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abstracts
Apostolos Kostios: Music Therapy: Art in the service of science (I)
Part
I
of
this
dissertation includes three chapters. In the First
Chapter, the
author marks
the difficulties in defining Music Therapy and the reasons that generate them, he
comments on the most significant definition attempts and generally
refers to epistemological problems in the field. The Second Chapter focuses on the
temporal evolution of the notion of Music Therapy, from the
primitive era to the contemporary. The Third Chapter examines the
particularities of the Music Therapy process, owed to the
particularities of its basic tool, which is, of course, music – an
abstract art by nature – as well as the ways of utilizing them to
achieve the normal development and integration of the person into
society, the improvement or even the healing of the person’s
disturbed health, the person’s smooth rehabilitation. Music Therapy
and the therapy through music are two functions that accentuate music as a paramount
benefit of democracy: Music
from all and for
all, a fundamental principle of Music Therapy.
Nikos
Bubaris: Moving Sounds: a study on the circulation of music as a
cultural object
The omni-presence of music in almost all aspects of everyday life raises
anew the need for understanding the dynamic modes of the cultural
production of music at all stages from production to distribution
and consumption, in multiple spaces and times. In this context, the
paper examines the conditions of music flow as a cultural object
that dynamically articulate ideas, materialities, practices and
experiences. The proposed three-mode model of “transmission –
interconnection – transition” focuses mainly on the ways the
circulation of music expresses, interacts and constitutes the
changing ideological, technological, economical and cultural
environments from the mid 18th century to the present.
Ioannis
Fulias:
Sonata forms and their
theoretical evolution: 20th-century theorists (III)
The eighth part of this extensive survey of the theoretical evolution of
sonata forms from 18th to 20th centuries focalises at first on
Charles Rosen’s well known publications
The Classical Style and
Sonata Forms. In these two
books, Rosen refers briefly to the earlier binary sonata type, in
order to put emphasis on features that become fundamental or
unnecessary in the sonata form of the late 18th-century; his theory
is grounded on a harmonic basis, as reveals his advocacy
of the so-called “sonata principle” and the concept
of the “structural dissonance”, and also treats different sonata
types – although closely interwoven with musical genres and other
musical forms, as well as not without apparent weaknesses in
terminology. James Hepokoski has critically reconstructed and
re-evaluated some of Rosen’s questionable postulates on the
resolution of “structural dissonances”, reducing the “sonata
principle” effect only between
exposition and
recapitulation, and even exploring special treatments of
secondary themes that completely abolish the aforementioned effect.
The paper concludes with further accounts (by Wallace Berry,
Siegmund Levarie and Ernst Levy, Carl Dahlhaus, Clemens Kühn,
Wolfgang Gersthofer, Jürgen Hunkemöller, James Webster, Nicholas
Cook) on the binary sonata form, concerning its tonal plan and
thematic contents, the supposed evolution from the (binary) “suite
form” to the (ternary) sonata form, and also criteria for
distinguishing these two structural types.
Risto Pekka Pennanen:
The organological development and performance practice of the Greek
bouzouki (Part
ÉÉ)
This article addresses to several
facets
of the three- and four-course bouzouki: the etymologies of the name and other
relevant terminologies, the structural development of that
instrument family, the sonic and spatial organisation of the
bouzouki ensemble, scordaturas and their use, and the tactility of
the two bouzouki types. Set in the general theoretical framework of
modernisation and Westernisation, the analysis sets the bouzouki
into a wider perspective than the accustomed Greek national one. The
sources include commercial recordings and films as well as
audiovisual field recordings. The methods of the study include
philological methods, historical source criticism, iconographic
analysis and tactility analysis combined with musical analysis.
Dimitris Sarris: Museum of
Homemade Musical Instruments: From theory to didactic praxis
Museum of Homemade Musical Instruments was made in May 2009, as an
activity of “Mathitiada” organization, in Proti Serron, Greece. In
this paper, main guidelines of museum’s philosophy and its
theoretical background are presented. We also discuss about terms
and theoretical definitions related to museum’s musical instruments,
which in Greek language we call “autoschedia” (improvised). In order
to understand their presence and functions, a cultural study could
be necessary. So, what a museologist has to do in the Museum of
Homemade Musical Instruments? Contemporary museum-pedagogy and
relationships between museum and school, also, can guide this museum
to many pedagogical activities. After the museologist, an educator
is the one that can utilize this museum’s abilities. Here, we
discuss about these utilizations for the Museum of Homemade Musical
Instruments in education and, especially, in musical education.
Minas I. Alexiadis:
The
forbidden music-theatre: operas and composers in the shadow of
Nazism
Since the beginning of the 1930s and primarily after
the take-over of Nazism in 1933, most German opera houses did not
support the music-theatrical works by Krenek, Weill, Hindemith and
other important composers, such as Ervin Schulhoff, Victor Ullmann,
Årich Wolfgang Korngold a.o. anymore. During this particular period,
many composers, mostly of Jewish heritage, suffered, have been
arrested and perished in concentration camps, or have been forced
directly or indirectly to leave Germany.
This article deals with the contents, the conditions of creation,
production and staging of these important works, with composers such
as the ones mentioned already, but also with others who proved to be
most active in the broader music-theatrical field, such as Bruno
Granichstädten, Paul
Abraham, Wilhelm Grosz a.o. A special reference is dedicated here to
the Bohemian composer Ervin Schulhoff (1894-1942).
Ôhe last part of this article includes a historical
description and commentaries on the life and work of Viktor Ullmann,
who died in 1944 in the Auschwitz-Birkenau camp. References on all
music-theatrical works by Ullmann are included and especially on his
one-act opera Der Kaiser von
Atlantis / The Emperor of
Atlantis, which
is likely the most characteristic music-theatrical
work within the frame of this research field.
Christos Kolovos:
Lula
Mafta-Kalogera
(1900-1994);
fifteen
years from her death
Lula Mafta, Cleo Karantinou, Koula Katsimanti, Kimon Triantafyllou,
Magliveras, Spyros Motsenigos, Evangeliou, Lekkas, Ioannis P.
Tzoumanis, Gyzas, Chorafas’ family, Skantzourakis, Georgios and
Willy Kofino, and how many more Greek artists of, mainly, the first
half of the 20th century, for whose lives we don’t know much or
anything at all! Fortunately, though, we do know much more about
their art through photographs and other documents from their era.
They were all artists, who, despite the national disasters that
victimized our people with the consequences we all know, managed
−with steel, unappeased passion and enviable ethos− to leave
memorable oeuvre for us.
Among the strongest presences, in the first half of the 20th
century, with some breaks because of personal reasons, was Lula
Mafta-Kalogera (1900-1994), a soprano from Piraeus. She was an
artist out of the few, a graduate of the Piraeus’ Conservatory, the
Academy of Pedagogy and the Arsakeion, as well as a distinguished
graduate of the Music Academy of Vienna. After completing
postgraduate studies in Cologne and Berlin she returned to Athens
(1930). The fact that she was always so warmhearted and generous led
her to take part, without getting paid, in important and
“historical” performances, like the Greek Premiers of Mozart’s
Requiem, Honegger’s King David, Mussorgsky’s Boris
Godunov, Mahler’s
Songs on the Death of Children and the complete song cycle of
Schubert’s Die schöne Müllerin. She had performed also Greek
composer’s works in World Premier, such as Ponirides, Sklavos,
Levides, Maris, Varvoglis and Nezeritis. There is no doubt that
Greek music and Greek composers, among with the young people she
taught, should be thankful to her for the warmth and love she gave
them. She had been a member of the staff of Conservatory of Athens
and the one of Piraeus, and also a member of the council of the club
“The Friends of Music”.
After all, it is really fair that she is considered one of the best
artists who lived, worked and performed in Greece and, finally, deny
Kazantzakis’s words: “The man, under his effort to become super-man,
he became inhuman and stopped being Human”.
Anastasia
Kakaroglou – Katy Romanou: Extracts
from Guillaume André Villoteau’s De l’état actuel de l’art musical en Égypte (IV)
In this volume of Polyphonia we
go on with the publication of Guillaume André Villoteau’s “De la
musique grecque moderne”, i.e. the
fourth chapter of his treatise
De l’état actuel de l’art
musical en Égypte…
(1826),
in a Greek translation. In “Articles” 6 and 7, presented in this
volume of Polyphonia,
Villoteau gives in music examples his own understanding of the
“composition of neumes” and
of the “great hypostaseis”, as they were explained to him by Dom
Gebrael, his teacher of modern Greek music, in Egypt. All
music examples in our translation are photographed from Villoteau’s
edition.
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