Res Musica 12 (2020)

Selle kollektsiooni püsiv URIhttps://hdl.handle.net/10062/97385

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Bürger-Oper and Bourgeois Theatre: The Opera of Hamburg at the Gänsemarkt (1678–1738) as a Culmination of Theatrical Practices Between Courtly Representation and Popular Traditions
(Eesti Muusika- ja Teatriakadeemia, 2020) Rekatzky, Ingo; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
The opera at the Gänsemarkt in Hamburg (1678–1738) was the first theatre in the German-speaking world to have a continuous cast, was run by a civic interest group, and was in principle open to everyone. Through the lens of theatre studies, in addition to a trans-regional cultural transfer, the present article focuses on theatre- and cultural-historical processes that have had a lasting effect and which can be also deduced from the eventful history of the opera house. As Hamburg’s Bürger Oper it is still rooted in the cultural memory, even though the Gänsemarkt-Oper, as far as its founding impulse and self-image was concerned, owed much to the demands and requirements of a courtly festive and theatrical culture. The repertoire of the opera reflects this: about one-sixth of the 300 operas performed were integrated into courtly aristocratic representations. Paradoxically, however, theoretical as well as practical interactions can be derived from these festive operas which – under the influence of a Protestant culture on the one hand, and in the interplay with popular theatre practices such as those of the Hamburg opéras comiques in the tradition of the Théâtre de la Foire on the other – foreshadowed in a remarkable manner the definition and fictional concept of the later bourgeois (straight) theatre of the Enlightenment.
The Court in the City? Aristocratic and Burgher Culture in Hamburg in the 17th and Early 18th Centuries
(Eesti Muusika- ja Teatriakadeemia, 2020) Loeser, Martin; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
In 17th and early 18th century Hamburg – the leading trading, transport and communication centre in Northern Germany and for the whole Baltic region – there were no insurmountable barriers and demarcation lines between court and urban society. The city’s “hybrid bourgeois/aristocratic secular high culture” (Ann Catherine Le Bar 1993) is characterized by an intense communication and transfer of cultural knowledge and behaviour among different kinds of nobility: aristocrats, patricians, diplomats and other functional elites. As banquets and concerts demonstrate, music was used as a kind of status symbol, with the aim of gaining esteem and ingratiating oneself with people. Such cultural acting was typical of the upper classes, but to a certain degree also of the wider urban middle classes. Re-evaluating Hamburg’s famous Collegium musicum, founded in 1660, within this social framework, it does not appear any longer as an “urban-bourgeois model institute in the sense of a counter model to court chapels” (Arnfried Edler 2003), but more as a noble society in the broadest sense, choosing its repertory from artistic centres in Italy as well as from leading German courts for the purpose of pleasure, cultural distinction and education.
Juko-Mart Kõlari doktoritööst „Eesti muusikatööstuses ilmnevad digitaliseerumise mustrid”
(Eesti Muusika- ja Teatriakadeemia, 2020) Kuznetsova-Bogdanovitš, Kristina; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
Muusikateadusliku elu kroonikat 2019/2020
(Eesti Muusika- ja Teatriakadeemia, 2020) Klooren, Äli-Ann; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
Johann Valentin Meder in Gdańsk – A Few Additions
(Eesti Muusika- ja Teatriakadeemia, 2020) Popinigis, Danuta; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
The authors of the most important works concerning Johann Valentin Meder’s stay in Gdańsk were Johannes Bolte (1891) and Hermann Rauschning (1931). Later historians, compiling Meder’s biography and verifying facts stated in earlier literature, have added several details, though these have not contributed much to the composer’s Gdańsk period. By contrast, the research recently undertaken by Jerzy M. Michalak has shed light on previously unknown facts regarding that time. It concerns three issues which are referred to in the article: the composer’s first sojourn in Gdańsk, his family, and certain aspects of his life in that city.
Saateks koostajatelt
(Eesti Muusika- ja Teatriakadeemia, 2020) Pärtlas, Žanna; Schaper, Anu; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
Autorid/Authors
(Eesti Muusika- ja Teatriakadeemia, 2020) Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
A PhD Thesis About Film Musicals
(Eesti Muusika- ja Teatriakadeemia, 2020) Ross, Jaan; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
Lieder (fast) ohne Noten. Gelegenheitsdrucke Meders als sozialhistorische und musikalische Quellen
(Eesti Muusika- ja Teatriakadeemia, 2020) Schaper, Anu; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
From Riga, Tallinn (Reval), Gdańsk (Danzig) and Bremen around 20 printed examples of occasional works by Johann Valentin Meder (1649–1719) have survived. Few of these actually include music; however, the type and structure of the texts as well as some of the composer’s designations regarding genre reveal a varied corpus of work, ranging from Generalbassaria (strophic basso continuo aria) through concerto cum aria and dialogue to what Meder calls Cantata. The dedications, allusions in the texts and other details enable us to observe how Meder, as musician and man, positioned himself with respect to prospective patrons and the upper classes as well as towards music lovers. On one hand, the characteristics of the music, where it has survived, together with hints as to the nature of the music in others where it has not can shed some light on questions concerning the urban and corporate networks of Meder’s time. On the other, they enable us to make assumptions and draw conclusions about some of Meder’s other works not included in this corpus which have been preserved in manuscript.
Controlled Disorder in Polymusic: The Case of the Seto Wedding Song Genre Kaasitamine
(Eesti Muusika- ja Teatriakadeemia, 2020) Pärtlas, Žanna; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
The term ‘polymusic’, which has been in use in ethnomusicology since the 1990s, designates musical practices where two or more autonomous musical entities are deliberately performed in the same space and time in a largely uncoordinated manner. The musical texts – which may be the same or different – that are juxtaposed in a polymusical performance may also be performed separately; when performed together, however, they constitute a new complex hypertext which has new meanings and functions and may to some extent be musically coordinated. Nevertheless, polymusical performance always engenders some kind of musical disorder which, being deliberately produced, can be characterized as a controlled disorder. Such disorder is a means to accomplish the ritual functions to which the polymusical genres are usually related and to induce some specific psychological effects, which are often connected with the manipulation of time and space. In this study the theoretical, ethnographic and cognitive questions of polymusic are discussed with reference to the case of the kaasitamine, the Seto wedding song genre from South-East Estonia. This research reveals the different traditional forms of kaasitamine performance characterised by the different balance between coordinated and uncoordinated components, analyses the more subtle mechanisms for the creation of controlled disorder, and considers the possible psychological effects of polymusic in relation to an altered perception of time.
Editors' Preface
(Eesti Muusika- ja Teatriakadeemia, 2020) Žanna Pärtlas; Schaper, Anu; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
Relics of Lithuanian Polymusic: An Analysis of Three Cases
(Eesti Muusika- ja Teatriakadeemia, 2020) Račiūnaitė-Vyčinienė, Daiva; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
This article discusses three different cases of Lithuanian polymusic, all connected to the rites of passage. They are all in some way related to the lamentation tradition of funeral and wedding rituals. During funerals polymusic can be heard in the interweaving of laments and Catholic hymns. Instances of polymusic that occur at weddings are more numerous and varied when singing-lamenting, singing-playing instruments, or lamenting-singing-playing and so on are combined during one ritual act. A comparison of polymusic at Lithuanian weddings with examples from other nations offers possible interpretations as to the meanings of the Lithuanian examples in a ritual context. In the third, atypical case of polymusic, different genres – a so-called lament and a song that resembles a dancing tune – are heard not in parallel, but alternately. On one hand, it would seem that such a performance appears to go against the concept of polymusic, but on the other, the form of alternate singing is considered to be the source of polyphony. Thus, the author argues that this case can also be considered alongside other examples of polymusic (especially since two different wedding actors perform the two “pieces” of different genres in the alternating singing example).
Embodiment in the Context of the Transmission of Vocal Tradition. School of Traditional Music, Poland
(Eesti Muusika- ja Teatriakadeemia, 2020) Ambrazevičius, Rytis; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
In this paper, the experience gained mostly at yearly summer schools of traditional music (primarily at one school in Poland) is reviewed, noting in particular the importance of embodiment in the second link of the transmission chain “native singer – teacher – student”. The main purpose of these workshops is to practise certain traditional vocal techniques and styles, thus actually “embodying Otherness” (Trimillos 2004). The individual experience of the author (working as an instructor) and the reflections of other school participants are considered. A number of points relating to the topic are discussed, including developing a “corporeal vocal memory”, imitation (overt or covert), hermeneutic “lay” instructions, adequate environment as part of a cognitive system, and the proportion of verbal/non-verbal means. The application of these to group training introduces special problems. These include creating a “bioenergetic” group space (related partly to the group geometry), statics and dynamics in embodiment dependent on and manifesting in the song genre, the singers’ individuality, and certain roles of the singers. Special attention is paid to the role of intentional/unintentional gestures in group leading and communication. The rehearsing of one song is presented as an example of the interplay of various aspects of embodiment.
Heili Reinart, Bretty Sarapuu, Lauri Vanamölder (koost.). Laulupeod Postimehega: 150 aastat Eesti üldlaulupidusid Postimehe kajastuses
(Eesti Muusika- ja Teatriakadeemia, 2020) Allandi, Marge; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
Riho Päts. Valik artikleid muusikapedagoogikast ja muusikapsühholoogiast
(Eesti Muusika- ja Teatriakadeemia, 2020) Sepp, Anu; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
Neue Spuren von Johann Valentin Meders Notensammlung
(Eesti Muusika- ja Teatriakadeemia, 2020) Wollny, Peter; Schaper, Anu, koostaja; Pärtlas, Žanna, koostaja
Johann Valentin Meder (1649–1719), born in Wasungen near Meiningen in Thuringia, ranks among the most important figures in the music history of the Eastern Baltic area. During his life he must have composed a large number of works, of which only few have survived. Moreover, in view of his activities in numerous different places in Thuringia, Northern Germany, Sweden and Baltics, Meder must surely have become familiar with a wide variety of compositions and styles, though concrete evidence of this is lacking. This paper attempts to reconstruct Meder’s music collection, including both his own works and those of other composers. In the Düben Collection of the Uppsala University Library, several copies of works by other composers are now known to be in Meder’s hand, including a psalm setting by Georg Ludwig Agricola and a sonata by Alessandro Melani. An examination of the estate of the Riga cantor Johann Michael Telemann, which is preserved in the Berlin State Library (Staatsbibliothek zu Berlin), reveals that Telemann used many old music manuscripts as scrap paper, writing additional parts for his performances on the blank pages. A careful analysis of these fragments has brought to light both shorter and longer fragments of over 50 compositions by Meder, significantly broadening our picture of the composer’s time in Riga.

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