Page 450 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
P. 450
glasbene migracije: stičišče evropske glasbene raznolikosti
Jim Samson
There and back: Circassians in Anatolia
Georgian scholars like to refer to their constituent musical traditions as
‘dialects’. but visits to the borderlands of the state (notably Svaneti and
Tusheti) suggest that this may be the wrong metaphor, given the affinities of
these traditions with North Caucasian practices (Kabardino-balkaria and
Dagestan respectively). If we visit yet another georgian ‘borderland’, Abk-
hazia, the issue comes into yet sharper focus, since here musical affinities
with North Caucasian (Circassian) traditions serve to underline the con-
tested politics of the state.
An Abkhaz-Adyghean (Circassian) culture survives today as much
in Tur-
key as in its ancestral homelands, following the expulsion of populations in
the 1860s. It has been cultivated above all in the Circassian Associations of
cities such as Kayseri and Ankara, where music and dance (even more than
language) have been important markers of cultural and political identity in
a context of frequent minoritarian oppression. Since the 1990s, however, re-
turn to the Caucasus has become possible, whether as occasional visits, as
a vie bifurquée, or as full settlement. There can also be movement in the
other direction, and of course the Internet can now enable ‘virtual returns’.
In this context, music and dance become the litmus tests of allegiance.
Keywords: migration, exile, identity, return
Cristina Scuderi
From theatre to church: some remarks about censorship
on operatic style at the time of the Cecilian regimentation
For a long time no one had anything to say about a practice in use for cen-
turies, namely the transfer of musical patterns from the theatrical to the ec-
clesiastical contexts and vice versa. This fact is witnessed by collections of
contrafacta such as Arie selectissimae (Augsburg, 1798), circulating “unno-
ticed” for years. However, at a certain point in time, this stylistic migra-
tion was no longer accepted, but bitterly rejected instead. In the second half
of the Nineteenth century, with the intensification of the Cecilian action,
many scores allocated to the liturgy suffered heavy curtailments due to the
intervention of several commissions in charge of sacred music: orchestral
set-ups were reduced and many musical sections were rewritten. According
to the regulation issued by Pope Leo XIII (Regolamento per la Musica Sa-
cra, 1884), sung texts could no longer present “omissions, repetitions or di-
448
Jim Samson
There and back: Circassians in Anatolia
Georgian scholars like to refer to their constituent musical traditions as
‘dialects’. but visits to the borderlands of the state (notably Svaneti and
Tusheti) suggest that this may be the wrong metaphor, given the affinities of
these traditions with North Caucasian practices (Kabardino-balkaria and
Dagestan respectively). If we visit yet another georgian ‘borderland’, Abk-
hazia, the issue comes into yet sharper focus, since here musical affinities
with North Caucasian (Circassian) traditions serve to underline the con-
tested politics of the state.
An Abkhaz-Adyghean (Circassian) culture survives today as much
in Tur-
key as in its ancestral homelands, following the expulsion of populations in
the 1860s. It has been cultivated above all in the Circassian Associations of
cities such as Kayseri and Ankara, where music and dance (even more than
language) have been important markers of cultural and political identity in
a context of frequent minoritarian oppression. Since the 1990s, however, re-
turn to the Caucasus has become possible, whether as occasional visits, as
a vie bifurquée, or as full settlement. There can also be movement in the
other direction, and of course the Internet can now enable ‘virtual returns’.
In this context, music and dance become the litmus tests of allegiance.
Keywords: migration, exile, identity, return
Cristina Scuderi
From theatre to church: some remarks about censorship
on operatic style at the time of the Cecilian regimentation
For a long time no one had anything to say about a practice in use for cen-
turies, namely the transfer of musical patterns from the theatrical to the ec-
clesiastical contexts and vice versa. This fact is witnessed by collections of
contrafacta such as Arie selectissimae (Augsburg, 1798), circulating “unno-
ticed” for years. However, at a certain point in time, this stylistic migra-
tion was no longer accepted, but bitterly rejected instead. In the second half
of the Nineteenth century, with the intensification of the Cecilian action,
many scores allocated to the liturgy suffered heavy curtailments due to the
intervention of several commissions in charge of sacred music: orchestral
set-ups were reduced and many musical sections were rewritten. According
to the regulation issued by Pope Leo XIII (Regolamento per la Musica Sa-
cra, 1884), sung texts could no longer present “omissions, repetitions or di-
448
