wounds of American racism at the dawn of the Jim Crow era while serving as a flashpoint in broader debates about the national ideals of freedom and equality. Following several strands of musical thought during the second half of the nineteenth century, this richly textured account of the symphony’s 1893 premiere shows that even the classical concert hall could not remain insulated from the country’s fraught racial politics. The New World Symphony continued to wield extraordinary influence over American classical music culture for decades after its premiere as it became one of the most beloved pieces in the standard orchestral repertoire.

‘Instead of Destroying My Body I Have a Reason for Maintaining It’

2019 ◽  
pp. 132-154
Author(s):  
Anna Bull
Keyword(s):  
Young Women ◽  
Cultural Context ◽  
Classical Music ◽  
The Body ◽  
Sense Of Control ◽  
Music Culture ◽  
Dramatic Text ◽  
Group A ◽  
Body Image Issues ◽  
Magic Flute

This chapter assesses the encounter between a youth opera group and Mozart’s opera The Magic Flute. Singing opera gave the young women in this group a sense of control and embodied confidence, negating the body image issues that several of them described. Against this, the strongly gendered institutional and cultural context of classical music, including the musical-dramatic text of The Magic Flute itself, undermined this experience thanks to the ideology of ‘fidelity’ to origins and authenticity that is normative in classical music culture. This inhibited the radical potential of the bodily empowerment that the young women experienced through limiting the possibilities for re-imagining the musical text, thus also limiting any possibilities for changing the practices that bring the text to life.

Conflicting Aesthetic Ideals in a Musical Culture

1987 ◽  
Vol 4 (4) ◽  
pp. 373-391 ◽  
Author(s):  
J. David Smith
Keyword(s):  
Classical Music ◽  
Contemporary Music ◽  
Performance Data ◽  
Aesthetic Response ◽  
Music Culture ◽  
Musical Culture ◽  
Cultural Phenomenon ◽  
Space Allocation ◽  
Split Personality ◽  
Aesthetic Ideal

One can distinguish a culturally valued aesthetic response to music's intrinsic syntax from a culturally devalued aesthetic response to music's more extrinsic meaning. Experts probably hold a highly syntactic aesthetic ideal. By some accounts, novice listeners hold a less syntactic, more romantic ideal. If so, two aesthetic styles would coexist in musical culture, with experts broadcasting their syntactic ideal to the culture and listeners echoing it in their ideas of musical greatness. However, novices would have a musical split personality—with romantic preference at odds with the expert ideal, but a syntactic ideal of greatness congruent with it. An analysis of American classical music culture of the 1940s (using preference, eminence, space allocation, and musical performance data on Western composers collected by Farnsworth, Hevner-Mueller, etc.) confirmed these predictions. The results indicate the importance of nonsyntactic responses to listeners and suggest further research on these aesthetic dimensions which the culture's syntactic focus has orphaned. Such research might illuminate another cultural phenomenon—the rejection of contemporary music by audiences.

scholarly journals Coronavirus vaccination rates in cultural areas in Germany

2021 ◽  
Author(s):  
Claudia Spahn ◽  
Anna Maria Hipp ◽  
Bernhard Richter ◽  
Manfred Nusseck
Keyword(s):  
General Population ◽  
Classical Music ◽  
Vaccination Rate ◽  
Risk Of Infection ◽  
Music Culture ◽  
Large Sample ◽  
Vaccination Rates ◽  
Survey Results ◽  
Potential Risks ◽  
Vaccination Hesitancy

Vaccination rates can provide useful information about potential risks of infection in a given population. In this study, the vaccination rates and attitudes toward vaccination in cultural sectors, i.e. music areas, have been investigated. In total, 4341 persons in four different areas including visitors of classical music and musicals as well as professional and amateur musicians participated in this survey. Results showed rates of 86% recovered or vaccinated at least once and 54.5% fully vaccinated. These vaccination rates were considerably higher compared to the general population. Vaccination hesitancy was half that of the general population at 6.4%. The findings of this large sample indicate that in the field of music culture there is a high vaccination rate and a low rejection of vaccination on the part of the audience and the performers. The risk of infection can therefore be assumed as very low and the opening of cultural events can thus be recommended.

Hindustani Classical Music in Sri Lanka: A Dominating Minority Music or an Imposed Musical Ideology?

2020 ◽  
Vol 6 ◽  
pp. 41-50
Author(s):  
Chinthaka Prageeth Meddegoda
Keyword(s):  
Sri Lanka ◽  
Performing Arts ◽  
South India ◽  
Classical Music ◽  
Minority Group ◽  
North India ◽  
13Th Century ◽  
South Indian ◽  
Indian Music ◽  
Hindustani Classical Music

In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons for preferences of North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizing a long-term situation of performing arts education in this country taking mainly interviews as a departing point.

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