Auswahl der wissenschaftlichen Literatur zum Thema „Alma maters (Songs)“

Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.

Alma redemptoris mater is one of the four ancient antiphons or anthems in honour of the Blessed Virgin Mary. This anthem may recall Chaucer’s Prioress’s Tale, and the image of a choirboy, seven years of age, who, having learnt his Alma redemptoris, sang daily the Virgin’s praises even beyond death. Primer in hand he learnt his Alma by heart, only to be murdered in a Jewish ghetto for singing the anthem that he took such pains to perfect. With the song on his lips his throat was cut; but Mary intervened, placed a precious pearl on his tongue, saying, My litel child, nowe wol I fecche thee,Whan that the greyn is fro thy tonge ytake.Be not agast; I wol the nat forsake.

Pendidikan mempunyai peranan yang sangat menentukan bagi perkembangan dan perwujudtan diri individu, terutama bagi pembangunan bangsa dan negara. Kemajuan suatu peradaban bergantung kepada cara kebudayaan tersebut mengenali, menghargai dan memanfaatkan sumber daya manusia dan hal ini berkaitan erat dengan kualitas pendidikan yang diberikan kepada anggota masyarakatnya yaitu peserta didik.Penelitian ini membahas tentang proses pembelajaran ensambel perkusi dengan instrumen nonkonvensional di SD Alam Harapan Kita Klaten. Metode yang digunakan dalam penelitian ini adalah metode penelitian analisis kualitatif dengan menyertakan teknik-teknik penelitian antara lain: Studi pustaka, observasi, wawancara, dan dokumentasi. Penelitian dilakukan dengan cara memperhatikan proses pembelajaran dalam beberapa kali pertemuan. Peneliti mengamati proses siswa dalam menerima materi dan cara guru mengajarkannya materi pembelajaran, cara pengajar dalam memberikan materi, dan sikap siswa/i pada saat proses pembelajaran. Manfaat dari penelitian ini adalah sebagai salah satu upaya dalam pengembangan ilmu pengetahuan di bidang Pendidikan Musik terutama pada pembelajaran anak agar berfikir kreatif dan inovatif. Hasil penelitian menunjukkan bahwa rata-rata siswa/i ensambel perkusi dengan instrumen nonkonvensional di SD Alam Harapan Kita Klaten lebih menyukai materi yang disampaikan dengan permainan dan keceriaan. Selain itu, dapat disimpulkan bahwa materi ensambel yang berhubungan dengan teknik sering kali membosankan bagi siswa/i jika tidak dikemas menjadi lebih menarik,asik dan dengan materi lagu. Education has a decisive role for the development and realization of individual self, especially for the development of the nation and state. The progress of a civilization depends on the way the culture recognizes, respects and utilizes human resources and matters that are closely related to the quality of education provided by society, namely students. This study discusses how the percussion ensemble learning process uses non-conventional instruments in SD Harapan Kita Klaten Elementary School. The method used in this study is a qualitative analysis research method by including research techniques including : Literature study, observation, interview and documentation. This research was conducted using observing the learning process in several meetings. The researcher observes the process of students in receiving learning material and the way the teacher teaches it and student attitudes in the learning process. The benefits of this research are as an effort in the development of education in the fields of music and creativity. The results of this study indicate that the average student likes the delivery of material accompanied by games and competitions.in addition, ensemble materials related to technique often bore students if they are not packaged with interesting, funny and familiar songs

The paper explores Hryhorii Skovoroda’s dialogue “Archistratigus Michael's Fight with Satan” (“Bran Arkhystratyha Mykhaila so Satanoiu”, 1783), which contains several quotations from two authors — Teofan Prokopovych and Varlaam Liashchevskyi – who belonged to Skovoroda’s Alma Mater, the Kyiv Mohyla Academy. Being a unique occurrence in Skovoroda’s writings, these quotations from contemporary authors have been analyzed as an instance of a peculiar “Mohylian subtext” that sheds light on the relationship between the Ukrainian philosopher and his Alma Mater. In “Bran Arkhystratyha”, the angelic ranks battling against demonic forces sing a song taken from Liashchevskyi’s tragicomedy “The Chased Church” (“Honymaia tserkov”) and from Prokopovych’s 1709 epinikion in honor of tsar Peter’s victory near Poltava. While Prokopovych’s verses have been slightly changed (Antichrist replaces ‘apostate’ — ‘otstupnyk’) to reflect the major theme of “Bran Arkhystratyha” — the fight against Satan — the presence of two fragments from Liashchevskyi's tragicomedy in the text is even more important, as “Bran Arkhystratyha” is the only available source for reconstructing the textual content of this tragicomedy, of which we do not possess any extant copies. Of particular interest are also the paratextual materials attached to the quotations from Liashchevskyi and Prokopovych. All three citations are accompanied by an explanatory note stating: 1) the author to whom the citation belongs; 2) the authors’ affiliation to the Kyiv-Mohyla Academy; 3) information about the fire that destroyed the library of the Kyiv-Mohyla Academy on February 29, 1780. This choice testifies to a specific urge on Skovoroda’s part to honor Alma Mater and its representatives three years after the fire that threatened its book collection and cultural legacy. In this personal tribute, the notion of memory acquires a specific meaning for, in the case of Liashchevskyi, “Bran Arkhystratyha” preserves a text that would not otherwise have been transmitted. Thus, the ‘victory’ glorified in the dialogue becomes first and foremost a victory against oblivion, through the projection of the Word into the realm of eternity.

<p><em>The use of the da'wah bi al lu'bah method can be implemented for children affected by natural disasters. The formulation of the da'wah method can be done by combining the da'wah method with the trauma healing technique. This research was conducted with a literary approach and supported by trauma healing activities at the 2006 earthquake site, namely Klaten District - Central Java and Sleman District - Yogyakarta. In fact researchers did not find the practice of da'wah at these two earthquake locations. The results of the study reveal the formulation of bi al lu'bah propaganda can be done in three ways, namely First, infiltration of propaganda material in the existing game. Infiltrate (infiltration) in the game commonly done by mad'u. Second, making da'wah games, can be done in various ways understood by mad'u children. Third, make poetry about propaganda material through popular songs that can be easily remembered.</em></p><p><em><br /></em></p><p>Penggunaan metode dakwah <em>bi al lu’bah</em> dapat dilaksanakan untuk anak-anak korban bencana alam. Formulasi metode dakwah ini dapat dilakukan dengan penggabungan antara metode dakwah dengan teknik trauma healing. Penelitian ini dilakukan dengan pendekatan literer dan didukung dengan kegiatan trauma healing di lokasi gempa tahun 2006, yaitu Kabupaten Klaten – Jawa Tengah dan Kabupaten Sleman – Yogyakarta. Kenyataannya peneliti tidak menemukan praktik dakwah di dua lokasi gempa ini. Hasil penelitian mengungkapkan formulasi <em>dakwah bi al- lu’bah</em> dapat dilakukan dengan tiga cara, yaitu <em>Pertama,</em> penyusupan materi dakwah pada permainan yang ada. Menyusupkan (infiltrasi) pada permainan yang lazim dilakukan oleh mad’u. <em>Kedua, </em>membuat permainan dakwah, Membuat permainan dakwah dapat dilakukan dengan berbagai cara yang dipahami oleh mad’u anak. <em>Ketiga, </em>membuat syair tentang materi dakwah melalui lagu-lagu populer yang dapat mudah diingat.</p><p><em><br /></em></p>

Protestantism and Eastern OrthodoxyThe relations between Protestantism and Eastern Orthodoxy span five centuries and bear upon nu-merous aspects, hence, only some items can be dealt with here. First, I discuss the late-sixteenth-century correspondence between German Lutheran theologians and Patriarch Jeremiah II of Constan-tinople, the Calvinist leanings of Patriarch Cyril Lukaris, and the influx of Protestant missionaries into traditionally Orthodox territory. Second, I outline the rise of a 'counter movement’, i.e. the Ecumeni-cal Movement, and the aim and structure of the World Council of Churches, where Protestantism and Orthodoxy meet, as well as other inter-ecclesiastical organizations and theological dialogues. Third, attention is paid to tension and resistance to ecumenism; ecclesiological differences between Ortho-doxy and Protestantism; and the need for solid ecumenical formation. Fourth, I focus on the key role of worship reform and liturgical theology, inter alia, on the significance of Alexander Schmemann’s oeuvre. Fifth, interdenominational cross-fertilization with respect to worship songs and hymnals, as well as monasticism, are examined. It is, however, not all roses and therefore, sixth, I mention the challenge of stumbling blocks like prejudice and lack of communication skills. Nevertheless, in both Orthodoxy and Protestantism, freedom in Christ is the principle that matters.

Perspektif filsafat sangkan-paran dapat digunakan untuk menganalisis manusia dalam tembang Palaran Dhandhanggula Nyi Tjondrolukito (PDNT) yang mencakup apa dan siapa manusia, bagaimana hendaknya manusia berperilaku dalam hidup, dan apa sebenarnya tujuan hidup manusia. Secara materialistik, manusia terbentuk atas unsur-unsur yang sama dengan unsur alam, yaitu api, angin, tanah, dan air yang dilambangkan dengan warna merah, kuning, hitam, dan putih. Secara spiritual, sebagai siapa, manusia terdiri atas empat unsur yang dilambangkan dengan empat warna tersebut. Keempatnya merupakan sedulur papa manusia yang merupakan hawa nafsu manusia yang melengkapi rasa/ruh yang bersemayam dalam manusia. Berkaitan dengan perilaku hidup, hendaknya manusia memiliki keimanan, ketawadukan, kesungguhan, dan mampu menjaga keselarasan dengan alam, keseimbangan jagad cilik yang ada dalam dirinya dengan jagad gedhe yang berupa alam semesta. Sebagai bagian akhir, manusia harus menyadari tujuan hidupnya. Abstract: The Sangkan Paran philosophical perspective can be employed to analyze human beings in the traditional Javanese song Palaran Dhandhanggula Nyi Tjondrolukito (PDNT) covering who and what human matters are, how they should behave and achieve their goals in living their lives. Materialistically speaking, on one hand, a human being is composed of elements that are similar to the natural elements, namely, fire, wind, soil, and water that are symbolized by red, yellow, black, and white color. Spiritually speaking, on the other hand, human beings are believed to be composed of the four natural elements. Those elements are considered to be the four “siblings” of human beings. They constitute their passions that enrich their souls. In relation to behavior, human should have faith, loyalty, persistence, ability to keep in harmony of the “small world’ within themselves and “the gigantic world”, that is the whole universe. Last but not least, they should be aware of their goals in life. Key Words: literary philosophy, sangkan paran, palaran dhandhanggula

Animated music video is an audio-visual media design that is presented in an illustrative narrative with song accompaniment. This spectacle has become a model for campaign media design that has appeal, like the animated music video “Sabda Alam” by students of SMK Raden Umar Said Kudus, which won appreciation at the 2021 Balinale International Film Festival. “Sabda Alam” tells the story of the lives of birds endemic typical of Indonesia which is increasingly rare. This media campaign indirectly supports the Ministry of Environment's program to socialize the importance of protecting the rich diversity of wild birds in Indonesia. This spectacle is interesting to study because it conveys a message by relying on the power of images in visual space. This research aims to show the relationship of visual elements in visual space as meaningful entities. The research method is descriptive qualitative with data collection techniques in the form of literature studies, observations, and interviews. While the data analysis technique uses image composition analysis into the rule of three imaginary grids, both vertically and horizontally. The results show that "Sabda Alam" prioritizes visual spatial framing, middle framing and full framing to convey messages about threats to protected wild birds. This research is expected to be a reference for knowledge about the function of images in the framing of visual space that is able to provide information and education, as an art of conveying campaign messages in entertaining and attention-grabbing ways. Keywords: visual space, music video, animation. AbstrakVideo musik animasi merupakan bentuk desain media audio visual yang mempresentasikan materi informasi melalui narasi ilustratif dengan iringan lagu. Tontonan ini dapat menjadi model desain media kampanye yang memiliki daya tarik, sebagaimana video musik animasi berjudul “Sabda Alam” karya para siswa SMK Raden Umar Said Kudus, yang telah berhasil memperoleh apresiasi di Balinale International Film Festival 2021. Sabda Alam berkisah tentang kehidupan burung-burung endemik khas Indonesia yang semakin langka. Video musik animasi ini secara tidak langsung ikut mendukung program Kementrian Lingkungan Hidup untuk mensosialisasikan pentingnya perlindungan terhadap keragaman burung liar sebagai kekayaan fauna di Indonesia. Tontonan ini menarik untuk dikaji karena menyampaikan pesan dengan mengandalkan kekuatan gambar pada ruang visual. Penelitian ini bertujuan menunjukkan relasi unsur-unsur visual di dalam ruang visual sebagai entitas bermakna. Metode penelitian secara kualitatif deskriptif dengan teknik pengumpulan data berupa studi literatur, observasi, dan wawancara. Sedangkan teknik analisis data menggunakan analisis komposisi gambar ke dalam aturan per tiga grid imajiner, baik secara vertikal maupun horizontal. Hasil penelitian menunjukkan, video musik animasi “Sabda Alam” mengutamakan pembingkaian ruang visual pada framing tengah dan framing penuh untuk menyampaikan pesan tentang ancaman terhadap burung-burung liar yang dilindungi. Penelitian ini diharapkan menjadi referensi pengetahuan tentang fungsi gambar di dalam pembingkaian ruang visual yang mampu memberikan informasi dan edukasi, sebagai seni menyampaikan pesan kampanye dengan cara-cara menghibur dan menarik perhatian.Kata Kunci: ruang visual, video musik, animasi. Authors:Winny Gunarti Widya Wardani : Universitas Indraprasta PGRISyahid : Universitas Indraprasta PGRITaufiq Akbar : Universitas Indraprasta PGRI References:Ali, M. M., & Ali, M. A. (2018). Karakterisasi Tokoh Dalam Film Salah Bodi. Gorga: Jurnal Seni Rupa, 7(1), 15-30.Aminah, S. (2019). Pengembangan Video Animasi Sebagai Media Pembelajaran Untuk Meningkatkan Kosa Kata Pada Anak Usia 4-5 Tahun. Skripsi. Universitas Negeri Islam Raden Intan, Lampung.Block, B. (2013). The Visual Story, Creating The Visual Structure of Film, TV, and Digital Media. Massachusetts: Focal Press.Deva, S. (2022). Analisis Konflik Tokoh Dalam Film Kukira Kau Rumah Karya Sutradara Umay Shahab. Diploma Thesis. IKIP PGRI: Pontianak.Fitria, R., Nazar, E., Nelmira, W., & Sahara, N. (2019). Pengembangan Video Pembelajaran Teknik Menjahit Busana pada Mata Kuliah Busana Dasar di IKK FPP UNP. Gorga: Jurnal Seni Rupa, 8(1), 19-29.WW, W. G., Piliang, Y. A., & Syarief, A. (2013). Wacana Visual Talk Show ‘ Mata Najwa’: Melihat Bahasa Tubuh Partisipan sebagai Kekuatan Visual. Panggung, 23(4).Halawa, W. E., Triyanto, R., Budiwiwaramulja, D., & Azis, A. C. K. (2020). Analisis Gambar Ilustrasi Hombo Batu Nias Gunungsitoli. Gorga: Jurnal Seni Rupa, 9(1), 193-203.Hermawan, S. (2022). “Gaya Ilustrasi Dalam Karakter Visual Video Musik Animasi Sabda Alam”. Hasil Wawancara Pribadi: 5 Agustus 2022, SMK RUS, Kudus.Homan, D. K. (2014). Eksplorasi Visual Diri Dalam Desain Karakter. Humaniora, 5(2), 729-736. https://media.neliti.com/media/publications/167255-ID-eksplorasi-visual-diri-dalam-desain-kara.pdf.Natadjaja, L. (2006). ANALISIS SUDUT PANDANG KAMERA (Studi kasus: Film Jelangkung dan Film The Ring 1). Nirmana, 7(2).Pradesta, E., & Aryanto, H. (2020). Gaya Semirealis Sebagai Inspirasi Perancangan Character Concept Art Game Fantasi Berbasis Legenda Nusantara. BARIK, 1(3), 167-177.Pratama, D., Wardani, W. G. W., Sidhartani, S. (2018). Building Natural and Cultural Tourism Entities Through Visual Space of Television Shows: Analysis of “My Trip My Adventure”, WESTECH 2018. https://doi.org/10.4108/eai.8-12-2018.2283861.Rizali, M., Warhat, Z., & Zebua, E. (2019). Pengaruh Elemen-Elemen Desain Komunikasi VISUAL (DKV) Box Art Game terhadap Story Line Berdasarkan Persepsi Gamers pada Video Game Populer di Indonesia. Gorga: Jurnal Seni Rupa, 8(2), 295-302. https://doi.org/10.24114/gr.v8i2.14700.Saputro, M. R. D. (2019). Perancangan Video Musik Animasi 2D Pada Lagu Negeri Syam yang Berjudul 5 Dalam 1. Skripsi. Institut Seni Indonesia, Yogyakarta.Schirato, T. dan Webb, J. (2004). Reading the Visual. Crows-Nest: Alen & Unwin.Venus, A. (2019). Manajemen kampanye, panduan teoretis dan praktis dalam mengefektifkan kampanye komunikasi publik. Edisi Revisi, Bandung: Simbiosa Rekatama Media.Wirandi, R., & BP, M. M. (2019). Fungsi MusikDalam Upacara Perayaan Ritual Thaipusam Etnis Hindu Tamil di Banda Aceh. Gorga: Jurnal Seni Rupa, 10(2), 415-422. https://doi.org/10.24114/gr.v10i2.28379.Witabora, J. (2012). Peran dan Perkembangan Ilustrasi. Humaniora, 3(2), 659-667. https://doi.org/10.21512/humaniora.v3i2.3410.Yasa, G. P. P. A. (2022). Estetika Animasi: Konsep dan Gaya Animasi Bul. Viswa Design, 2(1), 60-67. https://media.neliti.com/media/publications/546982-none-695d1ef3.pdf.

Background. The aim of the article is examination and presentation of Valentyn Borysov’s creative life, who was a celebrated Ukrainian composer (1901–1988), a classic of Kharkiv composition school, author of vivid and profound works in such spheres as symphonic, choral, chamber, vocal and piano music; his 120th anniversary in 2021 will be a big milestone for artistic community of Ukraine. Valentyn Borysov’s creativity is an indispensable part of national music, one of its treasures. He belonged to artists who had defined ways of development of Ukrainian professional music in XX century. In his creative outcome we can see influences of numerous artistic tendencies, characteristic for extremely controversial, but also prolific epoch. Composer being a part of quite ambivalent period of Ukraine’s cultural history conditioned usage of diverse research approaches; his works are regarded both in the light of existing musical traditions and on the background of his contemporary cultural environment. This is the novelty of the study. Integrity of presentation of Valentyn Borysov’s creative life is supported by the fact that this article considers his pedagogical activity in his alma mater, nowadays Kharkiv I. P. Kotlyarevsky National University of Arts, which resulted in bringing up a constellation of well-known Ukrainian composers, as well as his public and aimed at cultural enlightenment work. Results and conclusions. For V. Borysov, stage of accumulation of professional and personal experience coincided in time with a turning point in development of Ukrainian musical art. In these years composer attended classes of S. S. Bogatyrov, forefather of Kharkiv composition school; he studied alongside with M. Koliada, H. Tumeneva, D. Klebanov, V. Barabashov, M. Tits, who constituted a brilliant generation of Ukrainian composers several decades later. Symphonic and chamber works of this time showed such features of V. Borysov’s creative method as large-scale thought, leaning towards epic and heroic images, skilful usage of advanced composition techniques. At the same time, under the influence of external factors V. Borysov turned to relevant genre of his time, such as mass song and choral music. As early as on the primary stage of his development as a composer, V. Borysov defined Ukrainian folklore as one of the main sources for his inspiration. Folklore component of musical language became one of the prominent features of his style, its presence is conspicuous on each stages of his evolution. Submission of individual to collective, national conditioned V. Borysov’s interest to monumental forms of symphony, oratorio, cantata, poem, defined their leading role through late style of composer’s creativity. Unique combination of already existing aesthetic premises, high level of moral imperative, relevance of musical language created phenomenon of “V. Borysov’s late style”. The article regards the most original works, which were received very well by the contemporaries: “Divertissement” for symphonic orchestra, “Music for strings”, concert compositions for piano, violin, viola, sets of piano miniatures, composed on late period (70s–80s). Singularity of musical language in these works is created by the fact that V. Borysov succeeded to create a unique mixture of folklore tradition with “sonic field” of avantgarde musical art; with this musical language incredibly relevant, “eternal” problems of existence are embodied. This article was inspired by a desire to draw attention to V. Borysov’s legacy, to revive profound and immensely talented works of the composer, to enrich culture of modernity with them, to remind people of XXI century about such a treasure, that his works are.

On Danishness and the Mother Tongue. A Speech by Grundtvig November 5th, 1839By Flemming Lundgreen-NielsenIn the last half of 1838 Grundtvig delivered a series of lectures on European history from 1788 to the present which gained him the wider public acceptance he for many years had been striving for. In early 1839 some former members of his audience set up a regular society for common citizens dedicated to the promotion of Danishness, Danske Samfund (the Danish Society), with Grundtvig as chairman. The idea was to have conversations and discussions after a short introduction from one of the elected leaders of the club - often Grundtvig himself. Singing songs by Grundtvig and other nationally inclined poets as well as old heroic ballads also helped to create an atmosphere of solidarity and popular and national community.The history of Danske Samfund can be pieced together from the texts of more than 100 introductions which Grundtvig gave, statements by individual members and anonymous police reports on some of the actual sessions. A detailed examination of Danske Samfund has recently been published by the present editor in Dansk Identitetshistorie, III, Copenhagen 1992, p. 31-79.On Tuesday evening of November 5, 1839, Grundtvig in an introduction spoke about his mother tongue.He first claims the historical independence and venerable age of the Danish language, emphasizing its principal difference from Old Norse as well as from a hodge-podge of old Danish and Low German. In his eyes precisely these qualities make the vernacular the only natural means of thinking and feeling for the Danes. Thus the general use of Danish becomes a necessary condition for a thriving culture and national life of the Danish people.Grundtvig continues with an account of his own road to the Danish language. A native Zealander being reared in Jutland, he grew up with the two major Danish dialects, and as a school-boy he on his own read Danish books such as the old chronicle about Holger the Dane. At the university he had to speak Latin and did so (also to evade boredom), but was not permanently tainted by the experience. As a private tutor at the manor house of Egel.kke he resisted the temptation to speak German like the master and the mistress. When at this time he made his d.but as a writer, he clearly favoured Old Norse or Icelandic as the alma mater of Scandinavia and almost considered Danish to be her illegitimate daughter. Following the separation between Denmark and Norway in 1814 he happily realized that he did possess a mother tongue that in fact was nothing but Danish. He recollects this to have occurred in 1816, as he studied the medieval Rhyming Chronicle (printed for the first time in 1495 with several later reprints). Since then he managed to learn to speak and understand spoken English and also became more familiar with the other Scandinavian languages and dialects, and he translated Saxo’s Deeds of the Danes from the Latin, Snorri’s Chronicle of the Norwegian Kings from the Old Norse and the Beowulf epic from the Anglo-Saxon. However, he never doubted that from ancient times Danish is the mother tongue of the Danes. Accordingly he never ceased to regret that those who identify themselves as enlightened and educated persons use the vernacular as if it were a foreign language, not realizing its richness, depth and beauty. It is one of Grundtvig’s declared aims in Danske Samfund to promote the use of the Danish language outside trivial everyday life. In an alternative, but incomplete draught Grundtvig, by way of introduction, mentions a misleading article in a German periodical by a Holstein citizen who claims High German to be an already widespread and ever expanding language in Denmark.Grundtvig’s introduction of Nov. 5, 1839 is another of several retrospective autobiographical interpretations in his works. In this case he concentrates in a deliberately cool and detached manner on his relationship to the Danish language. This was just before the death of Frederik 6. released growing national tensions in the United Monarchy and brought up the burning issue of Danish versus German that finally led to the Schleswig-Holstein war 1848-51.

Robert Clifford Latham never wrote a monograph of his own, and published fewer than a dozen scholarly articles. But his life-enhancing work as editor of the definitive edition of the most vivid and revealing diary in the language will be remembered with affection and gratitude far beyond the world of learning, when the historical writings of most of his colleagues and contemporaries have been long forgotten. The six manuscript volumes of the diary of Samuel Pepys formed part of the magnificent library Pepys had bequeathed to his Alma Mater, Magdalene College Cambridge. Overlooked for more than a century, they were first published in a much abbreviated and bowdlerized form in 1825. Both the College and Bell and Sons, the publishers of the Diary, were acutely aware of the need for a new scholarly edition, but for the first half of the 20th century the project was dogged by amateurism and a marked absence of urgency on the part of those involved. Latham eventually undertook editorial oversight of the project as a whole. The success of the Pepys edition brought him many honours: the CBE in 1973, election to the British Academy in 1982, an honorary Fellowship of Magdalene in 1984, and of Royal Holloway in 1989.