{"id":269,"date":"2017-04-28T12:02:04","date_gmt":"2017-04-28T12:02:04","guid":{"rendered":"https:\/\/resmusica.ee\/?p=269\/"},"modified":"2025-02-12T09:00:38","modified_gmt":"2025-02-12T09:00:38","slug":"res-musica-6-2014","status":"publish","type":"post","link":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/","title":{"rendered":"Res Musica 6 (2014)"},"content":{"rendered":"

To a large extent, the selection of authors in this collection of articles was determined by the status of research projects currently carried on in Estonian music-historical research field. At the same time this volume documents the many and various lines of thought of today\u2019s more active writers in Estonian historical musicology. To offer a wider methodological context to their accounts, for this issue\u2019s opening act we were fortunate to get an interview with one of today\u2019s most prominent music historians, Hermann Danuser<\/strong>, Professor of Historical Musicology at the Humboldt University of Berlin. In Estonia, for a considerable time now the music historians have taken Carl Dahlhaus\u2019s ideas as a basis of their own thinking. Since Herman Danuser, a close colleague and comrade-in-arms of Dahlhaus, has not only meticulously documented Dahlhaus\u2019s ideas but also extensively elaborated on these, the questions asked in our interview concerned, first and foremost, the status of Theodor Adorno\u2019s and Carl Dahlhaus\u2019s ideas in contemporary musicology.<\/p>\n

It is somewhat exceptional that the introductory article to this issue\u2019s music-historical studies is an Estonian translation of a discussion, recently published in Swedish, of Johann Valentin Meder\u2019s opera Die best\u00e4ndige Argenia<\/em> by Professor Emeritus of Lund University and honorary member of Estonian Musicological Society, Folke Bohlin<\/strong>. His article continues the work of several German and Estonian music historians in researching one of the main events in music theatre history in Estonia, and it excitingly links with Anu Schaper\u2019s study published in the previous issue of Res Musica<\/em>.[1]<\/a> Among other issues, Bohlin\u2019s article raises a question on the national-cultural affiliation of such a calibre major opus as Meder\u2019s Argenia<\/em>, and although the time of national music histories is largely over, the question itself is not redundant even today. Rather, the controversial fate of that opera, that is undoubtedly of art value and holds a remarkable position in cultural history, eloquently demonstrates how problematic cultural studies approach can be to a text that is shared by several cultures (in Argenia<\/em>\u2019s case: German, Swedish and Estonian). The next article by Anu Schaper <\/strong>on mobility of musicians in the Baltic Sea region offers a wider viewpoint on this particular subject and, by applying elements of cultural exchange theory (Kulturtransfertheorie<\/em>), Schaper aims to provide a wider methodological framework for examining the problematic questions concerning this era\u2019s and region\u2019s music life.<\/p>\n

Contemporary historiography has started to pay more and more attention to so-called microhistories, i.e. to previously neglected and unresearched processes in common people\u2019s everyday life that, trivial as they may seem at first glance, considerably widen the ground essential for larger generalisations.<\/p>\n

Both Aleksandra Dolgopolova<\/strong> in her study of music of family rituals in Narva during the late era of Swedish rule, and Heidi Heinmaa <\/strong>who researches the living and working conditions of musicians employed by the city or the church in the 18th-century Tallinn (Reval) by examining their written bequests (Nachlassverzeichnis<\/em>), hold in scrutiny archival documents previously considered insignificant. Anu K\u00f5lar<\/strong>\u2019s exhaustive study of the church musicians\u2019 life of Tallinn St. Olaf\u2019s Church during the early Soviet Era, based on those musicians\u2019 written memoirs, also definitely belongs to the group of microhistories. In her study, K\u00f5lar discusses different aspects of cultural memory, and deals with methodological issues that arise from using memoirs of members of clearly delineated communities as reflections of cultural memory and as sources for writing music history. Kristel Pappel<\/strong> and Toomas Siitan<\/strong> have co-written an article that investigates the reception of substantial works by J. S. Bach and Wagner in the late 19th-century Russian Empire. However, even this study can be included to the group of microhistories: in studying the early performances of Bach\u2019s St Matthew Passion <\/em>and the performance tradition of selected operas by Wagnerin 1883 Tallinn and St. Petersburg, the authors\u2019 aim is to disclose the general national-ideological background of particular musical events and proceed from there to construct their wider socio-political context.<\/p>\n

The last two articles in this collection are not directly connected to issues of music historiography. However, their authors manage to offer new visions on the classical subjects of the European music history. For an extensive period of time now, classical philologist Ave Teesalu<\/strong> has investigated the texts of Boethius, one of the pillars of Western thinking about music. For musicologists who tend to be familiar only with this late Roman philosopher\u2019s treatise \u201cFundamentals of Music\u201c (De institutione musica<\/em>), Teesalu\u2019s philological take on Boethius\u2019s \u201cThe Consolation of Philosophy\u201c (De consolatione Philosophiae<\/em>) adds aspects to understanding this philosopher\u2019s views on music in particular, as well as those of European Middle Ages in general. Eerik J\u00f5ks<\/strong>, in his thorough research into a complex topic of contemporary reception of medieval sacred Latin monody (i.e. the musical style of Gregorian chant), carefully disentangles the problems of performance and notation of that musical style and supports his arguments with substantial originally devised perception experiments.<\/p>\n

The editor of this issue sincerely thanks this collection\u2019s anonymous reviewers for their willingness to collaborate and ability to offer constructive suggestions: their selfless help played an important role in the final polishing of the texts in this collection. Finally, I am sure that all contributors to this edition will join me in expressing heartfelt gratitude to the technical editor Anu Schaper for her meticulous and patient attention in preparing this volume.<\/p>\n

Toomas Siitan<\/p>\n

[1]<\/a> Schaper, Anu 2013. Poliitiline Argenia: Johann Valentin Mederi ooper \u201cKindlameelne Argenia\u201d omaaegsete s\u00fcndmuste taustal. [The political Argenia<\/em>: the opera Die best\u00e4ndige Argenia<\/em> by Johann Valentin Meder against the background of the political events of its time]. \u2013 Res Musica<\/em> 5, pp. 12\u201323.<\/p>\n","protected":false},"excerpt":{"rendered":"

Rotating through different musicological research areas, the sixth issue of Res Musica<\/i> yearbook returns to historical musicology where it started in 2009. Over the last few decades music-historical research field has gone through conceptual changes everywhere in the academic world. Estonian scholars have kept up with those developments: since 1995 we have been engaged in discussions on music history methodology in several high-level international conferences in Estonia. Those experiences have made us clearly recognize the extent and value the \u201csmaller\u201d histories have to offer to the larger context. <\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[8],"tags":[],"coauthors":[21],"class_list":["post-269","post","type-post","status-publish","format-standard","hentry","category-vanemad"],"acf":[],"yoast_head":"\nRes Musica 6 (2014) - Res Musica<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Res Musica 6 (2014) - Res Musica\" \/>\n<meta property=\"og:description\" content=\"Rotating through different musicological research areas, the sixth issue of Res Musica yearbook returns to historical musicology where it started in 2009. Over the last few decades music-historical research field has gone through conceptual changes everywhere in the academic world. Estonian scholars have kept up with those developments: since 1995 we have been engaged in discussions on music history methodology in several high-level international conferences in Estonia. Those experiences have made us clearly recognize the extent and value the \u201csmaller\u201d histories have to offer to the larger context.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/\" \/>\n<meta property=\"og:site_name\" content=\"Res Musica\" \/>\n<meta property=\"article:published_time\" content=\"2017-04-28T12:02:04+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-02-12T09:00:38+00:00\" \/>\n<meta name=\"author\" content=\"Res Musica\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Res Musica\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/resmusica.ee\\\/en\\\/res-musica-6-2014\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/resmusica.ee\\\/en\\\/res-musica-6-2014\\\/\"},\"author\":{\"name\":\"Res Musica\",\"@id\":\"https:\\\/\\\/resmusica.ee\\\/#\\\/schema\\\/person\\\/8c1d0f71ea53fa3557e5d0c745115f7e\"},\"headline\":\"Res Musica 6 (2014)\",\"datePublished\":\"2017-04-28T12:02:04+00:00\",\"dateModified\":\"2025-02-12T09:00:38+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/resmusica.ee\\\/en\\\/res-musica-6-2014\\\/\"},\"wordCount\":949,\"commentCount\":0,\"articleSection\":[\"vanemad\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/resmusica.ee\\\/en\\\/res-musica-6-2014\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/resmusica.ee\\\/en\\\/res-musica-6-2014\\\/\",\"url\":\"https:\\\/\\\/resmusica.ee\\\/en\\\/res-musica-6-2014\\\/\",\"name\":\"Res Musica 6 (2014) - Res Musica\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/resmusica.ee\\\/#website\"},\"datePublished\":\"2017-04-28T12:02:04+00:00\",\"dateModified\":\"2025-02-12T09:00:38+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/resmusica.ee\\\/#\\\/schema\\\/person\\\/8c1d0f71ea53fa3557e5d0c745115f7e\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/resmusica.ee\\\/en\\\/res-musica-6-2014\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/resmusica.ee\\\/en\\\/res-musica-6-2014\\\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/resmusica.ee\\\/en\\\/res-musica-6-2014\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/resmusica.ee\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Res Musica 6 (2014)\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/resmusica.ee\\\/#website\",\"url\":\"https:\\\/\\\/resmusica.ee\\\/\",\"name\":\"Res Musica\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/resmusica.ee\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/resmusica.ee\\\/#\\\/schema\\\/person\\\/8c1d0f71ea53fa3557e5d0c745115f7e\",\"name\":\"Res Musica\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/c9aae84cf173f7bf39b02c9c6711e9d13a945ba4a73c31db8d15e306229e7543?s=96&d=mm&r=g1876e01867c89968f37f45116f6b42fe\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/c9aae84cf173f7bf39b02c9c6711e9d13a945ba4a73c31db8d15e306229e7543?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/c9aae84cf173f7bf39b02c9c6711e9d13a945ba4a73c31db8d15e306229e7543?s=96&d=mm&r=g\",\"caption\":\"Res Musica\"},\"sameAs\":[\"http:\\\/\\\/www.resmusica.ee\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Res Musica 6 (2014) - Res Musica","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/","og_locale":"en_US","og_type":"article","og_title":"Res Musica 6 (2014) - Res Musica","og_description":"Rotating through different musicological research areas, the sixth issue of Res Musica yearbook returns to historical musicology where it started in 2009. Over the last few decades music-historical research field has gone through conceptual changes everywhere in the academic world. Estonian scholars have kept up with those developments: since 1995 we have been engaged in discussions on music history methodology in several high-level international conferences in Estonia. Those experiences have made us clearly recognize the extent and value the \u201csmaller\u201d histories have to offer to the larger context.","og_url":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/","og_site_name":"Res Musica","article_published_time":"2017-04-28T12:02:04+00:00","article_modified_time":"2025-02-12T09:00:38+00:00","author":"Res Musica","twitter_card":"summary_large_image","twitter_misc":{"Written by":"Res Musica","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/#article","isPartOf":{"@id":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/"},"author":{"name":"Res Musica","@id":"https:\/\/resmusica.ee\/#\/schema\/person\/8c1d0f71ea53fa3557e5d0c745115f7e"},"headline":"Res Musica 6 (2014)","datePublished":"2017-04-28T12:02:04+00:00","dateModified":"2025-02-12T09:00:38+00:00","mainEntityOfPage":{"@id":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/"},"wordCount":949,"commentCount":0,"articleSection":["vanemad"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/resmusica.ee\/en\/res-musica-6-2014\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/","url":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/","name":"Res Musica 6 (2014) - Res Musica","isPartOf":{"@id":"https:\/\/resmusica.ee\/#website"},"datePublished":"2017-04-28T12:02:04+00:00","dateModified":"2025-02-12T09:00:38+00:00","author":{"@id":"https:\/\/resmusica.ee\/#\/schema\/person\/8c1d0f71ea53fa3557e5d0c745115f7e"},"breadcrumb":{"@id":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/resmusica.ee\/en\/res-musica-6-2014\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/resmusica.ee\/en\/res-musica-6-2014\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/resmusica.ee\/en\/"},{"@type":"ListItem","position":2,"name":"Res Musica 6 (2014)"}]},{"@type":"WebSite","@id":"https:\/\/resmusica.ee\/#website","url":"https:\/\/resmusica.ee\/","name":"Res Musica","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/resmusica.ee\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/resmusica.ee\/#\/schema\/person\/8c1d0f71ea53fa3557e5d0c745115f7e","name":"Res Musica","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/c9aae84cf173f7bf39b02c9c6711e9d13a945ba4a73c31db8d15e306229e7543?s=96&d=mm&r=g1876e01867c89968f37f45116f6b42fe","url":"https:\/\/secure.gravatar.com\/avatar\/c9aae84cf173f7bf39b02c9c6711e9d13a945ba4a73c31db8d15e306229e7543?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c9aae84cf173f7bf39b02c9c6711e9d13a945ba4a73c31db8d15e306229e7543?s=96&d=mm&r=g","caption":"Res Musica"},"sameAs":["http:\/\/www.resmusica.ee"]}]}},"_links":{"self":[{"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/posts\/269","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/comments?post=269"}],"version-history":[{"count":36,"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/posts\/269\/revisions"}],"predecessor-version":[{"id":2453,"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/posts\/269\/revisions\/2453"}],"wp:attachment":[{"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/media?parent=269"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/categories?post=269"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/tags?post=269"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/resmusica.ee\/en\/wp-json\/wp\/v2\/coauthors?post=269"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}