Browsing by Author "Siitan, Toomas"
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Item Codex der Preetzer Benediktinerinnen in dem Estnischen Historischen Museum zu Tallinn(Swedish Society for Music Research, 1996) Siitan, ToomasItem Editor’s Preface(Eesti Muusika- ja Teatriakadeemia, 2022) Siitan, Toomas; Siitan, Toomas, koostaja; Arvo Pärdi Keskus; Kõrver, KristinaItem Intervjuu Richard Taruskiniga(Eesti Muusika- ja Teatriakadeemia, 2019) Siitan, Toomas; Kõlar, Anu, koostajaItem Introduction(Arvo Pärt Centre, 2014) Siitan, Toomas; Rosma, Hedi, toimetaja; Kõrver, Kristina, toimetaja; Kutman, Kai, toimetajaItem Kevin C. Karnes. Arvo Pärt’s Tabula Rasa. New York 2017(Eesti Muusika- ja Teatriakadeemia, 2018) Siitan, Toomas; Pappel, Kristel, koostaja; Uusma, Hanna-Liisa, koostajaItem Kurblugu Helme ja Paistu orelite hävitamisest 1329. aastal paganlike leedulaste poolt(National Archives of Estonia, 2018) Siitan, ToomasItem Michael Hahn – ein Schütz-Schüler und seine musikalische Umgebung in Narva um 1670(Internationale Heinrich-Schütz-Gesellschaft, 2012) Siitan, Toomas; Linfield, Eva, toimetaja; Krummacher, Friedhelm, toimetaja; Breig, Werner, toimetaja; Werbeck, Walter, toimetajaItem Mis vaevab Adornot?(Eesti Muusika- ja Teatriakadeemia, 2023) Siitan, Toomas; Raju, Marju, koostajaDespite the controversies it has caused, Theodor W. Adorno’s Philosophy of New Music (1949) is one of the fundamental texts of modernist musical aesthetics. The article discusses the complex personal background of the author as well as the historical context of this work, which can be understood at least partly as a complement to the Dialectic of Enlightenment (1947), co-written with Max Horkheimer. The problems of the dehumanization of art and the relation of modernity to mass culture, as well as the loss of communicativeness in 20th-century musical modernism, are discussed. Attention is paid to the background of the national ideology of Adorno’s music philosophy, which sprouts from the German cultural ideology formed at the turn of the 18th and 19th centuries. In the 19th century, music in general and the idea of the primacy of German music particularly played a significant role in the construction of German national identity, and at the beginning of the 20th century, both the defenders of the German musical tradition and the modernists started from a similar ideological base. The totalitarian cultural ideology of Nazi Germany was also formed on this ideological base, and its equivalent can be seen in Eastern Europe in the 20th century.Item Pärt, Bach and the Bees(Eesti Muusika- ja Teatriakadeemia, 2022) Siitan, Toomas; Siitan, Toomas, koostaja; Arvo Pärdi Keskus; Kõrver, KristinaWenn Bach Bienen gezüchtet hätte … (If Bach Had Been a Beekeeper …, 1976) is the most enigmatic composition from the formative year of Arvo Pärt’s tintinnabuli style and creates an intriguing conflict with the common narrative depicting Pärt’s oeuvre. The piece combines Pärt’s compositional methods from contrasting stylistic periods and challenges the position of Credo (1968) as the watershed between avant-garde and tintinnabuli. The polarity of the opposing styles in this piece still resembles the aesthetics of his collages; Pärt’s last connection with Bach’s original music sheds new light on his earlier compositions as well as on the complexity of composer’s creative search of the year 1976. Until now Wenn Bach …, which could be considered a transitional work alongside Credo and Symphony No. 3, has not received the reception it merits.Item Saateks koostajalt(Eesti Muusika- ja Teatriakadeemia, 2022) Siitan, Toomas; Siitan, Toomas, koostaja; Arvo Pärdi Keskus; Kõrver, KristinaItem Sounding Structure, Structured Sound(Fordham University Press, 2021) Siitan, Toomas; Saler, Robert, toimetaja; Engelhardt, Jeffers, toimetaja; Bouteneff, Peter C., toimetajaItem Von der Semantik der textlichen und musikalischen Symmetrie der Bachkantate "Gottes Zeit ist die allerbeste Zeit" (BWV 106)(Klett-Cotta, 2010) Siitan, Toomas