Journal articles on the topic 'Appropriated sound and style'
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King, Jeanette, Margaret Maclagan, Ray Harlow, Peter Keegan, and Catherine Watson. "Prestige norms and sound change in Māori." Language Ecology 4, no. 1 (December 31, 2020): 95–114. http://dx.doi.org/10.1075/le.00011.kin.
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Abstract Māori, the threatened language of the indigenous people of New Zealand, has been undergoing revitalisation since the 1970s. The MAONZE project (Māori and New Zealand English) has studied sound change in Māori by comparing the speech of historical elders, present-day elders and young speakers. Here we analyse the read speech from nine present-day elders and twelve young speakers and compare it with the results from our previous analysis of their conversational material to investigate whether style shift occurs in more careful Māori speech. Pronunciation change was restricted to the backing of long /u:/, a sound whose fronting had been stigmatised and of which older female speakers seemed to be particularly aware. We conclude that, although there is some indication of style-shift in the read material, ‘first wave’ (Eckert 2012) sociolinguistic methodology is not appropriate for Māori speakers whose notion of class and prestige differ from that of previously articulated sociolinguistic norms.
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Turesky, Elizabeth Fisher, and Dennis Gallagher. "Know thyself: Coaching for leadership using Kolb’s Experiential Learning Theory." Coaching Psychologist 7, no. 1 (June 2011): 5–14. http://dx.doi.org/10.53841/bpstcp.2011.7.1.5.
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This article discusses the role of professional coaches who apply Kolb’s Experiential Learning Theory as a means of enhancing their client’s leadership capabilities. The authors posit that Kolb’s four learning modes and styles provide a guiding structure for professional coaches to individualise their approach to coaching leaders to overcome the leader’s overreliance on their dominant learning style and appropriately access more effective behaviours in handling the myriad of responsibilities they face. It is equally important for coaches to know their own learning styles to be more effective in their coaching role. A coach’s ability to access all four modes and learning styles in themselves can foster more effective coaching practices so that they may more effectively coach others whose learning styles are different from their own. The authors conclude that Kolb’s Experiential Learning Theory provides a sound theoretical framework to help professional coaches in the development of the organisation’s leadership capacity.
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Pashler, Harold, Mark McDaniel, Doug Rohrer, and Robert Bjork. "Learning Styles." Psychological Science in the Public Interest 9, no. 3 (December 2008): 105–19. http://dx.doi.org/10.1111/j.1539-6053.2009.01038.x.
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The term “learning styles” refers to the concept that individuals differ in regard to what mode of instruction or study is most effective for them. Proponents of learning-style assessment contend that optimal instruction requires diagnosing individuals' learning style and tailoring instruction accordingly. Assessments of learning style typically ask people to evaluate what sort of information presentation they prefer (e.g., words versus pictures versus speech) and/or what kind of mental activity they find most engaging or congenial (e.g., analysis versus listening), although assessment instruments are extremely diverse. The most common—but not the only—hypothesis about the instructional relevance of learning styles is the meshing hypothesis, according to which instruction is best provided in a format that matches the preferences of the learner (e.g., for a “visual learner,” emphasizing visual presentation of information). The learning-styles view has acquired great influence within the education field, and is frequently encountered at levels ranging from kindergarten to graduate school. There is a thriving industry devoted to publishing learning-styles tests and guidebooks for teachers, and many organizations offer professional development workshops for teachers and educators built around the concept of learning styles. The authors of the present review were charged with determining whether these practices are supported by scientific evidence. We concluded that any credible validation of learning-styles-based instruction requires robust documentation of a very particular type of experimental finding with several necessary criteria. First, students must be divided into groups on the basis of their learning styles, and then students from each group must be randomly assigned to receive one of multiple instructional methods. Next, students must then sit for a final test that is the same for all students. Finally, in order to demonstrate that optimal learning requires that students receive instruction tailored to their putative learning style, the experiment must reveal a specific type of interaction between learning style and instructional method: Students with one learning style achieve the best educational outcome when given an instructional method that differs from the instructional method producing the best outcome for students with a different learning style. In other words, the instructional method that proves most effective for students with one learning style is not the most effective method for students with a different learning style. Our review of the literature disclosed ample evidence that children and adults will, if asked, express preferences about how they prefer information to be presented to them. There is also plentiful evidence arguing that people differ in the degree to which they have some fairly specific aptitudes for different kinds of thinking and for processing different types of information. However, we found virtually no evidence for the interaction pattern mentioned above, which was judged to be a precondition for validating the educational applications of learning styles. Although the literature on learning styles is enormous, very few studies have even used an experimental methodology capable of testing the validity of learning styles applied to education. Moreover, of those that did use an appropriate method, several found results that flatly contradict the popular meshing hypothesis. We conclude therefore, that at present, there is no adequate evidence base to justify incorporating learning-styles assessments into general educational practice. Thus, limited education resources would better be devoted to adopting other educational practices that have a strong evidence base, of which there are an increasing number. However, given the lack of methodologically sound studies of learning styles, it would be an error to conclude that all possible versions of learning styles have been tested and found wanting; many have simply not been tested at all. Further research on the use of learning-styles assessment in instruction may in some cases be warranted, but such research needs to be performed appropriately.
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Nasution, Sukma Septian. "THE MASS MEDIA’S LANGUAGE STYLES: ITS POWER AND APPROPRIATENESS FROM THE PERSPECTIVE OF SYSTEMIC FUNCTIONAL LINGUISTICS." Premise: Journal of English Education 7, no. 1 (April 16, 2018): 124. http://dx.doi.org/10.24127/pj.v7i1.1333.
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The role of mass media is inevitably significant for people’s everyday life. As one of mass media, newspaper is very effective not only in informing the readers but also in influencing their principles and belief regarding to certain issues. However, texts published in newspapers potentially goes unsuitable for the targeted readers making its significance in informing and influencing less optimal. Accordingly, it is necessary to research the language styles of newspapers to optimize its power of significance in influencing the potential or targeted readers. This is a descriptive analysis study employing systemic functional linguistics (SFL) in analyzing the language styles of texts published by two popular mass media; The Jakarta Post and National Geographic. The analysis tools underpinned by SFL used in this study are the lexical system of congruency, lexicogrammar of complex-simplex clauses, conjunctive relations, and complexity of verbal and nominal groups of the news. The results show that (1) the targeted readers of the news are adult; (2) the use of incongruent lexis, internal conjunction, simple clause, complex group both verbal and nominal, and generic participant are more frequently employed; accordingly (3) written style is employed more often than spoken style. The findings drive to the conclusions that most of the news’ language styles go appropriate to the targeted readers. It means that its power to inform and influence the readers goes optimal. However, the linguistic techniques need improving in order the texts sound more intelligible to the targeted readers.
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KOSENKO, P. "MECHANISMS OF PRACTICAL ASSESSMENT OF OBJECTIVE REGULATIONS OF VOICE PRODUCTION IN THE PROCESS OF VOCAL PERFORMANCE TRAINING OF FUTURE TEACHERS OF THE ART OF MUSIC." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 2 (October 6, 2022): 174–83. http://dx.doi.org/10.31494/2412-9208-2022-1-2-174-183.
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Since, under the influence of the information environment, today's youth show an active interest in singing as a form of musical performance, the vocal and performing training of the future music teacher acquires particular importance. Today, when beginning singers seek to test themselves in the pop, academic, folk, and even jazz singing genres, it is not enough for a vocal teacher to master a particular vocal style to work productively with them. It is also necessary for him to learn the objective regularities of the functioning of the singing voice, which will allow finding appropriate means of implementation for the variety of vocal sounds in pedagogical work today. According to the author of the proposed publication, the possibility of learning these regularities will depend on the presence of a complex of controlled sensations acquired by practicing, thanks to which different types of vocal sound will be able to associate with a determinate mechanism of sound production. It will become possible if, during classroom and independent work, the student can dive іn the process of active observation of the complex interaction of auditory, resonator, and proprioceptive (muscular) sensations that complement singing. As a result, having gone through the trials of overcoming his own mistakes, the vocalist will find confirmation of the correctness of the actions of the vocal apparatus through the signals sent to him by his own body. He will learn not only to analyze the quality of the voice sound but also to imagine the mechanism of its work during voice formation. In the future, when a young specialist starts teaching, he will be able to choose the efficient performing tools for reproducing different types of voice sounds. In addition, he will be able to develop such sensitivity in himself, which will open the possibility of noticing the student's mistakes, guessing their reasons, and passing through and refracting the latter's vocal sound through his sensation. Key words: singing, voice production, musical hearing, resonator sensations, proprioception.
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Do, Hoc Van. "Some problems of language use, of style in written documents in state management institutions." Science and Technology Development Journal 18, no. 1 (March 31, 2015): 64–74. http://dx.doi.org/10.32508/stdj.v18i1.1012.
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Text editing is a regular activity, common to officials and civil servants. One of the requirements to editing requires knowledge and know-how to efficiently use the knowledge of language for such effective expressions that the text content is presented clearly, coherently, in order to create favorable conditions for quick and accurate understanding, and to avoid misinterpretation as well as misunderstanding of the text content. The use of language and style in written documents in state management institutions should ensure the rigth use of sound and structure form, of the right word to convey the right meaning, of correct grammar and functional properties of words, of appropriate language and style to keep away from redundant, repetitious words and cliché. Clearly defining the wording in terms of style and according to the concepts of grammar and vocabulary studies; Mastering word layers and the right word choice will help accurately and effectively express the text content. In addition, word alternation and word combination in terms of meaning and grammatical relations are the basic steps to help editors choose the most appropriate words expressing text contents the most accurately.
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Dexter, Joseph P., Theodore Katz, Nilesh Tripuraneni, Tathagata Dasgupta, Ajay Kannan, James A. Brofos, Jorge A. Bonilla Lopez, et al. "Quantitative criticism of literary relationships." Proceedings of the National Academy of Sciences 114, no. 16 (April 3, 2017): E3195—E3204. http://dx.doi.org/10.1073/pnas.1611910114.
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Authors often convey meaning by referring to or imitating prior works of literature, a process that creates complex networks of literary relationships (“intertextuality”) and contributes to cultural evolution. In this paper, we use techniques from stylometry and machine learning to address subjective literary critical questions about Latin literature, a corpus marked by an extraordinary concentration of intertextuality. Our work, which we term “quantitative criticism,” focuses on case studies involving two influential Roman authors, the playwright Seneca and the historian Livy. We find that four plays related to but distinct from Seneca’s main writings are differentiated from the rest of the corpus by subtle but important stylistic features. We offer literary interpretations of the significance of these anomalies, providing quantitative data in support of hypotheses about the use of unusual formal features and the interplay between sound and meaning. The second part of the paper describes a machine-learning approach to the identification and analysis of citational material that Livy loosely appropriated from earlier sources. We extend our approach to map the stylistic topography of Latin prose, identifying the writings of Caesar and his near-contemporary Livy as an inflection point in the development of Latin prose style. In total, our results reflect the integration of computational and humanistic methods to investigate a diverse range of literary questions.
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Tworko, Paulina. "Physiology and Ergonomics of Piano Playing." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 229–53. http://dx.doi.org/10.4467/23537094kmmuj.20.050.13923.
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Much has been said about performance, styles, and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer proves very complex. This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The piano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to ‘feel’ the keys and a certain physical strength which is directly related to the technique we use. Achieving a high level in playing requires years of diligent work, perseverance, and determination. Technical proficiency, in turn, facilitates expression and appropriate interpretation, in line with the style of a given musical period and the feelings of the pianist-performer. We are thus talking about two things that inexorably influence each other: technique and its results. The latter depend largely on the former. This article explores the knowledge of piano technique which needs to be acquired so that in the end nothing comes in the way of communication between performers, listeners, and the music.
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Alvarez-Cueva, Priscila, and Paula Guerra. "Rosalía’s kaleidoscope in the crossroads of late modernity." Catalan Journal of Communication & Cultural Studies 13, no. 1 (April 1, 2021): 3–21. http://dx.doi.org/10.1386/cjcs_00036_1.
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Rosalía gained worldwide fame with the release of El Mal Querer in 2018, carving a niche for herself in mainstream music with her distinctive aesthetic style and the incorporation of flamenco rhythms in her music. Our study aims to analyse four of her most important songs to highlight how she created her artistic place by incorporating collective cultural memories and translating them into a late modern scenario while at the same time commodifying the working-class standard of choni women in Spain. Our main findings suggest that (1) Rosalía’s work appropriates certain cultural and collective memories and translates them into a fashionable and desirable late modern lifestyle that combines a flamenco sound with other rhythms that could lead to the sustenance of this music genre in the new generations; (2) Rosalía establishes her youth style and femininity by incorporating a set of consumer practices that are also guided by elements of the postfeminist sensibility; and (3) there are four main actions that helped Rosalía to establish the choni-chic style. With this combination, we argue that Rosalía brings to the present a hybridized flamenco for contemporary generations while also rescuing cultural and patrimonial elements that are relevant within the construction of identities.
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Tworko, Paulina. "Fizjologia i ergonomia gry na fortepianie." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 229–54. http://dx.doi.org/10.4467/23537094kmmuj.20.025.13211.
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Ergonomics and Physiology of Piano Playing Much has been said about performance, styles and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer is much more complex. This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The piano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to “feel” the key and certain physical strength which is directly related to the technique we use. Achieving a high level in playing requires years of diligent work, perseverance and determination. Technical proficiency, in turn, facilitates the expression and appropriate interpretation, in line with the style of a given musical period and the feelings of the pianist-performer. So we are talking about two things that inexorably influence each other – the workshop and its result, the hape of latter depends largely on the first. This article deepens the knowledge of piano workshop so that in the end nothing comes in the way between performers, listeners and music.
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Frizzell, Emily Y., and Leah Cathryn Windsor. "Effects of teaching experience and culture on choral directors’ descriptions of choral tone." PLOS ONE 16, no. 12 (December 7, 2021): e0256587. http://dx.doi.org/10.1371/journal.pone.0256587.
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In this study we examine the effects of experience and culture on choral teachers’ description of choral tone across a range of genres. What does a “good” choral music performance sound like? Is there an objective standard of performance excellence, or is beauty in the eye of the beholder? In teacher preparation programs, choral directors in the United States have been taught to identify and teach particular, culturally-bounded standards of choral tone in their students. Choral directors evaluate their students’ voices along two dimensions: health and appropriateness. They discern and describe whether the student’s musical instrument—their voice—is producing sound in a healthy and non-damaging way. They also judge whether the style of their sound is appropriate for the music they are singing. However, teacher preparation programs do not provide common standards or lexicon for describing tone. This may increase implicit bias of individual directors, and inadvertently exacerbate ethnocentrism and harm students’ self-perception. Using a computational text analysis approach, we evaluate the content of open-ended survey responses from teachers, finding that the language used to describe and rate choral performance varies by experience, and by the choral selection (e.g., whether it is a traditional Western or non-Western song). We suggest that regularizing the terminology and providing common training through professional organizations can minimize potential bias and generate more systematic, precise use of qualitative descriptors of health and appropriateness, which will benefit students and teachers.
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Taun, Khazni, Ma Luisa Zagalaz-Sánchez, and Ramón Chacón-Cuberos. "Management Skills and Styles of School Principals during the COVID-19 Pandemic." Education Sciences 12, no. 11 (November 8, 2022): 794. http://dx.doi.org/10.3390/educsci12110794.
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The present study investigated a significant issue among a population with unique characteristics. This research and discussion centered on the challenges of running a school during the COVID-19 pandemic. The central question in this study was, how do school principals perceive their abilities and the skills required to run schools during the pandemic? In addition, this study aimed to assess the awareness of the teachers that were subordinate to these same school principals and the impact of their leadership style. The current study involved 151 teachers and 18 school principals from 18 governmental Bedouin schools in Israel. Structured questionnaires were used to collect data and measure the research variables. To analyze the data, indices and statistical tests were applied using SPSS software. The main research findings indicated that the teachers perceived the leadership styles of their school principals as a formative and rewarding part of their personality and not as an evasive style. The principals reported a high level of availability and accessibility and appropriate communication levels with all of the relevant parties. Moreover, the principals reported their level of decision-making ability as high, their judgment calls as sound, and their organizational planning skills and knowledge-development abilities as excellent. Additionally, cultivating the organizational structure was a priority for the principals; they believed that they could develop a comfortable and supportive organizational atmosphere and that this was the core of their work. The school principals perceived themselves as having the requisite skills, including a high level of ability and efficient team management. Self-confidence and a high level of competence helped the school principals cope with the challenges of the COVID-19 pandemic and traverse them safely.
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Horetska, Nataliia. "Stylistic features of the performing ancient instrumental music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 110–32. http://dx.doi.org/10.34064/khnum1-57.07.
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Background, objectives and methodology of the research. Musical performing art of the XX–XXI centuries demonstrates a steady and growing interest in a huge array of music from pre-classical eras – the Middle Ages, Renaissance, Baroque. The baroque music occupies a leading position in the field of instrumental performing as an obligatory part of the educational (works by J. S. Bach) and concert repertoire. The problem of interpretation of early music, acutely posed by musicians of the XX century – up to the reconstruction of all historical performance parameters – retains its relevance. In this regard, we note that the performance of a piece of music does not always make off the strongest impression precisely in its “primary” – restored – form, since reconstruction is limited by the volume of our historical knowledge, while modern musical instruments have a much wider range of expressiveness, than theirs historical predecessors, and the modern interpreter – “de facto”, due to his location in the historical space – a much richer thesaurus. So, the aim of this article is systematization, from the standpoint of the teaching experience of its author in the piano class, observations and practical recommendations regarding the style of performing of ancient instrumental music and approaches to its interpretation by a pianist on an instrument of modern construction. The methodology of the study includes an appeal to the intonation theory of B. Asafiev (1971), when considering the dynamic processes of formation of the musical form and the functioning of articulatory units – motifs, phrases, rhetorical figures, strokes, etc.; to the provisions of the works of M. Mikhailov (1981), E. Nazaikinskiy (2003), O. Katrich (2000) concerning the theory of styles; V. Kholopova (1979) and G. Ignatchenko (1983), when considering performance techniques that emphasize the originality of the texture of baroque music; as well as generally accepted methods of scientific research: analysis, selection, structuring of information with its subsequent generalization. Presentation of research results. The study of ancient instrumental music in the piano class is extremely important for the formation of a competent specialist, a musician of a wide range. In the cognitive process, such stages must be passed as determining the style, genre, form of the musical work, identifying the features of the musically expressive means used in it and finding appropriate ways to embody them. It is necessary to make as complete an idea as possible of the past historical epoch, its philosophy, aesthetics, different types of art and their interaction. The purpose of work on pieces of ancient music should be directing а performer to the general laws of “style of the era” (according to M. Mikhailov, 1981), because, despite national differences, by the middle of the XVIII century, a certain “panEuropean” style was formed, which was of great importance for the formation of the next generations of musicians. One of the brightest manifestations of the musical style of the seventeenth and eighteenth centuries is a close connection between music and the art of rhetoric. When referring to ancient music, performers must take into account the enormous influence that rhetoric had on the formation of musical thinking at that time. The close relationship of the latter with the oratory, which is based on a set of laws and rules, led to the influence of musical-rhetorical figures on the semantics of musical language, and, consequently – on the intonation-declamation sphere of musical text, ways of articulation. The latter were largely determined by the design features of ancient tools. The variety of characteristic techniques of instrumental sound production – expressive touches, among which a special place was occupied by the string strokes (legato, detache, martele, etc.) – has become an integral part of the style of European music of the XVII–XVIII centuries. Transferring them to the field of piano technique is necessary for adequate interpretation of works of this period, requiring the pianist to find appropriate analogues that allow to some extent to reproduce the figurative, articulatory, timbre-color, texture characteristics of the performed work. Modern piano, which due to a fundamentally different method of sound production does not claim to be an authentic reproduction of baroque music, has its own rich arsenal of expressiveness, which allows you to offer the listener no less interesting interpretive content of music of past eras. The art of outstanding pianists of the XX–XXI centuries, to whose audio and video recordings modern performers turn in search of a reference sound (G. Gould, S. Richter, S. Feinberg, T. Nikolaeva, M.Argerich, F. Gulda, G. Sokolov, A. Schiff and others) demonstrates this fact clearly. Conclusions. Not reconstruction, but reproduction of the style, image and spirit of early music becomes the leading principle of working on it in the piano class. And here the pianist should come to the aid of a conscious intonation, based on knowledge of both the general laws of the reproduced style and its characteristic details. The outstanding interpreter of early music V. Landowska (1991: 350) wrote: “One cannot ignore the reading of Quantz’s treatises on playing the flute, Leopold Mozart on the violin, Tosi-Agricola on singing, François Couperin, Rameau, Frescobaldi, Marpurg, K. F. E. Bach and many others – about playing keyboard instruments”. Finding “unexpected treasures” in them, “the disciples are delighted, because they begin to realize what they simply did not pay attention to before. In such cases, you find yourself witnessing an explosion of joy, somewhat reminiscent of the discovery of love”.
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Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.
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Introduction. The early and the top works of the Russian period showed rapid evolution of Ihor F. Stravinsky’s musical thinking and style: there evolved the original musical language, the technique of composition, with the orchestral composition principles being changed. The ballets demonstrated a new sense of time and space, which is shaped by the complex of expressiveness means, with orchestrating being essential. The composer’s style evolution took place within a complex historical and cultural context, marked by a change in the cultural paradigm in the early twentieth century. The scientific and technological progress resulted into transformation of time and space perception in European cultural consciousness, with the music being not conceived as a form of art beyond their limits. (Herasimova-Persydska, 2012a). The means of space-temporal relations objectification is a system of interrelated parameters of a musical composition, covering form, theme, meter and rhythm, composition, music dramaturgy, orchestration with one of the leading functions. The twentieth century composers, who embodied new ideas about time and space while organizing musical composition, are C. Debussy, the New Vienna School composers and Ihor F. Stravinsky. Theoretical Background. Recent research and publications analysis. The problem of time and space is one of the key problems of Ihor F. Stravinsky’s work. The research of space at the micro level of the composer’s musical language is carried out in B. I. Rysin article. (Rysin, 2012: 164–165). I. Vershynina (1967) does not formulate the problem of time directly, but indirectly considers it, using the concept of “dynamic content”, which is inherent in the intonational structure of the composer’s music language. M. Druskin (1982) devotes separate sections to the problem of time and space: “Movement” (Druskin, 1982: 127–137) and “Space” (Druskin, 1982: 137–154). Summarizing, the researcher (1982) states: “… Stravinsky contrasted throughcomposed processual development to the ratio of planes and volumes, a single convergence place to the variety of relatively independent “horizon levels”, a single-center composition to a multi-center one” (149). Accurate observations of the monograph author lead to the aesthetic, artistic and general stylistic level, emerging, if at all, into music texts composition. Taking these ideas as a basis, we consider it appropriate to transfer them onto orchestral thinking and composer’s orchestral style. Let us add our own considerations about the nature of space. The Objective of the article is to consider the features of space-temporal organization of Ihor F. Stravinsky works at the level of orchestration. The objects of research are Symphony in C (1938–1940) and Symphony in Three Movements (1942–1945). The urgency of the work lies in poor research of the orchestral thinking and the composer’s orchestra style regarding the principles of the music composition space-temporal organization. Methods. To achieve the goal, the following research methods are applied: 1) historical one, which allows to comprehend the selected material in the perspective of the evolution of Ihor F. Stravinsky’s orchestral thinking; 2) theoretical one, which reveals the features of the composer’s ensemble style; 3) cultural one, which allows us to formulate an idea on the connection between culture as a type of thinking and composer’s artistic thinking, which is realized in the peculiarities of the space and temporal organization of the music composition. Results and Discussion. In his early ballets, Ihor F. Stravinsky developed various types of orchestral composition based on a key structural idea – the multifigure, which is realized horizontally and vertically within the orchestral composition, at the micro and macro syntactic levels of the music composition. We shall consider the figure in the orchestral composition as a characteristic, formula, distinguished through sound colour and register, which: 1) is repeated accurately (ostinato) or alternative-variationally, and in this case it may not have intonational characteristic, distinctness, bright expressiveness; 2) sounds unique, and may have an individual intonation and rhythmic pattern. The figures can belong to different layers of the orchestral composition, respectively, to act as carriers of different orchestral functions (melody, melodious figuration, pedal, etc.). Multifigure at the macro-syntactic level of a music composition is realized through frequent change of thematic episodes, accompanied by orchestral composition and sound colour altering. This gives rise to eventfulness, density, contrast of symphonious time. Multifigure at the micro-syntactic level is manifested through horizontal combination of figures, conditioned by intonational structure of the theme. A figure may coincide with the intonation if it represents a melody function. Vertically multifigure is manifested in the combination of figures in different layers of composition. They interact on the principle of rhythmic (and melodic) complementarity. This forms a particularly sophisticated space where all the elements interact, having their own unique sound colour, rhythmic, compositional patterns. The multifigure concept is of a double origin. The first source is culture, as a type of thinking. Ihor F. Stravinsky was one of the first composers who, at the level of artistic thinking, became aware of the complex intricacy of the universe and transformed it into orchestral works sound materials. The second source is the aesthetics of the stage (theatrical) space and the stage movements (gesture). Thus, we believe that in Ihor F. Stravinsky’s ballets scores of Russian period, a special orchestra style was developed, with the technique to be used in the symphonies. Conclusions. The analysis of Ihor F. Stravinsky’s Russian ballets and two symphonies scores showed that the orchestral style, invented by the composer in his early works, was based on the multifigure principle, embodying the idea of time and space in the world building, which was radically changed at the beginning of the century. The author formed an idea that the connection between orchestration, composer’s thinking and culture, as a certain type of thinking, needs further elaboration taking other Ihor F. Stravinsky’s works, as well as of the composers who made a breakthrough in orchestral style in the first half of the twentieth century.
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Zhang, Guangjian. "Problems of interpretation of the piano compositions byZhangZhao (on the example of the Fantasy “Pihuang”)." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 230–47. http://dx.doi.org/10.34064/khnum2-21.15.
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Background. The article is devoted to the piano work of the famous Chinese composer Zhang Zhao. The focus is on the “Pihuang” Fantasy, which embodies the national characteristics of Peking opera. This work won an honorary award at the 2007 Chinese composition competition for high artistic qualities and deep content. The article examines, how the composer uses the musical elements of the Chinese opera tradition to create a certain drama of the work, how the sound specificity of the timbre colors of the voice, the techniques of vocal sound production and recitation, the image of Chinese instruments is embodied on the piano. The role of the first performer of the work – the famous pianist Li Yundi – is revealed to popularize the works of Zhang Zhao in China and around the world. The importance of considering the performing aspect of the realization of this music is proved. It is emphasized, that such an analysis creates a wide field for creative research in the interpretation of the music by Chinese authors, takes into account modern requirements that contribute to the development of independence and initiative among young pianists. Objectives. The purpose of the article is to identify the universal mechanism for interpreting the piano compositions of ZhangZhao by the example of his Fantasy “Pihuang”. For the disclosing of the research theme the complex methodological approach, combining the principle of musical-theoretical, musical-historical and performing analysis is taken. Results. The composer also embodied the centuries-old traditions of Chinese instrumental folk art, its timbre specificity and unique rhythm in the piano sound of the Fantasy “Pihuang”. An important point is the formal and dramaturgical organization of this composition. Zhang Zhao organically combines the traditional mosaic structure of the Beijing opera with the Western genre of opera transcription, which allowed to give the whole musical composition “elasticity” within the framework of a fixed large form. This work attracts not only with the beauty of its melodies, the richness and originality of a harmonic language, the perfection of a form, various requirements for a performer, but also because all these features of his music are inextricably linked with the disclosure of the philosophical depth of content and eternal vital themes in it. A performer should be ready for frequent changes in images and moods, since the work of Zhang Zhao is romantic, rich in figurative and emotional content. From this point of view, one need to imagine different plot scenes and relate them to the sections of the music. The various characteristics of the sections will help a pianist to some extent decide, which timbres, tempo and mood are most appropriate. Throughout the performance, a pianist must be in the determined “role”. The piece opens by the loose improvisatory introduction, Rubato. The pianist must listen in advance to the Beijing opera in order to imagine how this music should sound, to understand and feel the free movement of its rhythmic organization (sang-bang). To achieve expressiveness in melodies, preeminently, one needs to have a flowing, singing sound. Sound quality is determined by the style and nature of the work, where each of the episodes and even a separate voice in polyphony require special coloring and special sound production. The task of the performer is to show as more clearly the features that are essential for various types of the texture presentation: in the same material one can emphasize the melodic beginning or the character of the chord movement, give preference to the bass part or soprano echo; finally, highlighting a certain chord sound, one can strengthen the latter’s attraction to a particular functional sphere. It is well known, that a performer can, without deviating from the pitch line given by a composer, but actively using the means of dynamics, articulation, agogy, create an individual version of the melodic pattern with its own logical emphasizes, its own types of breath and plasticity. It is obvious, that the study of the laws expressing the substantial characteristics of the texture is of practical importance for the performer, since the texture is directly related to the problem of figurative-sound versatility of performance – one of the most acute for musical interpretation. Therefore, a performer’s attention to a significant extent should be focused on which figurative-semantic characteristics are concentrated in each texture layer, what of these characteristics are dominant and what constitute the psychological complement of the image or act as an opposing force. Conclusions. “Pihuang” attracts the attention of performers with the uplifting and joy of vitality, original, artistic language, specificity of rhythm, and improvisation. This work reflects the highest achievements of the Chinese pianistic school, the importance of which has long crossed national boundaries, occupying one of the honorable places in the education of young pianistsperformers. The study of the performing interpretation of the piano works by Zhang Zhao, the identification of the relationship between expressive techniques and the peculiarities of the author’s style has many-sided significance. Based on the analysis of the interpretation of the Piano Fantasy “Pihuang” by the outstanding Chinese pianist Yundi Li, as well as checking the conclusions of theoretical analysis with the practice of concert performances, we establish certain connections in Zhang Zhao’s piano work, which can be traced as stable signs of his style. It should be noted that different performers can reveal a significantly different understanding of the same work and sometimes we have to talk about the difference in the very content of the sounding work. Auditory impressions from listening to Beijing opera, the sound of Chinese folk instruments should be the basis for the realization of the objective properties of the piano texture, reproduction on the piano laid in the musical notation features of rhythm, dynamics, agogics, timbres etc. This not only clarifies the understanding of the composer’s style, but also the specifics of all Chinese performing arts.
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Swanson, David B., Katherine Z. Holtzman, and David A. Johnson. "Developing Test Content For the United States Medical Licensing Examination." Journal of Medical Regulation 95, no. 2 (June 1, 2009): 22–29. http://dx.doi.org/10.30770/2572-1852-95.2.22.
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ABSTRACT Developing test content for the USMLE involves significant efforts from physician volunteers and staff associated with the program. The bedrock of this process takes place among the test materials development committees (TMDCs) where physicians and content experts write multiple-choice questions for all three USMLE Steps. Ongoing assessment of the item pool by the respective Step Committees initiates item-writing assignments that bolster or maintain content in specific areas. Staff at the National Board of Medical Examiners (NBME) then assist item-writers to assure a consistent style and structure for all USMLE test items. All test materials are crafted to complement an overall examination blueprint. Multiple levels of review and pre-testing ensure that all test items making their way onto examination forms as live or ‘scored' material are appropriate, statistically sound and presented in test forms balanced to be consistent with the content outline and examination blueprint.
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Mo, Ying. "Designing an Automatic Piano Accompaniment System using Artificial Intelligence and Sound Pattern Database." Mobile Information Systems 2022 (July 9, 2022): 1–13. http://dx.doi.org/10.1155/2022/7875818.
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The rapid development of artificial intelligence has made various fields to have corresponding connections with it, and music plays an important role in daily life. One of the applications of artificial intelligence in the field of art is to use music generation algorithms to endow machines with the function of generating melody. This ability can provide certain assistance to musicians when composing music, so that music creators can inspire inspiration in the creative process. Researchers have done a lot of work in the automatic generation of music. The piano is widely used in the field of automatic accompaniment and has strong versatility. The main purpose of this paper is to design a piano-based automatic accompaniment system, to think of melody and harmony as a machine learning-like task. By training on a selected series of samples, a database of phonomorphic metastructures is constructed, to systematically collect the original piano accompaniment patterns by building a sound pattern database, and convert the collected original sound patterns into the original sound pattern structure and store in the database. Then, by establishing two Hidden Markov Model (HMM) systems to simulate the thinking mode of the composer’s piano accompaniment process, a melody style related to a certain collection of samples is formed. Finally, the Viterbi algorithm is used to select the appropriate piano accompaniment metastructure in the database to generate the piano accompaniment of the melody section. The experimental results of this paper show that, as far as the accompaniment generation effect is concerned, although the generation effect of this paper is slightly different, the overall difference does not change much. It shows that the effect generated by the method in this paper is relatively stable.
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Eyüce, Ahmet. "Learning From the Vernacular: Sustainable Planning and Design." Open House International 32, no. 4 (December 1, 2007): 9–22. http://dx.doi.org/10.1108/ohi-04-2007-b0002.
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Ecologically fit built form and settlement is an outcome of harmonious modes of interaction between the man-made and the natural environment. It is also the prerequisite of a sustainable planning and design process. In building terms, an ecologically fit building involves the existence of appropriate schemes of enclosures and exposures of indoor spaces which is achieved through fundamental building features like relations with the ground, properties of building mass, treatment of the building envelop and roof performance. While the debate on the conflicting aspects of the two extremes, namely the international style and regionalism, continues to occupy architectural media, a new paradigm of place dependent ecological architecture has to be formulated. In this connection it is not surprising to notice that vernacular built form based on building traditions are ecologically fit and may well constitute a sound source of information. This study aims at deciphering relevant clues to be utilized as design guidelines through the analysis of fundamental building features of vernacular built environments.
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Ptashenko, Serhii. "Song and dance genre specifics in works for button accordion by the composers of the Department of Folk Instruments of Ukraine of Kharkiv I. P. Kotlyarevsky National University of Art." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 67–82. http://dx.doi.org/10.34064/khnum1-59.05.
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Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.
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Thompson, Geir, and Lars Glasø. "Situational leadership theory: a test from a leader-follower congruence approach." Leadership & Organization Development Journal 39, no. 5 (July 2, 2018): 574–91. http://dx.doi.org/10.1108/lodj-01-2018-0050.
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Purpose Empirical tests of Hersey and Blanchard’s situational leadership theory (SLT) have demonstrated that the assessment of follower competence and commitment, critical contextual features dictating optimal leadership style, poses several problems in testing the validity of this theory. As well, most previous studies have used leader rating as the only information source in making these assessments. The purpose of this paper is to use the degree of agreement between leader rating and follower self-rating to determine follower competence and commitment, and consequently an optimal leadership style. Design/methodology/approach Survey data collected from both supervisors and employees in business organizations in Norway were analyzed to test the predictions put forward in SLT. Findings The results show that SLT principles are supported when leader rating and follower self-rating are congruent. However, no support was obtained for Blanchard’s suggestion to apply followers’ self-ratings of competence and commitment in the case of discrepant ratings of follower development level. But data do support the contention that leader assessment would be a better basis for providing followers with appropriate direction and support. Originality/value So far SLT has been a very popular but as yet under-researched theory. An important contribution of the present study is by making SLT an evidence-based theory, as opposed to just being intuitively sound. As such, the authors think SLT in an updated “convergent” version should be applied in organizations and taught in leadership development programs.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
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Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum1-49.08.
Full textAbstract:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
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Zharkova, Valeriya. "Music by Claude Debussy and Maurice Ravel: a Modern View of the Problem of Style Identification." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 24–51. http://dx.doi.org/10.31318/2522-4190.2021.130.231181.
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The relevance of the article is determined by the appeal to the debatable issues of stylistic differentiation of the works by Claude Debussy and Maurice Ravel as the French musical culture leading representatives of the late 19th and the first third of the 20th centuries. The research reflections about the connections betwen Debussy and Ravel on the principle “for / against” have not subsided for more than a hundred years. This testifies to the special urgency of this problem and the need to search for modern approaches to understanding the artistic identity of two brilliant contemporaries.Scientific novelty. For the first time, the multidirectionality of the composing strategies by Debussy and Ravel is indicated through the the concept of style in its interdisciplinary philosophicalcategorical status and the explanationof its functions of identification and communication in the general cultural understanding (O. Ustyugova). For the first time the difference between the cultural phenomena processes integration in the era of modernism into the new artistic wholes, with unique properties, which is appropriate to define as “Debussy’s style” and “Ravel’s style”, is revealed.The purpose of the article is to reveal the multidirectionality of the composing strategies of Debussy and Ravel through an appeal to the main stylistic functions of identification and communication in general cultural understanding (O. Ustyugova); to designate the non-coincidence of channels of integration of cultural phenomena in the era of modernism into new artistic wholes, which have unique properties such as “Debussy’s style” and “Ravel’s style”.The research methodology includes the use of historical, stylistic, comparative methods.Main results and conclusions. The existing musicological literature emphasizes the influence of romanticism, post-romanticism, impressionism, symbolism, neoclassicism, Art Nouveau, moderne style on the formation of the individual style of Debussy and Ravel. Each of these directions had a certain reflection in the work of composers. However, let us try to highlight in the conceptual space of the many-sided “isms” of the cultural context of the era of modernism the hidden sources of the deployment of the creative intentions of the both brilliant contemporaries. We will choose the fundamental work of E. Ustyugova “Style and Culture: Experience of Building a General Theory of Style” (2003) as a methodological basis for this. E. Ustyugova proposes to go beyond the understanding style as a “migratory structure” (term by J. Rebane) and a convenient “classification tool” (J. Burnham) in structural and typological studies of art and move on to a comprehensive study of the essence of this phenomenon. For this, according to the researcher, it is necessary to carry out two analytical procedures. The first is based on the awareness of the experience of the mismatch between the object and the subject. The second involves considering the style in the aspect of intersubjective communication.With this view on the problem of identifying the patterns of formation and development of cultural phenomena, it is not the nominative parameters and the “herbarization” of genrelinguistic units that come to the fore, but the comprehension of the multilevel subject-object relations that formed these phenomena; “live reproduction” of the matrix of the world perception as channels of communication between the “I” and everything that appears as “not-I”.The creative paths of Debussy and Ravel represent diferent creative strategies. The “pure meaning”, unspeakable by words and free from all earthly, to which Debussy aspired, creates parallels with the texts of symbolist poets and destroy the boundaries between “I” and “not-I”.
In the fundamental monographs of French researchers dedicated to the composer an idea has long been entrenched: the composer’s creative laboratory was poetry, and Debussy’s address to the poetic word throughout all his creative decades constantly expanding the semantic horizons of his “artistic realities”.Debussy’s spiritual intentions merged into a single sound-glow in the indivisible space of being. The word in all its dimensions (from literal to metaphysical) indicated the stages of the process of dissolving the personal “I” and going beyond (au-délà) the established forms of artistic expression. Therefore, various kinds of the names (or “afterwords”, as in the Preludes), epigraphs, numerous super-detailed directions remained an integral part of an integral sound structure. His musical language, destroying the connections in time between the past and the future (rejection of the system of functional gravities that should be “stretched” in musical memory), created a certain correspondence (“here and now”) with the phenomenon of being.Hence the following characteristics of the composer’s musical works: 1) the impeccable construction of the whole, which is “thought out to the smallest detail” (E. Denisov), subtle multilevel “correspondences” and symmetries; 2) total thematization of texture (K. Zenkin); 3) selfsufficient semantic expressiveness of the “pure sound forms” (K. Zenkin), which became the embodiment of “an agonizing thirst for undeniably pure” (S. Velikovsky).These properties of Debussy’s style open up the possibility to get into the spiritual dimensions filled with pure beauty, which so attracted the followers of Baudelaire. Using the typology of teh subject-object relations proposed by E. Ustyugova, Debussy’s style can be attributed throughout the paradigm of hidden subjectivity. Debussy was well aware of his “non-romantic” position.The artistic aspirations of Maurice Ravel more clearly resonate with the creative attitudes of Art Nouveau artists, who were looking for new forms of plastic expressiveness mainly in spatial forms of art. It seems that it is with this direction that a special feeling of the plasticity of the musical material and the entire musical composition as a unique phenomenon is associated, which determines the composer’s creative credo.The concept of “plasticity” indicates such a connection between coordinated phenomena, which appears through the reincarnation (transformation) of a certain material substance, when we keep in memory its output characteristics. Ballet works and the reliance on dance genres (and more broadly, various types of plasticity of gesture and movement) reveal the hidden basis of the composer’s thinking. This approach allows one to re-evaluate Ravel’s connections with the ancient heritage (it is symptomatic that the composer called his first “adult” work, devoted to the press, “Antique Minuet”) and to understand the meanings of constant antique reminiscences with which he filled his life.Like a real dandy who lets the vibrations of the world pass through himself, Ravel is sensitive to them and “cuts off” random, “ugly”, “unnecessary” ones. Hence — the special beauty of the artistic structures created by the composer. They are built not in a “filtered” ideal-beautiful dimension, but in the space of shimmering opposites (the corporeal — free from the corporeal, the familiar — the unknown). Ravel’s inherent tendency towards the graphic relief of the melodic line creates parallels with the “famous lines of Art Nouveau” (Fahr-Becker Gabriele) and is especially distinct, characterizes the composer’s later works.The non-everyday register of semantic reverberations of what is happening in the process of metamorphosis in the composer’s music (his plastic questioning about the existential nature of the source material) demanded a special listener’s responsiveness. Mistifications, hiding behind a mask, playing with the listener are Ravel’s usual communication strategies. Therefore, according to the typology of the subject-object relations proposed by E. Ustyugova, we can speak here of the paradigm of “open subjectivity”, which is characterized by the direct orientation of the subject towards himself. Hence — the principle of auto-citation characteristic of Ravel. The quintessence of its use are the composer’s later works — the opera Child and Magic, as well as the Piano Concerto in G major — the Dandy summa summarum of the composer’s previous career.The game of “correspondences” (Baudelaire) was manifested by composers in various ways and conditioned various channels of communication. Debussy makes the semantics of sound education a semantic unit, appeals to the listener with the expressiveness of the structure itself. Therefore he always emphasizes, appeals to the elite listener. Ravel, on the other hand, hides behind masks and theatrical illusions. He needs a listener who has a culture of distance (who owns wide meaning contextual fields). The contextual layers associated with musical texts express that “degree of distance” from the object of attention, which the composer himself chooses and whose parameters are constantly changing. Therefore, Ravel never turns twice in the genre, style or stylistic model he has already used.So, if the works by Debussy can be perceived “from scratch” because of their structural completeness and semantic tightness, then the works by Ravel require the listener to know the musical context and readiness to lay it out “fold by fold” (J. Deleuze) in new semantic projections.At the turn of the 19th and 20th centuries, French culture was looking for a means of creating a “state of resonance” (G. Bachelard) as an extraordinary impression, “awakening”, without which a person cannot take place. Debussy and Ravel moved in this direction. Therefore, only through the identification of all the “correspondences” of the era of a total change of creative guidelines and a departure from unambiguous stylistic “avatars” can one feel its essential discoveries. The study of the lines of intersection of the Debussy music and the Ravel music with various artistic phenomena of the past and the present illuminates certain reflections of the “style of the era”. However understanding the deep patterns of the creative manner of the two contemporaries requires differentiating the definitions of “Debussy’s style” and “Ravel’s style” and their further studying.
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Aleksandrova, Oksana. "Spiritual and semantic approach to studying a musical composition." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 4–18. http://dx.doi.org/10.34064/khnum2-49.01.
Full textAbstract:
Background. Under the new conditions in Ukraine, a new wave of interest in the work of the classic of the music culture of the 20th century Georgiy Sviridov is being observed, and it actualizes the search for the methods of scientific cognition corresponding to the spiritual depth of creativity. The artistic and aesthetic content of his vocal and choral compositions reveals the biblical image of the “inner man” and through it awareness of culture as a universe, where the man and God coexist in synergy. In the post-secular period, the world of music created by the outstanding artist was marked by the document of the individual and artistic experience of overcoming the crisis phenomena in society. The urgency of the present article is due to the need to find analysis methods appropriate for the style of vocal and choral compositions by G. Sviridov and for the upgrade process of methodology knowledge of the philosophical principles of composing activities of the 20th century as a whole. Objectives. The object of research is a musical composition; its subject is presented by the principles of the spiritual-semantic approach, determined by the worldview and style of the composer’s thinking. The purpose of the article is to substantiate the spiritual-semantic approach as a cognitive model of cognition of musical compositions on the material of vocalchoral genres by G. Sviridov. Methodology. The basis of the spiritual-semantic analysis is the concept of spiritual analysis of music by V. Medushevsky. A. Belonenko was the first to express the opinion that religious themes penetrated the entire creative work of the composer. L. Shapovalova offered methods of cognition of the spiritual reality of a musical composition and defined the liturgy as an “archetype” of the creativity of the believing man (homo credens). N. Varavkina-Tarasova highlighted the issues of the symbolic meaning of the spiritual content of G. Sviridov’s creative work on the example of “Three Choirs to the Tragedy by O. Tolstoy "Tsar Fodor Ioannovich"”. O. Tevosyan revealed a numerical symbolism of certain compositions by the composer. The development of the predecessors’ ideas is the author’s definition: the spiritual-semantic approach is a way of scientific cognition of the ontology of creativity. The “style of thinking” is evident through the system connections of the composer’s text with ideological traditions and the cultural environment. Presenting the main material. One of the criteria of the spiritual-semantic approach is the adequacy of thinking and language: the semantic function of the sign, multiplied by its presence in the material and spiritual plane of the composition, becomes a meaning-creating factor. The first level of the spiritual-semantic analysis of a musical composition is the first-element signs as an expression of the manifestation of the Being: preintonation, rhythm-intonation, harmonic tunes, timbre-complexes, in which the generalized archetypes of culture are contained in the concentrated (“curtailed”) form. The second level reveals a compositionally-designed meaningful image that originates from the first element (motive, theme). Since the symbol is a dynamic phenomenon, its further “germination” in the musical form is connected not only with the immanent-musical syntax. The symbolization of the sound-image is most clearly manifested in the third level of the spiritual-semantic analysis, which characterizes the type of musical dramaturgy (taking into account the world attitude of homo animus – the lyrical universe, according to M. Arkadyev). The fourth, metaphysical, level characterizes the complete meaningful image. The immanent-musical quality of the sound of a composition does not simply create a holistic gestalt, but with its help point to the invisible world (the Bible, the Life of the Saints, the Liturgy). At the highest fifth level, there is the outcome of consciousness, that perceives a musical composition, into the broad context of the existence: music creates spiritual values of a universal human meaning, "bridges" its meaning with the civilizational processes of the mankind (hence it gets the definition of “culture creating one”). We indicated the methodological role of the philosophical category of “the picture of the world”, the content of which synthesizes the deep ideas about the Universe. In the national picture of the world, the most significant laws of the existence of culture are recorded. Results. The category of the “composer’s style” contains such components as the creator’s worldview and the system of principles of his artistic thinking, expressed in the semiotic structure, the laws of composition and dramaturgy of compositions. The phenomenon of G. Sviridov is that from the sphere of the secular interpretation of the poetry by A. Pushkin, S. Yesenin, A. Blok, which corresponded to anthropocentrism of musical and poetic thinking, he implemented “modulation” to the Orthodox spirituality. The spiritual-semantic approach has a general methodological value, since it broadens the theoretical concepts of the cognitive science of stylistic phenomena in music. Its content, constituents, and objectives provide the perspective of the further substantiation of ideological positions; serve as tools for improving the methodology for analysing liturgical compositions (through signs and symbols of the spiritual time space). Conclusion. The three groups of semantic signs of the vocal-choral style by G. Svyrydov have been distinguished: anthropocentric, sound-imaging (nature, native land) associated with them, metaphysical (time, eternity, way of spiritual ascension), liturgical (Christ, Gate of the Lord, pure Thursday, bell-sound, prayer songs).
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Aleksandrova, Oksana. "Spiritual and semantic approach to studying a musical composition." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 4–18. http://dx.doi.org/10.34064/khnum1-49.01.
Full textAbstract:
Background. Under the new conditions in Ukraine, a new wave of interest in the work of the classic of the music culture of the 20th century Georgiy Sviridov is being observed, and it actualizes the search for the methods of scientific cognition corresponding to the spiritual depth of creativity. The artistic and aesthetic content of his vocal and choral compositions reveals the biblical image of the “inner man” and through it awareness of culture as a universe, where the man and God coexist in synergy. In the post-secular period, the world of music created by the outstanding artist was marked by the document of the individual and artistic experience of overcoming the crisis phenomena in society. The urgency of the present article is due to the need to find analysis methods appropriate for the style of vocal and choral compositions by G. Sviridov and for the upgrade process of methodology knowledge of the philosophical principles of composing activities of the 20th century as a whole. Objectives. The object of research is a musical composition; its subject is presented by the principles of the spiritual-semantic approach, determined by the worldview and style of the composer’s thinking. The purpose of the article is to substantiate the spiritual-semantic approach as a cognitive model of cognition of musical compositions on the material of vocalchoral genres by G. Sviridov. Methodology. The basis of the spiritual-semantic analysis is the concept of spiritual analysis of music by V. Medushevsky. A. Belonenko was the first to express the opinion that religious themes penetrated the entire creative work of the composer. L. Shapovalova offered methods of cognition of the spiritual reality of a musical composition and defined the liturgy as an “archetype” of the creativity of the believing man (homo credens). N. Varavkina-Tarasova highlighted the issues of the symbolic meaning of the spiritual content of G. Sviridov’s creative work on the example of “Three Choirs to the Tragedy by O. Tolstoy "Tsar Fodor Ioannovich"”. O. Tevosyan revealed a numerical symbolism of certain compositions by the composer. The development of the predecessors’ ideas is the author’s definition: the spiritual-semantic approach is a way of scientific cognition of the ontology of creativity. The “style of thinking” is evident through the system connections of the composer’s text with ideological traditions and the cultural environment. Presenting the main material. One of the criteria of the spiritual-semantic approach is the adequacy of thinking and language: the semantic function of the sign, multiplied by its presence in the material and spiritual plane of the composition, becomes a meaning-creating factor. The first level of the spiritual-semantic analysis of a musical composition is the first-element signs as an expression of the manifestation of the Being: preintonation, rhythm-intonation, harmonic tunes, timbre-complexes, in which the generalized archetypes of culture are contained in the concentrated (“curtailed”) form. The second level reveals a compositionally-designed meaningful image that originates from the first element (motive, theme). Since the symbol is a dynamic phenomenon, its further “germination” in the musical form is connected not only with the immanent-musical syntax. The symbolization of the sound-image is most clearly manifested in the third level of the spiritual-semantic analysis, which characterizes the type of musical dramaturgy (taking into account the world attitude of homo animus – the lyrical universe, according to M. Arkadyev). The fourth, metaphysical, level characterizes the complete meaningful image. The immanent-musical quality of the sound of a composition does not simply create a holistic gestalt, but with its help point to the invisible world (the Bible, the Life of the Saints, the Liturgy). At the highest fifth level, there is the outcome of consciousness, that perceives a musical composition, into the broad context of the existence: music creates spiritual values of a universal human meaning, "bridges" its meaning with the civilizational processes of the mankind (hence it gets the definition of “culture creating one”). We indicated the methodological role of the philosophical category of “the picture of the world”, the content of which synthesizes the deep ideas about the Universe. In the national picture of the world, the most significant laws of the existence of culture are recorded. Results. The category of the “composer’s style” contains such components as the creator’s worldview and the system of principles of his artistic thinking, expressed in the semiotic structure, the laws of composition and dramaturgy of compositions. The phenomenon of G. Sviridov is that from the sphere of the secular interpretation of the poetry by A. Pushkin, S. Yesenin, A. Blok, which corresponded to anthropocentrism of musical and poetic thinking, he implemented “modulation” to the Orthodox spirituality. The spiritual-semantic approach has a general methodological value, since it broadens the theoretical concepts of the cognitive science of stylistic phenomena in music. Its content, constituents, and objectives provide the perspective of the further substantiation of ideological positions; serve as tools for improving the methodology for analysing liturgical compositions (through signs and symbols of the spiritual time space). Conclusion. The three groups of semantic signs of the vocal-choral style by G. Svyrydov have been distinguished: anthropocentric, sound-imaging (nature, native land) associated with them, metaphysical (time, eternity, way of spiritual ascension), liturgical (Christ, Gate of the Lord, pure Thursday, bell-sound, prayer songs).
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Bostock, John Raymond. "The Application Of A Flexible Learning Model To Enhance Engagement With Digital Technologies And Augmented Reality In Language Learning." Journal of Perspectives in Applied Academic Practice 8, no. 1 (September 1, 2020): 15–21. http://dx.doi.org/10.14297/jpaap.v8i1.421.
Full textAbstract:
Digital Technologies (DT) including Augmented Reality (AR) provide advantages for educational provision in terms of flexible access and enhanced presentation of materials. They also continue to proffer a formidable yet exciting challenge to established teaching and learning practices. In this paper an attempt is made to research the impact of using DT and AR activities on the experiences of students who are learning modern languages generally and Spanish specifically in one tertiary Institution. Didactic methods of teaching have been superseded by the adoption of student centred learning, i.e. a collaborative and interactive learning style where the teacher is the planner, sequencer and facilitator who guides the students in achieving their learning objectives. Teacher centred, or didactic methods may have their advantages particularly when delivering explanations but can be over used and do not generally allow for active student involvement or an opportunity to use the ideas being taught. It is suggested in this study that in order to gain the maximum benefit from the use of DT and AR, there are specific curriculum and pedagogical issues to be addressed. A more focused understanding and approach is enabled by the use of the flexible learning model particularly with regard to how students learn, the role of the lecturer, the planning and development of course materials and the accessibility and reliability of both software and hardware. In addition, a review of the theories of Second Language Acquisition also provides a sound basis for researching language learning and appropriate pedagogies. Language teaching continues to adapt, respond and challenge traditional teaching and learning styles and recommendations for successful integration of DT and AR are suggested.
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Jedeejit, Ploykwan, Benchaya Phichitchaidecha, Chitchanok Phunebua, and Runglawan Phumchan. "The Investigation Upper-Northern Thailand Wellness Spa Business Service Quality for Customer Satisfactions." International Journal of Social Science And Human Research 05, no. 11 (November 11, 2022): 4978–83. http://dx.doi.org/10.47191/ijsshr/v5-i11-20.
Full textAbstract:
This study of the knowledge management model for wellness spa business entrepreneurs in Upper Northern Thailand was a research and development (R&D) that aimed to find new methods to leverage the service standards for spas in Upper Northern Thailand by managing the knowledge and fortifying new skills to add to the existing knowledge to provide quality and standardized services to meet with certain expectations of the market and its customers in the future. Spa businesses in Upper Northern Thailand are unique by their identities, cultures, the style of “Lanna” the reflects through the 5 senses of human beings: sight, taste, smell, sound and touch, which is able to satisfy spa customers. The created model was then evaluated under a conceptual framework of project evaluation through inspections and evaluations from 6 spa business experts who suggested that the selected spa entrepreneurs could improve the existing skills and knowledge in all the 6 categories by managing knowledge through adult learning and learning readiness of the entrepreneurs appropriately by their own contexts. In order to achieve this goal, necessary trainings, seminars, and workshops were conducted as tools in managing the knowledge.
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Hammond, Nicol. "The Gendered Sound of South Africa: Karen Zoid and the Performance of Nationalism in the New South Africa." Yearbook for Traditional Music 42 (2010): 1–20. http://dx.doi.org/10.1017/s0740155800012637.
Full textAbstract:
In 2002, less than a year after releasing her first album, Afrikaans rocker Karen Zoid gained a level of notoriety then unheard of among Afrikaans female musicians. She achieved this when she enacted the overtly masculine rock ritual that Aerosmith's Joe Perry has labelled “the ultimate statement of anarchy” (Perry, quoted in Christensen 2004): she smashed her guitar. While frequently interpreted as an attention-getting strategy (which it undeniably was), Karen Zoid's performance was also an act of political positioning, locating her within the already passé tropes of international rock, but also on the margins of the Afrikaans music industry. It also, ironically, allowed her to appropriate some of the rock “authenticity” connected with this display of overt masculinity, despite the fact that her performance can be read as a deliberate (perhaps even camp) parody of this masculinity. This is because, as I will argue in this article, Zoid's legitimacy as the “voice of her generation” and a vocalizing representative of New South African identity has hung precariously off her performed masculinity, despite her destabilization of this image through a variety of queer performances. In this article, I will examine the interlinked history of South African music (with a focus on Afrikaans rock) and national identification that has created a normative masculinity in post-apartheid South Africa (1994-present). I will present Karen Zoid's performance style as an example of resistance to this norm, paying particular attention to the vocal characteristics of gendered South African sound as a site of normativity and resistance. Finally, I will consider the extent to which, in order to enact this resistance, Zoid has been obliged to perform the gendered national norm or has been interpreted in normative terms in order that audiences are able to comprehend her national identifications. By these means I aim to make visible the normally hidden gender bias that undermines South Africa's apparently representative post-apartheid nationalism.
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Hanna, Marynchak. "Konstanty Gorsky’s Songs on Polish texts: aspects of genre stylistics." Aspects of Historical Musicology 26, no. 26 (July 22, 2022): 117–33. http://dx.doi.org/10.34064/khnum2-26.08.
Full textAbstract:
Statement of the problem. K. Gorsky’s creativity has not been studied enough. Relatively recently, articles by R. Aladova (2005), G. Serochinsky (2010), V. Luniakyna (2009), T. Bakhmet (2009) and other authors have been published due to the growing public interest in his creative figure. However, the vocal works by K. Gorsky have not yet been studied in their multi-level connections with national, historical and genre stylistics, as well as the predominant genre of solo singing, on the basis of which the composer formed the intonation specifics of his own chamber vocal style. Therefore, there is a need for further study of the vocal style of K. Gorsky, in particular, the inclusion of his works in a wide repertoire of concert and chamber singing. The purpose of the study is to identify the stylistic features of the key genre of K. Gorsky’s vocal works – the romance, which is most clearly represented in the cycle “12 Romances” based on the texts of the Polish poets – M. Konopnicka, W. Syrokomla, Z. Dembitsky (Dębicki). For the first time, an integrated approach is applied to the songs by K. Gorsky, as to original examples of this genre interpretation in the post-romantic era, with an emphasis on their style features – national and “personal”. The work on the research topic required the use of general scientific and special musicological methods, including historical-genetic, deductive approaches, genre-stylistic and performance analysis. Results and conclusions. The legacy of K. Gorsky (1859–1924), a virtuoso violinist, one of the founders of the musical culture of Kharkiv, includes vocal genres. In the mature period of his activity (1900s), the composer focused specifically on vocal genres, namely romances (he created about 100 pieces), arrangements of Ukrainian folk songs, cantatas on spiritual themes, choral concerts and operas. The main features of his romantic outlook, combined with the Polish musical mentality, are concentrated in “12 Songs” with Polish lyrics. Semantically, K. Gorsky’s romances gravitate toward lyrical contemplation, conveying its various states, from “objective” epics and sound imagery to emotional outbursts, which brings them closer to opera arioso. Within the framework of the cycle, there is an allocation and alternation of songs-romances of four semantic modes: folkpoetic, reflexive-lyrical, graceful-salon, free-declamatory reminiscent of “poetry with music”. Each of these groups is based on certain traditions and requires appropriate means of performance interpretation.
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Tybout, Rolf. "Response to the comments of B. Bergmann and C. H. Hallett (JRA 14, 56-57 and 414-16)." Journal of Roman Archaeology 15 (2002): 346–48. http://dx.doi.org/10.1017/s1047759400014033.
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My article on Roman wall-painting and social significance (JRA 14, 33-56) provoked two immediate reactions. I would like to show that both scholars misinterpreted my argument and intentions.Bergmarm's views are compatible in all respects with mine expressed in my article. In two introductory sections (33-42) I drew attention to some major misunderstandings and misrepresentations of the chronological model of Roman wall-painting developed by H. G. Beyen by scholars who have recently focused on paintings in their spatial and social context. B. agrees “that we lose much by neglecting the contributions of 19th- and 20th-c. scholars”. Presumably she took offence at what she calls my “ad hominem recriminations” In order to state my argument clearly, I quoted from several recent studies, mentioning their authors and places of publication. I pointed out as straightforwardly as possible that some of their views expressed are demonstrably untenable or, in some cases, not as innovative as suggested. This was done not to incriminate the authors but to bring some clarity in a discussion which risks becoming embroiled. Unfortunately, Bergmann does not question the validity of any of my specific “recriminations”, limiting herself to some general observations.She defines as my “main concern (…) that current scholars do not find Beyen's methods (and [my] own) worth emulating”, and prefer to employ other approaches “looking at paintings within larger ensembles and spatial networks” which “might shed some light on the rooms they embellished”. Nothing is less true. I agree with her that scholars understandably “find the search for and understanding of these relationships as appealing as attempting to validate Stufe C of Phase I of Beyen's Second Style” — I would say “far more appealing” That is the reason why I relegated that specific validation to an Appendix (53-56), in spite of the perspectives it opens up for social history (56), and devoted my main section (42-53; discussed neither by Bergmann or Hallett) to the study of wall-painting in its spatial and social dimensions (cf. also JRA 9 [1996] esp. 366-74). Moreover, I stressed that “the basic concepts underlying this [new] line of research are sound and stimulating” (34); that “any comprehensive account of Roman wall-painting should transcend the level of specialists' chronological ‘finger-exercises’ and encompass the synchronic dimension”; that “actually, this is a communis opinio by now, and rightly so” (36); and that the contributions of social historians able “to introduce more appropriate and refined concepts and vocabulary … can only be welcomed” (42). My real concern in sections 1 and 2 was to counter the current trend to ‘throw out the baby with the bath-water’, i.e., the diachronic with the synchronic dimension, since “a sound functional model of Roman wall-painting cannot dispense with careful attention to diachronic developments in both form and style” (36).
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Blackburn, Manuella. "Instruments INDIA: A sound archive for educational and compositional use." Organised Sound 19, no. 2 (June 30, 2014): 146–53. http://dx.doi.org/10.1017/s1355771814000089.
Full textAbstract:
This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creation of an online sound archive of Indian musical instruments. Recording work with approximately 27 musicians provided material for this interactive resource (which functions as an educational tool and concertgoer's guide), and also for compositional work, where culturally tied sound material formed the basis for two new works; Javaari (acousmatic) and New shruti (mixed work) for sarod and electronics. Trialling a variety of methods for gathering and then subsequently integrating sounds from Indian musical instruments into electroacoustic compositions provided a framework for the exploration of hybridity and intercultural sound interactions, while observing the translation and transference of highly emblematic sounds from one musical tradition to the next also led to unique artistic and theoretical outcomes. Curatorial decisions made with my project partners, Milapfest (the UK's leading Indian Arts Development Trust) regarding the participating musicians and their sound contributions posed further considerations for the representative quality of each instrument showcased on the archive. Gathering appropriate material for users of the archive (young learners, audience members and interested laypeople) while capturing sounds suitable for compositional purposes presented new challenges within the recording environment. Further complexities surfaced when this challenge was coupled with a lesser degree of familiarity with instrument capabilities, playing styles and cultural traditions. This unique collaboration with cultural sounds and performance practices raised questions about my compositional intentions, cross-cultural borrowing, respectful practice, and the unavoidable undertones of cultural appropriation and colonial attitude.
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Vasilyeva, Svetlana Nikolaevna, and Anna Veniaminovna Gordeeva. "Literary Translation Into English of Peter Khuzangai’s Poem “The Poet”." Ethnic Culture 4, no. 2 (June 27, 2022): 40–43. http://dx.doi.org/10.31483/r-102894.
Full textAbstract:
The purpose of the article is to present a literary translation into English of P. Khuzangay’s poem «A Poet» and to make a comprehensive analysis of it. The object of the study is the text of P. Khuzangay’s poem «A Poet» and the literary translation of S. N. Vasilyeva «A Poet». The novelty of the work lies in the fact that a literary translation and a comprehensive analysis of this poem were carried out for the first time. Based on the methods of analytical reading, theoretical analysis of literature, search, contextual analysis, comparative analysis, the language of the work (morphology, syntax, vocabulary, style) is considered and the relationship between the ideological and artistic conception of the poem with its linguistic features is revealed. The methods used in the process of literary translation made it possible to preserve the idea of the poem, the features of the composition and to select the appropriate means of artistic expression. In the work of P. Khuzangay, the philosophical problem of the poet's destiny and his work is touched upon. The composition of the poem is three-part, the size is a three-foot trochee with cross-rhyming throughout the entire poem, the intonation is narrative. The translation was made using the technique of rhetorical exclamation. The temporal organization is interesting: throughout the poem, verbs are transmitted in the present tense. The translation is dominated by complex sentences. As a rule, a stanza corresponds to one sentence. Alliteration and assonance are used to enhance sound expressiveness and achieve speech imagery.
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Hooker, Karen, Shelbie Turner, Shannon Jarrott, and John Geldhof. "Development of a New Measure of Intergenerational Contact." Innovation in Aging 5, Supplement_1 (December 1, 2021): 787–88. http://dx.doi.org/10.1093/geroni/igab046.2906.
Full textAbstract:
Abstract Intergenerational relationships are a predictor of greater physical, mental, and emotional well-being; they can reduce ageism and facilitate feelings of purpose and meaning, shown to be important for health and mortality. Surprisingly there are no measures of intergenerational contact (IGC) shown to be reliable and valid across age groups. Therefore, we aimed to develop a psychometrically sound survey measure of IGC. We utilized a three-phase development process, which included a Delphi-style expert panel review of items, focus groups, and validation of the survey via Amazon MTurk. The resulting 18-item survey captures details on and comparisons between both familial and non-familial contact and is appropriate for adults of all ages. We conducted confirmatory factor analyses with the 9-item family and 9-item non-family subscales for 380 young and 256 middle-aged adults reporting on contact with older adults, and 348 older adults reporting on contact with younger adults. The family scale had good model fit across all three groups (χ2 (78) = 245.74, p<.0001; RMSEA = 0.08, 90% CI = [0.07, 0.10]; CFI = .94; TLI = .92). After covarying for 2 pairs of items among the middle-age group, the non-family scale had good model fit across all groups (χ2(75) = 217.21, p<.0001; RMSEA = 0.08, 90% CI = [0.07, 0.09]; CFI = .95; TLI = .93), indicating construct equivalence across age groups. The new IGC measure can be used in all adult age groups, making it useful for scientific projects as well as program evaluations. Funded by the RRF Foundation on Aging
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Csala, Barbara, and Ferenc Köteles. "Validation of the Hungarian version of the short form of Spiritual Connection Questionnaire (SCQ-14)." Mentálhigiéné és Pszichoszomatika 22, no. 2 (June 16, 2021): 207–28. http://dx.doi.org/10.1556/0406.22.2021.006.
Full textAbstract:
Background: Spirituality is a human specific phenomenon associated with positive mental and physical health outcomes. From a scientific point of view, it is a complex construct which can be investigated in various ways. The Spiritual Connection Questionnaire (SCQ) measures spirituality independently from religiousness thus it appears to be an appropriate measure to assess religious and non-religious aspects of spirituality. Aim: The present study aimed to develop and validate the Hungarian version of the short form of the Spiritual Connection Questionnaire (SCQ-14). Furthermore, it aimed to investigate spirituality’s association with affect and thinking style. Methods: Participants of two non- representative community samples (n = 387 and n = 145) completed the following questionnaires online: short form of the Spiritual Connection Questionnaire, Spiritual Transcendence Scale, Rational–Experiential Inventory, and Positive and Negative Affect Schedule. Results: The Hungarian SCQ-14 showed an excellent internal consistency (Cronbach’s α = 0.94 and 0.97 on Sample 1 and 2, respectively). Confirmatory factor analyses indicated inappropriate fit with the theoretically assumed one-factor model (χ2 = 435.848, df = 77, p < 0.001; CFI = 0.904; NFI = 0.886; RMSEA = 0.110 [90% CI = 0.100–0.120] on Sample 1, and χ2 = 247.132, df = 77, p < 0.001; CFI = 0.917; NFI = 0.885; RMSEA = 0.123 [90% CI = 0.106–0.141] on Sample 2). In contrast, results of exploratory factor analyses indicated a one-factor structure on both samples. The SCQ-14 was positively associated with spiritual transcendence, experiential thinking style, and partly with positive affect. No significant correlations with rational thinking style and negative affect were found. Results of the multiple hierarchical linear regression analysis on both samples revealed a significant contribution of experiential thinking style and spiritual transcendence to spiritual connection after controlling for gender, age, educational qualification, and positive affect. Conclusions: The Hungarian version of the Spiritual Connection Questionnaire (SCQ-14) is a valid, psychometrically sound measure. Spiritual transcendence and experiential thinking style independently contribute to spiritual connection.Elméleti háttér: A spiritualitás humánspecifikus jelenség, amelynek pozitív hatása a testi és mentális egészségre nézve bizonyított. Tudományos szempontból a spiritualitás meglehetősen összetett fogalom, számos különböző mérőeszközzel vizsgálható. A Spirituális Kapcsolat Kérdőív (Spiritual Connection Questionnaire, SCQ) vallástól függetlenül értékeli a spiritualitás szintjét, így vallásos és nem vallásos személyek körében egyaránt alkalmazható. Cél: Jelen kutatás célja Spirituális Kapcsolat Kérdőív rövid változatának (SCQ-14) magyar nyelvű validálása volt. További cél volt a spiritualitás gondolkozási stílussal és affektivitással való összefüggésének vizsgálata. Módszerek: A kutatás két nem reprezentatív mintából áll (n = 387 és n = 145), amelynek résztvevői a Spirituális Kapcsolat Kérdőív rövid változatát, a Spirituális Transzcendencia Kérdőívet, az Észszerűség–Megérzés Kérdőívet, valamint a Pozitív és Negatív Affektivitás Skálát töltötték ki online formában. Eredmények: Az SCQ-14 magyar változata kiváló belső konzisztenciát (Cronbach-α = 0,94 az első, és 0,97 a második mintán) jelzett. A konfirmatív faktoranalízis nem mutatott megfelelő illeszkedést az eredeti egyfaktoros modellhez képest (χ2 = 435,848, df = 77, p < 0,001; CFI = 0,904; NFI = 0,886; RMSEA = 0,110 [90% CI = 0,100– 0,120] az első mintán, és χ2 = 247,132, df = 77, p < 0,001; CFI = 0,917; NFI = 0,885; RMSEA = 0,123 [90% CI = 0,106–0,141] a második mintán). Ezzel szemben a feltáró faktoranalízis eredménye egyfaktoros modellt mutatott mindkét minta esetén. Az SCQ-14 továbbá pozitív irányú összefüggést mutatott a spirituális transzcendenciával, a tapasztalati gondolkodási stílussal, valamint részben a pozitív affektivitással is. A spirituális kapcsolat és negatív affektivitás, valamint a racionális gondolkodási stílus között nem jelentkezett szignifikáns korreláció. A mindkét mintán lefuttatott többszörös hierarchikus lineáris regresszió eredményei szerint a tapasztalati gondolkodás és a spirituális transzcendencia a nem, a kor, az iskolai végzettség és a pozitív affektivitás kontrollálása után is szignifikáns kapcsolatban maradt a spirituális kapcsolat pontszámmal. Következtetések: A Spirituális Kapcsolat Kérdőív rövid változatának magyar verziója valid, jó pszichometriai mutatókkal bíró mérőeszköz. A spirituális transzcendencia és a tapasztalati gondolkodás egymástól függetlenül is hozzájárulnak a spirituális kapcsolathoz.
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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.
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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Grella-Możejko, Piotr. "Helmut Lachenmann--Style, Sound, Text." Contemporary Music Review 24, no. 1 (February 2005): 57–75. http://dx.doi.org/10.1080/0749446042000293619.
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Konikowska, Beata, Andrzej Tarlecki, and Andrzej Blikle. "A Three-Valued Logic for Software Specification and Validation. Tertium tamen datur." Fundamenta Informaticae 14, no. 4 (April 1, 1991): 411–53. http://dx.doi.org/10.3233/fi-1991-14403.
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Different calculi of partial or three-valued predicates have been used and studied by several authors in the context of software specification, development and validation. This paper offers a critical survey on the development of three-valued logics based on such calculi. In the first part of the paper we review two three-valued predicate calculi, based on, respectively, McCarthy’s and Kleene’s propositional connectives and quantifiers, and point out that in a three-valued logic one should distinguish between two notions of validity: strong validity (always true) and weak validity (never false). We define in model-theoretic terms a number of consequence relations for three-valued logics. Each of them is determined by the choice of the underlying predicate calculus and of the weak or strong validity of axioms and of theorems. We discuss mutual relationships between consequence relations defined in such a way and study some of their basic properties. The second part of the paper is devoted to the development of a formal deductive system of inference rules for a three-valued logic. We use the method of semantic tableaux (slightly modified to deal with three-valued formulas) to develop a Gentzen-style system of inference rules for deriving valid sequents, from which we then derive a sound and complete system of natural deduction rules. We have chosen to study the consequence relation determined by the predicate calculus with McCarthy’s propositional connectives and Kleene’s quantifiers and by the strong interpretation of both axioms and theorems. Although we find this choice appropriate for applications in the area of software specification, verification and development, we regard this logic merely as an example and use it to present some general techniques of developing a sequent calculus and a natural deduction system for a three-valued logic. We also discuss the extension of this logic by a non-monotone is-true predicate.
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Lakhtionova, K. "TRANSLATION ERRORS IN TRANSLATIONS OF FICTION TEXT OR TRANSMITTING TRACKERS." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 33 (2018): 210–17. http://dx.doi.org/10.17721/2663-6530.2018.33.15.
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Everything has been changing all the time in our world. It concerns language and literature as well. New traditions are being formed, and old ones die. Literary activity (creativity) could not avoid such changes: flexible natural form (shape) came instead of classical writing, instead of classical writing, great and sentimental, inherent to French literature. Bokacho`s Style and perfectionism in language mean following the rules of language standard, starting from XIII century and finishing XVIII. Padre Grande was criticized too for glorification of Toskana literary language and humiliation of local dialects. Outstanding personality of Dzhuzeppe Parini appears in early period of defining his positions, ignoring linguistic polemics, avoiding different extremes and exaggerations. Parini demonstrates society in ironic style, old such as “batrachomyomachia” – ironic “Illiada”, Moskeida” – Orlando`s statements: epical forms reflect plebeian picture of the world. Irony – is a kind of obsolete society, which didn`t understand its decline. Obsolete does its best to pretend modern, the more proud is the style, the poorer it is. This is the essence of Parini`s conception incarnated in his literary work “Giorno”(Day) which is based on irony, deep and sad. There are no doubts, that after the research and discuss about Parini, after publications of the translation in Spanish, not only ceased, but gained great interest of literary researches. It is clear, that some mistakes in translations were done, but we are not judges. The most important is basic content which is presented in the introduction of A. Prieto. Analyzing translator`s mistakes from Italian language of original text into Spanish we have to focus on key phrase of Maris Isabel Honsales-Fernandes, that Spanish has not a lot in common with Italian. It is evident especially in translation of lexical units, where the translator did mistakes, that demonstrates not appropriate level of Italian language knowledge. We can call this phenomenon “amici falsi del traduttore”, ignorance of particular lexis and meaning that lexical unit can have in both languages. This ignorance led to misunderstanding even to ugliness and curvature of original text. The translator Marselo Arroyita-Chauresi, who is a poet himself, is much more to be desired. He has tried to follow the text of original in some cases. But he was not successful in his attempts. You can just imagine Spanish translation to be translated into language of original even being of 200 years old, which we could receive. Not a proper level of the Italian language and misunderstanding of some words, which in Spanish and Italian sound the same way. Translator`s work – hard labour which needs flawless knowledge of the language of original not to loose while translating artistic value or even to deface author`s concept. It just verifies common known truth: not to ignore even the slightest peculiarities of the text of original. The translator has to know lexis and a grammar perfectly, be able to use translator`s transformations in order to avoid such phenomena as failed translation and misrepresentation of the content of the text, especially if it is a poetry.
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Pérez-Luzardo Díaz, Jessica, and Víctor González-Ruiz. "The Sound of Drivel." Lebende Sprachen 63, no. 1 (April 3, 2018): 1–31. http://dx.doi.org/10.1515/les-2018-0001.
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AbstractThis paper describes an experiment dealing with the manipulation of style in consecutive interpreting in the context of the law. In it, several groups of Spanish law undergraduates assessed two performances by a consecutive interpreter. The interpreter in both performances translated a German-language lecture on constitutional law into Spanish, the only difference between the two renditions being the style used in the target language: in one of them, plain language; in the other, a style reminiscent of complex traditional legal drafting. The results of this study are presented and discussed in this paper, which combines the issue of plain language in legal translation and interpreting, with the concept of style as a quality parameter in interpreting. These results, which suggest that even the most junior law students have a liking for conventional elaborate drafting, should serve as elements of reflection for trainers of both legal professionals and interpreters.
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Ismail, Al Emran, K. A. Arif, Musli Nizam Yahya, Waluyo Adi Siswanto, and Ismail Nawi. "Analysis of Sound Produced by a Traditional Malay Musical Instrument “Kompang”." Applied Mechanics and Materials 773-774 (July 2015): 53–57. http://dx.doi.org/10.4028/www.scientific.net/amm.773-774.53.
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This paper presents frequency analyses of sounds produced by traditional Malay musical instrument “kompang”. Kompang is used to produce exotic sound especially certain grand ceremony. In order to produce sound, different types of skins are used especially made from polymer (used x-ray film) and animal skins. However, the sound produced by a polymeric skin is not similar with the sound produced using an animal skin. Therefore, this present work investigated the effect of such skins on the sound produced and as a result affecting the sound quality. Appropriated software is used to conduct the frequency analyses in order to investigate whether the polymeric skin can be a replaceable skin in replacing an animal skin. It is found two different skin materials have their own sound characteristics and it is also indicated that lower peak sound frequency produced by animal skin compared with the polymeric skin.
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Yin, Wenjing. "An Artificial Intelligent Virtual Reality Interactive Model for Distance Education." Journal of Mathematics 2022 (February 14, 2022): 1–7. http://dx.doi.org/10.1155/2022/7099963.
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Information and communication technologies play an important role in education. This fact was emphasized even more due to the significant upheavals, globally, caused by the pandemic of COVID-19 and because distance education uses tools of modern technology that prove to be significantly important. Particularly, virtual reality immersion systems, which may include 3D spatial representations, multisensory interaction channels, and real-time intuitive physical interaction, can extend the learning process by providing learners with stimuli that represent a real advanced training environment. In the present work, based on the most modern technologies of computational intelligence, virtual and augmented reality, wireless communications, and space-sensitive positioning applications, an Artificial Intelligent Virtual Reality (AI-VR) interactive model for distance education is presented. This is a case study of escape-room-type educational application, wherewith appropriate practices and methodologies promote individual and collective participation, enhance the active role of the learner, personalize the educational experience, and upgrade the process of participation in distance education, strengthening and assisting role of the educator. Specifically, a Newton polynomial is used for max-polynomials arising from the stereoscopic problem of augmented reality used to indirectly indicate the number of linear regions in order to optimize the problem. The proposed application is related to the training course of agricultural education and methods of modernization of crops, including additional sound, 3D graphics, and short film projection. The history-space-objects relationship takes and evolves with various versions such as the parts of the story to be unlocked as the trainee moves from one tool to the next or the story to guide the trainee to explore the space-time continuum, giving a new dimension to the technological development of agricultural education and the methods of modernization of crops. This finding shows that they learn best when they receive information in a style that incorporates visual, auditory, and kinetic stimuli so that learning improves when learners can examine an idea or concept using a multidimensional approach.
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Ngerndang, Artitaya, Panurat Boonsong, Kittiphong Meknin, and Preeyarat Jathong. "The Creative of Dramatic Arts That Convey the Value of Cultural Capital and Promote the Creation of Added Commercial Value of Kalam Beads Through the Performance." Asian Journal of Arts and Culture 22, no. 2 (December 9, 2022): 257441. http://dx.doi.org/10.48048/ajac.2022.257441.
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This article was aims to study the creative forms of dramatic arts that convey the value of cultural capital. and promote the creation of added commercial value of Kalam beads through the Performance. The research team used qualitative research methodology and creative research conducting research by studying books academic documents, textbooks, journals and related research group discussions, information media, field trips, and field surveys and the experience of the researcher to analyze and design the process of creating works of dramatic art from the art of stringing Kalam beads to demonstrate the origin and development of Kalam beads. The results showed that the form of creation of works can be classified according to 8 elements of the show, namely 1) The performance design by defining the show format into 3 periods: the first period is the period that conveys the way of life of the villagers in the process of finding, natural colored glass to be used to make beads. Next, period 2 is the period that represents the 3 types of Kalam beads art. And the 3rd period represents the development and existence of Kalam beads at present through creative modifications to create added value. 2) The selection of actors based on the balanced physical characteristics and from the ability to perform appropriately with the acting style, making the performance more complete. 3) The design of the dance style is determined. It uses dance moves that are adapted from the Nora dance, combining movements from the dance language and natural body language to demonstrate the show's identity. 4) The sound design and the music used in the performance is a combination of southern folk music, Nora poem, and international music using electronic systems to blend in. 5) Costume design with an emphasis on modified and creative accessories, it has been developed from the Nora costume that has been applied to be more modern and suitable for the show. 6) The design of the performance equipment by simulating the tools used for finding natural colored glass to make beads, such as the hoe, spade and liang (the gem dredging plate), to give viewers a clearer picture and create a better understanding of the story in the presentation. 7) Lighting design for the show to convey emotion and support the atmosphere of the show to be more complete. Emphasis is placed on using bright lights and additional dyeing to show off the dance moves and to show off the decorations made from Kalam beads. Set a flashing light for each stage of the show. 8) Display area design, the emphasis is placed on the focus and the background to make the story more complete.
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Schaefer, Janek. "AudiOh!: Appropriation, Accident and Alteration." Leonardo Music Journal 11 (December 2001): 71–76. http://dx.doi.org/10.1162/09611210152780719.
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The major theme of the author's work as a sound artist and musician has been the appropriation and alteration of sound and its existing reproduction systems. The three projects discussed here use familiar devices in ways that both usurp and extend their inherent characteristics and imperfections. As ideas, these projects all re-examine the use of the ready-made, be it with objects or with sounds. The author's piece entitled Recorded Delivery appropriated a sound-activated Dictaphone to trace the journey of a parcel through the post. His invention of the Tri-Phonic Turntable allowed him to manipulate and accidentally discover “new” sounds buried within any vinyl terrain. Lastly, for his Wow 7" project, he cut the music eccentrically onto the record surface to induce fluctuations in the sound playback and thus fundamentally alter its audible and visual nature.
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Bezborodko, Oleg. "Chinese National Piano Style in “Two Poem Classics of The Tang Dynasty” by Xu Zhenmin." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 21–32. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.02.
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" “Two Poem Classics of the Tang Dynasty” by Xu Zhenmin is a bright example of the Chinese national piano style. We analyze its main features using S. Tyshko’s theory of national style and the concept of the sound image of the instrument by L. Gakkel as the theoretical and methodological basis of our research. We introduce and define the concept of the national sound image of the instrument. Chinese piano music is characterized by the purposeful activity of composers both in stylistic adaptation and in stylistic generation. The European historical and stylistic sound images of the piano are adapted and act as the “foreign” material. The “native” material is generated both from folk and traditional Chinese music, its mode, intonation, and instrumental specifics, as well as from the rich artistic, philosophical and historical heritage of China. Keywords: National music style, piano music, Chinese piano music, Chinese national piano style, sound image of the instrument, Chinese national sound image of the piano "
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Eaton, Kenneth A. "A Sound Foundation: New-Style Dental Postgraduate Training." Primary Dental Care os14, no. 2 (April 2007): 39. http://dx.doi.org/10.1308/135576107780556653.
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Marghitu, Stefania. "Music, Sound and Filmmakers: Sonic Style in Cinema." Popular Music and Society 37, no. 3 (July 22, 2013): 376–79. http://dx.doi.org/10.1080/03007766.2013.821745.
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Muzakka, Moh. "Lirik Lagu “Citra Cinta” Karya Rhoma Irama: Kajian Stilistika." Nusa: Jurnal Ilmu Bahasa dan Sastra 16, no. 1 (February 28, 2021): 75–87. http://dx.doi.org/10.14710/nusa.16.1.75-87.
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The purpose of this research is to study the language style of Rhoma Irama's song lyrics entitled "Citra Cinta". To study these lyrics, stylistic theory is used, which is an interdisciplinary linguistic theory whose object of study is literary works. The work steps used in this study are to apply stylistic work steps initiated by Pradopo, namely analyzing language style based on the units that build literary works, namely sound style, word style, sentence style, and discourse style. The results of the analysis show that the language style that builds the lyrics of the song "Citra Cinta" by Rhoma Irama cannot be separated independently because the lyrical discourse of the song is built by a coherent sound style, word style, and sentence style to build the discourse, namely the value of love that is holy and noble.
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Melnyk, Alla. "Stylization of Baroque genres in the Ukrainian violin miniature of the early 21st century: specifics of musical consciousness formation." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 151–68. http://dx.doi.org/10.34064/khnum2-19.09.
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Introduction. Nowadays, continuing the neo-style trend in musical art started in the 20 century, increased attention is being attracted to the intentions of stylization and reinterpretation of a certain historical artistic models, where stylistic allusions (a kind of indirect citation, hint) use. This stylistic phenomenon has special spiritual and ethical preconditions that culturologists interpret in view of the so-called neo-restoration trends in culture. The above also applies to Ukrainian violin music, where the creative method of stylization, which has acquired such great importance in the art of the twentieth century, is actively in demand even today, in the modern postmodern style situation. Thus, the appearance of pieces in the Ukrainian violin repertoire, which even by their name declare its relation with the models of baroque genres, programming a certain creative idea, deserves to be studied in order to explore their direct relation to the original genre form and identify the algorithms for its stylization. All this, at least, will have a positive effect on the practice of the perception of stylization artifacts of a certain genre invariant, including the miniatures of the baroque type. The material of this research is the works of modern Ukrainian composers in the genre of violin miniatures, based on stylization of Baroque genre forms, which have taken a prominent place in academic musical creativity in general and in the history of the formation of the violin repertoire in particular. The stylistic variety of genre reminiscences in the Ukrainian violin repertoire is reflected in a number of materials by Ukrainian researchers (I. Andrievskyi, I. Hrebneva, V. Zaranskyi, I. Karachevtseva, V. Lapsiuk, I. Pilatiuk, S. Sandiuk, L. Skrypnyk, S. Yadlovskyi), where, in particular, the question of the demand for the so-called “violin miniature” (A. Haray, N. Pilatiuk) appears. However, the conceptual definition of a violin miniature today does not look completely methodologically adequate: the stereotypical norms of comprehending this class of genres touch exclusively the side of scale proportions, which contradicts the latest approaches to the interpretation of genre forms by the method of semantic analysis, namely, when the genre invariant is considered as a sign of a certain typed content. However, only taking into account the act of typification, the reference indications necessary for the formation of musical consciousness are established, which serve as a reliable guide in recognizing the genre nature of a work and discovering the cultural, historical and communicative ties necessary for its understanding. Thus, the purpose of this article is to reveal the peculiarities of stylistic modifications of baroque genres in the Ukrainian violin repertoire of the early XXI century and to propose methodological guidelines for analyzing the diversity of interpretations of the genre invariant under the influence of the historically actual style. The complex of the analytical methods (analysis, synthesis, induction, deduction, comparative studies), as well as the historicaltypological and the prognostic approach was used in this research. Results of the research. The examples of stylization of baroque genres prove that in the postmodern stylistic dimension the intention to genre-stylistic allusions to the historically known is an important factor in the expression of the cultureforming ties of distant eras with modernity. Quite often, the very name of the genre used by the composer gives an orientation towards the perception of the range of corresponding historical and stylistic associations. The method of stylizing baroque genres and their rethinking thanks to new means of musical expression (specific melodic development, a special character of sound production and articulation, etc.) gives vivid artistic results. The samples examined demonstrate a variety of interesting author’s solutions based on the involvement of a historical genre model. Thus, Hanna Leonova’s Toccata (2010) is quite consistent with the genre image oftoccata as a “motor” piece. However, we note that the genre form of toccata is by no means associated (at least for today) with the actual violin repertoire, especially with the miniature, since it primarily existed in clavier music (recall, in particular, the clavier toccatas by J. S. Bach), and a row of the samples has a magnificent solemnity of sound and compositional monumentality. Nevertheless, the author found the opportunities to implement the “toccata” style, hinting at the genesis of this genre (etymologically – from “touch”, “sort out”), thanks to the compositional and performance specifics – improvisation, stability of rhythmical “motor” movement and high virtuosity. In “Sarabanda” by Vitalii Manik (2013) we observe only partial keeping of the three-beat meter normative for the chosen genre model, however, with a polyphonic presentation adequate in relation to the primary stylistic modus; in “Minuet” by Oleksii Voitenko (2003) – the stylistics of “music to dance”, but within the compositional boundaries of sonatina without the developing part. Victor Telichko’s “Partita” (2011) demonstrates cyclicality and reliance on dance elements, quite characteristic of the baroque version of this genre, but embodied in Ukrainian folk material. Avoiding quotations, the author preserves the melodic-rhythmic structure of folk-song material and creates his own thematic complex. At the same time, the use of a solo violin in this work is fully consistent with the traditions of the Baroque era, namely, Bach’s partita model; that is why a kind of allusion to the genre invariant arises. That is, applying allusions to baroque genres in violin miniature, contemporary Ukrainian composers demonstrate at least two approaches: the first is stylistic adequacy to the genre invariant (in its baroque version); the second is its actual stylization with the introduction of either a certain stylistic context, or an individual author’s compositional idea. Conclusions. Thus, the new conceptualization of the violin miniature requires an appropriate research approach, the basis of which is the semantic method of analyzing the genre invariant in musical works-stylizations, which has proven its fruitfulness in the postmodern era. Since the method of stylization always provides for a special relation to the genre invariant, the constancy of which has the ability to accumulate ever new typifying meanings, only a combination of analytical discourses that take into account both the genesis of the genre form and its stylistic modifications can form theoretically verified analytical models that are useful, among other things, in the learning process, contributing to the development of the musical consciousness of the recipient – the performer and the listener.
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MENDELSSOHN, EDMUND. "Ontological Appropriation: Boulez and Artaud." Twentieth-Century Music 18, no. 2 (April 30, 2021): 281–310. http://dx.doi.org/10.1017/s1478572221000049.
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AbstractThis article examines the lessons that Pierre Boulez learned about sound from Antonin Artaud, suggesting that Boulez's ideas about musical writing (écriture) took shape as the composer imagined and appropriated forms of non-European expression. Boulez sometimes acknowledged the influence of ‘extra-European’ sounds in his music, but also insisted that music should not be a ‘simple ethnographic reconstruction’. Artaud, who explicitly ‘reconstructed’ the ethnographic other in a 1947 radio broadcast, will become my foil to show how Boulez's philosophy of writing hinged on an East–West dualism. I follow Boulez to South America with the Compagnie Renaud-Barrault to suggest that he took cues from Afro-Bahian Candomblé when he wrote Le Marteau sans maître. The conclusion reflects on the lessons that Boulez and Artaud might teach us about sound; namely, that recent musicological claims on behalf of the ontology of sound have modernist origins.
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Tan, Marcus. "K-Contagion: Sound, Speed, and Space in “Gangnam Style”." TDR/The Drama Review 59, no. 1 (March 2015): 83–96. http://dx.doi.org/10.1162/dram_a_00430.
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“Gangnam Style” remains an unparalleled pop phenomenon. The music video’s “universality” inspires questions about attributes that have resulted in such a crosscultural contagion. The visual and musical qualities of the “Gangnam Style” video exemplify conditions of liquid modernity and society’s obsession with speed.