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The Durham Oriental Music Festivalandits Legacy
Keith Pratt,Simon Mills,Keith Howard 아시아음악학회 2017 Asian Musicology Vol.27 No.-
Between 1976 and 1982 the city and University of Durham, UK, hosted a series of three unprecedented festivals. Their aim was to introduce Western audiences to the traditional music of Asia by means of concerts, lectures, workshops, films and exhibitions. Countries represented by topclass artists and scholars were China, Korea, Japan, Turkey, Egypt, Iraq, Iran, India, Bangladesh, Thailand, Indonesia, Vietnam and Laos. Overcoming many difficulties, the Durham Oriental Music Festival acquired a worldwide reputation and successfully helped to promote Asian music and ethnomusicology in the West. In 2009 Durham University revived its aims by introducing a Festival of East Asian Music. More modest in scale, this annually promotes performance and study of musical themes from countries of East Asia, again putting emphasis on authenticity and high quality.
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The Spread of the Sonata in England, 1660-1710
Min-Jung Kang 이화여자대학교 음악연구소 2016 이화음악논집 Vol.20 No.2
The introduction of sonata, a new instrumental genre from Italy brought a considerable change in English musical life during the Restoration period. Though the adoption process was gradual, sonata became the main genre to which English composers as well as music lovers turned their interests. The influence of the Italian sonata in English music can be found in John Jenkins’s late fantasias written in the 1660s. When the Italian style became fashionable in England, composers such as Henry Purcell and his contemporaries did not hesitate to write this rather new genre imitating Italianate features. The English provenance music collections of the seventeenth century−assembled in England or on the Continent−show that sonatas became well known and received among various musical circles from London to the countryside after 1680. The main collections on which I have focused in this paper show that works that circulated widely were not confined to sonatas by Italian composers but also included sonatas from German-speaking countries. It also reveal that the Italian sonata collections were introduced in England not long after their publications in Italy so that they soon became available and circulated among English musical circles. The sonatas purchased seem to have been used for performance in musical circles to which the music collections belonged. The seventeenth-century manuscript copies and prints of Italian sonatas in English music collections also show that the spread of the sonata in England began to be established during the Restoration period (1660-1710). 이탈리아로부터 들어온 새로운 기악장르인 소나타는 왕정복고기간 동안 영국의 음악생활에 상당한 변화를 가져왔다. 비록 영국 내 소나타의 정착과정은 점진적이었지만, 곧 작곡가들이나 아마추어 음악애호가들 모두가 흥미를 가지는 주요장르가 되었다. 또한 이탈리아 소나타의 많은 요소들이 영국 음악에 녹아들면서 영국의 음악 스타일이 많은 변화를 겪게 되었다. 영국 기악음악이 전통적 방식의 팬시(fancy)에서 새로운 유형의 ‘소나타’로 바뀌었음을 보여주는 가장 좋은 예는 1660년대에 작곡된 것으로 추정되는 존 젠킨스 (John Jenkins)의 말기 판타지아 작품들이다. 차츰 음악계에 이탈리아 풍이 유행하면서, 헨리 퍼셀 (Henry Purcell)과 그의 동년배 작곡가를 역시 다소 생소한 장르였던 ‘소나타’를 시도하게 되었다. 17세기 영국의 음악 콜렉션(영국 혹은 대륙에서 수집)은 1680년 이후로 소나타가 런던 및 런던 이외 지역의 다양한 음악모임에 알려지고 받아들여졌음을 보여 준다. 이 논문에서 다루어진 주요 음악 콜렉션에서 알 수 있듯, 광범위하게 유통되던 소나타들은 비단 이탈리아 작곡가들의 작품뿐 아니라 독일계통의 작품에도 걸쳐져 있다. 1680년대 이후 영국에서의 이탈리아 소나타들의 필사본과 인쇄본들은 점점 많은 수가 유통되기 시작한 것으로 보이며, 17세기 음악 콜렉션에 포함되어있는 필사본과 인쇄본은 영국에서의 소나타 보급이 광범위하게 확산되었음을 보여준다.
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The Spread of the Sonata in England, 1660-1710
강민정 이화여자대학교 음악연구소 2016 이화음악논집 Vol.20 No.2
The introduction of sonata, a new instrumental genre from Italy brought a considerable change in English musical life during the Restoration period. Though the adoption process was gradual, sonata became the main genre to which English composers as well as music lovers turned their interests. The influence of the Italian sonata in English music can be found in John Jenkins’s late fantasias written in the 1660s. When the Italian style became fashionable in England, composers such as Henry Purcell and his contemporaries did not hesitate to write this rather new genre imitating Italianate features. The English provenance music collections of the seventeenth century−assembled in England or on the Continent−show that sonatas became well known and received among various musical circles from London to the countryside after 1680. The main collections on which I have focused in this paper show that works that circulated widely were not confined to sonatas by Italian composers but also included sonatas from German-speaking countries. It also reveal that the Italian sonata collections were introduced in England not long after their publications in Italy so that they soon became available and circulated among English musical circles. The sonatas purchased seem to have been used for performance in musical circles to which the music collections belonged. The seventeenth-century manuscript copies and prints of Italian sonatas in English music collections also show that the spread of the sonata in England began to be established during the Restoration period (1660-1710).
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