Journal articles on the topic 'Doctor of Musical Arts'
To see the other types of publications on this topic, follow the link: Doctor of Musical Arts.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Doctor of Musical Arts.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Demchenko, Alexander I. "The Musical Legacy of Igor Stravinsky." ICONI, no. 2 (2019): 137–48. http://dx.doi.org/10.33779/2658-4824.2019.2.137-148.
Full textAbstract:
The lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a concise way the evolution of the music of the outstanding composer, the main stages of which correspond with the three sections of this text: “Igor Stravinsky of the Russian period,” “Igor Stravinsky’s Neoclassicism” and “The Late Works of Igor Stravinsky.” The exposition of the topics includes listening to a number of musical fragments meant to give a general perception of the range of the composer’s artistic endeavors. The publication is addressed to students of conservatories and artistic institutions of higher education.
2
Demchenko, Alexander I. "The Musical Oeuvres of Nikolai Myaskovsky." ICONI, no. 4 (2019): 91–110. http://dx.doi.org/10.33779/2658-4824.2019.4.091-110.
Full textAbstract:
This lecture of Doctor of Arts, Professor Alexander I. Demchenko continues the cycle of lectures on Russian musical culture. In a maximally compact form the evolution of the musical oeuvres of composer Nikolai Ya. Myaskovsky is elucidated, the basic stages of which correspond to two sections of the text: “The 1910s and 1920” and “The 1930s and 1940s.” Just as in the previous cases, the exposition of the material presumes listening to a number of musical fragments, called upon to provide a general impression of the ranger of the composer’s artistic endeavors.
3
Demchenko, Alexander I. "The Musical Oeuvres of Dmitri Shostakovich." ICONI, no. 1 (2020): 95–107. http://dx.doi.org/10.33779/2658-4824.2020.1.095-107.
Full textAbstract:
This lecture of Doctor of Arts, Professor Alexander Demchenko illuminates in a maximally compact form the evolution of the music of the great composer, the main stages of which are corresponded to by the respective sections of the present text: “Early Works,” “Middle Period” and “Late Works,” which is supplemented by generalizations contained in the sections “The Issue of Humanism” and “The Artistic Constants.” The expounding of the lecture will be accompanied by listening to a number of fragments designed to give an overall impression of the range of the composer’s artistic quests.
4
Demchenko, Alexander I. "The Musical Legacy of Sergei Rachmaninoff." ICONI, no. 1 (2019): 198–210. http://dx.doi.org/10.33779/2658-4824.2019.1.198-210.
Full textAbstract:
“The musical legacy of Sergei Rachmaninoff” — this is the first lecture from the authorial cycle of Doctor of Arts, Professor Alexander Demchenko “The Classics of 20th Century Russian Music.” Its following sections will be dedicated to such composers as Igor Stravinsky, Sergei Prokofiev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgiy Sviridov, odion Shchedrin and Alfred Schnittke. The lecture is supposed to include listening to a number of musical fragments chosen to give a general perception of the range of the composer’s artistic explorations. The preferential performance versions and durations of the corresponding musical fragments are given. The publication of the lecture is addressed to students and faculty members of conservatories, artistic institutions of higher education, as well as music colleges and high schools.
5
Demchenko, Alexander I. "The Musical Legacy of Sergei Prokofiev." ICONI, no. 3 (2019): 96–111. http://dx.doi.org/10.33779/2658-4824.2019.3.096-111.
Full textAbstract:
The lecture of Doctor of Arts, Professor Alexander Ivanovich Demchenko elucidates the evolution of the music of the outstanding composer the main stages of which correspond to the three sections of the present text: “Prokofiev of the Beginning of the Century,” “Prokofiev of the Middle of the Century” and “The Constants of the Musical Style of Prokofiev.” Characterizations are given of the most significant compositions in the context of the culture and the musical language of the 20th century and the musical language of the composer-reformer, as well as to the system of images and genres. The exposition of the lecture has the prerequisite of listening to a set of musical fragments called upon to form a general perception of the range of the composer’s artistic quests.
6
Draper, Paul, and Scott Harrison. "Beyond a Doctorate of Musical Arts: Experiences of its impacts on professional life." British Journal of Music Education 35, no. 3 (June 13, 2018): 271–84. http://dx.doi.org/10.1017/s0265051718000128.
Full textAbstract:
There is much dialogue in the academy about the role of doctoral studies in relation to employment, career trajectories and graduate outcomes. This project explores the experiences of Doctor of Musical Arts (DMA) graduates and students at the Queensland Conservatorium in Australia to reveal how the programme has impacted upon their professional activities, while also addressing assumptions promulgated through the literature on artistic practice and research education. The paper presents emergent themes and concludes by offering insights into artistic research in music more broadly.
7
Jones, Patrick M. "The Doctor of Musical Arts in Music Education: A Distinctive Credential Needed at This Time." Arts Education Policy Review 110, no. 3 (April 2009): 3–8. http://dx.doi.org/10.3200/aepr.110.3.3-8.
Full text
8
Diago Jiménez, José María. "La meloterapia en el pensamiento y la obra de Isidoro de Sevilla." Anuario Musical, no. 74 (December 18, 2019): 19. http://dx.doi.org/10.3989/anuariomusical.2019.74.02.
Full textAbstract:
Isidoro de Sevilla (ca. 565-633), Padre y Doctor de la Iglesia, es considerado uno de los más grandes enciclopedistas de la Antigüedad tardía y la Alta Edad Media. Entre los muchos temas que trató se encuentra la música y, dentro de esta, el poder medicinal o sanador de la misma, temática que gozó de una gran tradición literaria en la Antigüedad clásica debido, en gran parte, a la difusión de sus profundas raíces filosófico-musicales, fundamentalmente de índole pitagórica y platónica. En este artículo se localizan y analizan por primera vez todas las reflexiones isidorianas sobre este tema distribuidas por varias obras del obispo hispalense. Para ello se partirá de la tradición clásica y patrística de la que proceden, teniendo en cuenta también el resto del pensamiento musical isidoriano.
9
Зенкин, К. В., and В. Р. Дулат-Алеев. "Konstantin Zenkin: "The Russian mentality is such that authority is a key position for him."." Научный вестник Московской консерватории, no. 1(28) (March 20, 2017): 8–17. http://dx.doi.org/10.26176/mosconsv.2017.28.1.01.
Full textAbstract:
В 2013 году в Санкт-Петербурге и в 2015 году в Москве состоялись I и II международные конгрессы Общества теории музыки. В работе этих представительных научных собраний приняли участие музыковеды изразных городов России, а также зарубежные специалисты (из Австралии, Австрии, Беларуси, Болгарии, Бразилии, Германии, Дании, Италии, Казахстана, Канады, Польши, США, Туркмении, Франции, Швейцарии). В сентябре 2017 года в Московской консерватории состоится III Международный конгресс музыкально-теоретического сообщества, в преддверии которого мы предлагаем вниманию читателей беседу с одним из организаторов и постоянных участников форума — проректором по научной работе Московской государственной консерватории имени П. И. Чайковского, доктором искусствоведения, профессором Константином Зенкиным. Вопросы задает доктор искусствоведения, профессор Казанской государственной консерватории имени Н. Г. Жиганова Вадим Дулат-Алеев. In 2013 in St. Petersburg and in 2015 in Moscow the I and II International Congresses of the Society for Theory of Music were held. Musicologists from different cities of Russia, as well as foreign experts (from Australia, Austria, Belarus, Bulgaria, Brazil, Germany, Denmark, Italy, Kazakhstan, Canada, Poland, USA, Turkmenistan, France, Switzerland) took part in these representative scientific meetings. In September 2017, the Moscow Conservatory will host the III International Congress of the musical-theoretical community, on the eve of which we offer our readers a conversation with one of the organizers and permanent participants of the forum, Deputy Rector for Research of the Tchaikovsky Moscow State Conservatory, Doctor of Fine Arts, Professor Konstantin Zenkin. Questions are asked by Vadim Dulat-Aleev, Doctor of Fine Arts, Professor of the Zhiganov Kazan State Conservatory.
10
Podguzova, O. A. "SERGEY YAKOVENKO: HE KNEW HOW TO EMBRACE THE IMMENSITY." Arts education and science 1, no. 3 (2020): 173–82. http://dx.doi.org/10.36871/hon.202003021.
Full textAbstract:
The article is dedicated to the famous singer and teacher, Doctor of Arts Sergey Borisovich Yakovenko. It presents selected pages of the master's life, his performing activity, tells about the musician's creative contacts with representatives of Russian culture of the second half of the XXth – early XXIst centuries. The first performer of many modern vocal works, monooperas, cantatas and oratorios, outstanding and little-known works of world music, romances and songs by Soviet composers, S. B. Yakovenko is also a major figure in science, education and musical enlightenment. His research focuses on a wide range of issues related to vocal creativity, performance interpretation and singing traditions. The article also presents the basic pedagogical principles of the musician. The publication contains the material from one of the last works of S. B. Yakovenko "Three Hundred Years Without a Director", which never saw the light. It is devoted to the history of musical theater, the role of director, conductor and composer in it. The source for this research were the books of the prominent singer and teacher, articles about his work, personal conversations of the author with S. B. Yakovenko.
11
Desmond, Karen. "Did Vitry write an Ars vetus et nova?" Journal of Musicology 32, no. 4 (2015): 441–93. http://dx.doi.org/10.1525/jm.2015.32.4.441.
Full textAbstract:
In book 7 of his Speculum musicae, the fourteenth-century music theorist Jacobus structures a defense of music as it had been practiced in the thirteenth century by such eminent musicians and theorists as Lambertus, Franco, and Petrus de Cruce against the practices of certain unnamed moderni active at the time of Jacobus’s writing. While Jacobus’s quotations from various theoretical works by Jehan des Murs have long been recognized, it previously had been supposed that the remaining quotations were jumbled references from many different theorists. With specific reference to Philippe de Vitry only two quotations from the text edited in vol. 8, Corpus scriptorum de musica, had been identified previously. In fact, there is substantial sustained treatment of a single author, whom I have termed the doctor modernus and who is not Jehan des Murs, that occupies at least five contiguous central chapters of book 7. Following Jacobus’s practice in the previous six books of commentary on a handful of specific works, the writing of Book 7 appears to have been structured around the written works of just four theorists: Lambert, Franco, Jehan des Murs, and the doctor modernus. Furthermore, Jacobus’s vehemence toward the doctor modernus was particularly pronounced and may indicate a personal relationship between the two men. His treatise is quoted with reference to some fundamental ars nova theories, such as extension of long notes beyond the duplex long, remote imperfection, the use of imperfect longs, and imperfect measure in general, and his treatise is described as outlining the precepts of both the old and new arts. The similarities between the treatise of the doctor modernus and many ars nova theory texts (some of which were attributed to Vitry) hints at the possibility that the treatise of the doctor modernus may have been the ancestor text that these other texts had in common, and hence also that Philippe de Vitry may have been the author of the text known to Jacobus, whose subject was the Ars vetus et nova.
12
Leşe, Ana-Cristina. "1. Importance of Physical Exercise in Living Arrangements Artist." Review of Artistic Education 11, no. 1 (March 1, 2016): 133–38. http://dx.doi.org/10.1515/rae-2016-0016.
Full textAbstract:
AbstractIncreased occurrence of spine deviation is the result not only of modern technology hazards (for example, sitting in front of the computer for long hours) or lack of physical exercise, but also of specific posture related to the study of a musical instrument. The aim of this paper is the timely warning of children who choose to study a musical instrument about the spine deviations that can occur in time, also to refer them to a specialist and to encourage them to take up exercises meant to tone specific muscle groups. The study was conducted on two groups of students from the department of Musical interpretations, 1st and 2nd year, and two groups of students from the department of Painting and Photography and video, 1st year, at the “George Enescu” Arts University of Iaşi. The school screening method was used with the help of four MA students at the department of Kinetotherapy. The data were tabulated. We recommended that subjects be referred to specialised examinaton by doctors at the Pediatric Orthopedics clinic and have special sets of physical exercises.
13
Maksymowicz, Virginia, and Blaise Tobia. "An Alternative Approach to Establishing a Studio Doctorate in Fine Art." Leonardo 50, no. 5 (October 2017): 520–25. http://dx.doi.org/10.1162/leon_a_01189.
Full textAbstract:
As soon as the creative arts migrated from academies into colleges and universities, questions about accreditation and evaluation arose. From its inception, the master of fine arts (MFA) degree has been problematic. Although the College Art Association published standards for the MFA in 1977, confusion remains between this terminal degree and the nonterminal master’s degree (MA) in fine arts. Some believe that the solution to this problem is to establish the PhD as the terminal degree in fine arts; however, this solution is problematic in other ways: Standard approaches to research and publication in PhD programs do not mesh with the reality of studio-based creative inquiry and production. A better solution might be the development of a doctor of fine arts (DFA) degree.
14
Marynowsky, Wade. "The Uncanny Automaton." Leonardo 45, no. 5 (October 2012): 482–83. http://dx.doi.org/10.1162/leon_a_00452.
Full textAbstract:
A recent body of work exploring the uncanny in relation to the automaton has been completed in concurrence with the Doctor of Creative Arts, UWS, 2011. This extract of the doctoral paper details the concepts of inquiry, art works produced, audience response in the form of critical reviews and conclusion.
15
Levi, Pavle. "Doctor Hypnison and the Case of Written Cinema." October 116 (April 2006): 101–18. http://dx.doi.org/10.1162/octo.2006.116.1.101.
Full text
16
Henke, Robert. "The Italian Mountebank and the Commedia dell'Arte." Theatre Survey 38, no. 2 (November 1997): 1–29. http://dx.doi.org/10.1017/s0040557400002052.
Full textAbstract:
The Italian mountebank of the early modern period was a figure of great power and fascination, both to Italians themselves and to English audiences via Thomas Coryate's documentary account and Ben Jonson's fictional portrayal of Scoto of Mantua in Volpone. Italian and Spanish antitheatrical clerics, prompted by San Carlo Borromeo to extend Counter-Reformation cultural critiques to the increasingly successful commedia dell'arte, were quick to identify the mountebank—an itinerant doctor/pharmacist who typically enticed potential patrons with an array of musical and theatrical entertainments—with the professional actor, who also performed for money in Italian piazzas. Without the moral animus of the post-Tridentine critics, late twentieth-century theatre historians have reassociated the mountebank and the actor, seeing in the former's capacity to sell theatrical entertainment anywhere and anytime (independent of the religious or civic festival) a harbinger of the professional commedia dell'arte, which had to develop means of economic self-support that were independent of traditional courtly patronage. Arte actors seem to have been aware of their perceived kinship with itinerant quacks; at the turn of the century, Giovanni Gabrielli performed a routine involving trunks and vases of the kind used by mountebanks, his own sons turning out to be the “vases.” But culturally ambitious actor-writers, who in the early seventeenth century began to counter antitheatrical attacks with apologies for the moral integrity and the technical sophistication of the new theatre, sharply differentiated themselves from the charlatans. If the conventionality of their moral defenses often hindered them from saying what comedy was, they could at least say what it was not, and it was not quackery.
17
Luko, Alexis. "TINCTORIS ON VARIETAS." Early Music History 27 (October 2008): 99–136. http://dx.doi.org/10.1017/s0261127908000296.
Full textAbstract:
The twelve extant treatises of Johannes Tinctoris offer a wealth of insight into almost every aspect of fifteenth-century music theory. A graduate of the University of Orléans and a doctor of canon and civil law, Tinctoris was an expert in both the language arts of the trivium (grammar, rhetoric, dialectic) and the mathematical arts of the quadrivium (arithmetic, geometry, music, astronomy). Such was his erudition that he was extolled by Johannes Trithemius, one of the leading German humanists of the fifteenth century, as ‘a man very learned in all respects, an outstanding mathematician, a musician of the highest rank, of a keen mind, skilled in eloquence’. Given Tinctoris’s towering intellect, it is no surprise that frequent citations from many of the major thinkers of antiquity – Pythagoras, Plato, Aristotle, Ovid, Virgil, Cicero and Quintilian – appear in his theoretical discussions on mode, mensural notation and counterpoint.
18
Miller, Barbara L. "Transdimensional Space: From Moholy-Nagy to Doctor Who." Leonardo 52, no. 2 (April 2019): 128–34. http://dx.doi.org/10.1162/leon_a_01403.
Full textAbstract:
More than ever, Moholy-Nagy’s influence circulates within contemporary art and visual media. In this essay, the author reconsiders his extended influence in regard to the complex scientific theories of space-time and molecular forces he invokes in Light-Space Modulator. To do so effectively and provocatively, the author brings on board a fictive resource: “Doctor Who.” Like the TARDIS, Moholy’s kinetic sculpture is conceptually a transdimensional apparatus that figuratively bores through time and space to connect past, present and future and resonates with today’s perception of space-time-light entanglement.
19
Sánchez Prieto, Isabella. "Caso No.O." Cuadernos de Música, Artes Visuales y Artes Escénicas 15, no. 2 (June 30, 2020): 190–205. http://dx.doi.org/10.11144/javeriana.mavae15-2.cano.
Full textAbstract:
Una de las principales funciones del sistema respiratorio es respirar, y aunque suene obvio e irrisorio esta afirmación, quisiera preguntar ¿qué pasa cuando el sistema respiratorio no usa el aire para respirar? Ante esta incógnita, se optó por realizar dos investigaciones —la primera desde la ciencias forenses y la segunda desde las artes vivas— para indagar la función del sistema respiratorio. En la elaboración de este artículo, fue de vital importancia trabajar con el doctor Jorge Franco y con la doctora Michelle Cortés del Departamento de Morfología de la Pontificia Universidad Javeriana. Al contrastar la causa de muerte que se examinó en el cadáver encontrado en el medio acuático, con los síntomas respiratorios que se analizaron en los performers, se pudo encontrar que el aire no parece tan obvio en sus cualidades gaseosas y respiratorias que este presenta. A veces la falta de aire dice más que tratar de llenarlo, otras veces en que el aire se queda corto para decir lo que pensamos. En muchas ocasiones, no nos fijamos en la importancia de usar el aire para respirar, precisamente porque vemos fácil transitar ese medio casi imperceptible e innato de la condición humana.
20
Ebright, Ryan. "Doctor Atomic or: How John Adams Learned to Stop Worrying and Love Sound Design." Cambridge Opera Journal 31, no. 1 (March 2019): 85–117. http://dx.doi.org/10.1017/s0954586719000119.
Full textAbstract:
AbstractIn his autobiography, John Adams mused that his 2005 opera, Doctor Atomic, challenges directors and conductors owing to its ‘abstracted treatment’ of time and space. This abstraction also challenges scholars. In this article, I bring the cross-disciplinary field of sound studies into the opera house to demonstrate that Adams's obfuscation of operatic space–time is achieved primarily through the use of a spatialised electroacoustic sound design. Drawing on archival materials and new interviews with director Peter Sellars and sound designer Mark Grey, I outline the dramaturgical, epistemological and hermeneutic ramifications of sound design for opera studies and advocate for disciplinary engagement with the spatial dimensions of electroacoustic music generally, and within opera specifically.
21
Goehring, Edmund J. "Despina, Cupid and the pastoral mode of Così fan tutte." Cambridge Opera Journal 7, no. 2 (July 1995): 107–33. http://dx.doi.org/10.1017/s0954586700004481.
Full textAbstract:
One of Così fan tutte's more amusing episodes occurs in the first-act finale when Despina marches on stage disguised as a doctor and, in a spoof on Mesmerism, produces a magnet to heal the stricken Albanians. She introduces this little scenario with a ridiculous salutation: ‘Salvete, amabiles, bones puelles’. The source of this mangled Latin is interesting: it is present in Mozart's autograph, but not in Da Ponte's libretto, where the Latin appears in its proper form, ‘bonae puellae’. Only two words, to be sure, but they have attracted attention because of the rare glimpse they offer of Mozart's direct intervention in a Da Ponte text, of a parting of ways between composer and librettist. Mozart's change has traditionally been interpreted not as an error at all, but as a kind of ‘correction’ of Despina's character: since the servant Despina lacks the status and education to know proper Latin, Mozart portrays her in a way that is true to her station. As one commentator says, she ‘understands only half of what she says; she imitates what she has picked up from frequent doctor's visits to her masters’.
22
Bobryk, Urszula, Renata Gozdecka, and Tomasz Jasiński. "Niedokończony koncert dla Lublina. Wspomnienie o Beacie Dąbrowskiej (1960-2016)." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, no. 2 (January 12, 2017): 11. http://dx.doi.org/10.17951/l.2016.14.2.11.
Full textAbstract:
<p>Professor Beata Dąbrowska – a conductor, teacher, and organizer of musical life, highly merited for Lublin’s musical culture and Maria Curie-Skłodowska University (UMCS) – died on 14<sup>th</sup> March 2016. She was born on 5<sup>th</sup> January 1960 in Lublin, She attended the Karol Lipiński Music School in Lublin, and then studied at the Frederic Chopin Music Academy in Warsaw, from which she graduated in 1982 and received a Master of Music Degree in Choral Conducting. From 1982 until the end of her life she worked at the Institute of Music, Maria Curie-Skłodowska University (until 2000 it was the Institute of Arts Education). In 1992 she received the first-grade qualification (today – a PhD equivalent) in the artistic discipline of <em>conducting vocal and vocal-instrumental groups</em>; in 1999 she received her second-grade qualification (now – a postdoctoral degree: Habilitated Doctor). In 2003 she was appointed Associate Professor of UMCS. In 2005 she became Head of the Institute of Music. She held this function till her death, combining it with multiple academic activities. At the same time she pursued her artistic activity. In 1987, together with her husband Dariusz Dąbrowski, she founded the Chamber Choir of the Henryk Wieniawski Music Society of Lublin, whose conductor she was for almost 30 years. She and the Choir gave several dozen vocal-instrumental concerts and over 300 concerts a cappella; they took part in many festivals and competitions in other countries and won awards and honors. Most often she performed in Lublin at religious and official state ceremonies, various jubilees, or anniversaries; many times she took part in Lublin concert series (inter alia Ars Chori, Spotkania Chórów Akademickich [Meetings of Academic Choirs]), she also gave concerts in other towns ( e.g. in Gdańsk, Grudziądz, Olsztyn, Toruń, Wrocław). She was engaged in many initiatives of Lublin’s music culture and, at the same time, she improved her skills (in 1990 she completed Podyplomowe Studium Chórmistrzowskie [Postgraduate Choirmaster Training Program at the Feliks Nowowiejski Academy of Music in Bydgoszcz]). In 1995 she initiated in Lublin Międzynarodowe Dni Muzyki Chóralnej (International Days of Choir Music). She organized concerts in Lublin for many years. She was awarded many times for her dedicated and invaluable work, the formation of Lublin’s cultural image, and for the promotion of Polish culture in Poland and abroad.</p>
23
Pluzhnikov, Victor. "«Forgotten name... Yakov A. Rosenstein»." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 90–105. http://dx.doi.org/10.34064/khnum2-16.05.
Full textAbstract:
Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.
24
Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.
Full textAbstract:
Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "Al Noor Island - a Place Where Art and Culture Meet Nature" by J. Smolenkova. It is devoted to modern architecture and touches upon the philosophy of architecture ecology as a new concept of contemporary construction. On the example of a unique project implemented on the island of Al Noor in the UAE, the author considers examples of pavilions and sculptural installations, united by the theme of new aesthetics and humanistic mutual influence of nature and architecture as new realities of modern society. In her article "Glasstress: a Transparent Border Between Mimicry and Mimesis", M. Burganova analyses the modern artistic process that began in the middle of the 20th century as part of the craft + art concept using the example of "Glasstress. Window to the Future” exhibition, held in the State Hermitage Museum in St. Petersburg. The Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period, is analysed by V. Slepukhin in the article "Soviet Architecture of the 1930-1950s". The author determines its place among such architectural styles and trends as Art Nouveau, Rationalism and Constructivism and gives a detailed description. In the article “Palladian Architecture of Denmark in the 17th-18th Centuries”, O. Tsvetkova considers the evolution of architecture in Denmark in the 17th-18th centuries, explores the influence of French classicism and Dutch Palladianism on national manifestations of style. On the example of specific buildings, the chronology of the classical architectural tradition development is traced. The creative continuity of architectural dynasties is studied in the context of the pan-European architectural trends of the time; the history of the Danish architecture development is traced. I. Pavlova continues the theme of dialogues in art in the article “The Role of the ‘English’ Theme in One of the Episodes of L. Tolstoy’s Novel, Anna Karenina". The author expresses the opinion that the development of the "English" theme in the episodes of the races and preparations for them serves to dispell false values, the ephemeral virtues of Tolstoy's contemporary society, pride and arrogance. The author believes that the main role of the "English" theme lies in the development and implementation of the moralistic setting of the novel, the expansion of the content space of the work and depiction of the dramatic image of the era. In the article "V. Borovikovsky’s Sketch ‘God the Father Contemplating Dead Christ’ As a Synthesis of Western European and Orthodox Traditions”, V. Makhonina considers iconographic interpretations of the plot and conducts a stylistic analysis of the work. The article "The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries" by O. Krasnogorova is devoted to the problems of the performing arts of modern times in the context of the general system of humanitarian thinking. The concept of interpretation from the standpoint of conceptual metaphors and research in the field of musical semiology are considered by the author. In the article, the broad interpretation of a musical text goes beyond the actual musical text into the area of ??signs, metaphors and metonyms. In the article "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals Accompanying Work in China", Huang Shuai analyses traditional Chinese wind and percussion instruments; he considers such issues as instrumental combinations and musicians. The author applies the historical research method, source study and musicological analysis of audio and video materials. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
25
Saroni. "ANALISIS STRUKTURALISME NASKAH DRAMA TARLING “DOKTER PALSU” KARYA HJ. DARIYAH." Bahtera Indonesia; Jurnal Penelitian Bahasa dan Sastra Indonesia 4, no. 2 (September 1, 2019): 95–114. http://dx.doi.org/10.31943/bi.v4i2.51.
Full textAbstract:
Tarling is a musical intellectual that contributes to the uplift of Indramayu's cultural arts. According to Hidayatulla (2005) the art of tarling still exists and is developing, but its existence does not receive much attention from the community, especially the younger generation. The cultural development is emphasized by Maknum (2004: 81) the process of art development is influenced by several factors namely scientific, environmental, and time factors. All three take place interactively. As a cultural product, art in its development will be subject to the main laws that govern human development. The diversity of Tarling music that continues to change and develop in the wider community, is feared to reduce the function of identity, as well as undergoing changes in shape which ultimately is not impossible that will farther and lose its original form.
The main objective of this research is an effort in the inheritance and preservation of Indramayu culture by realizing the design of the staging of the Tarling drama script "Fake Doctor" by Hj. Dariyah by analyzing the structure of the Tarling drama script "Fake Doctor" by Hj. Dariyah covers the analysis of themes, characterizations, and plot. The study was designed in 1 (one) year using qualitative methods. This research provides a fundamental contribution related to a field of science through the performance of the Tarling drama script "Fake Doctor" by Hj. Dariyah. First, students who are involved as drama players not only get literary theory in lectures, but students also gain experience in practicing literary science in a performance. Second, the results of this study can be used as an alternative to be staged in the tarling groups throughout Indramayu Regency. Third, the results of this study can be taken into consideration for local governments related to the cultural heritage and preservation of Indramayu.
Tarling merupakan karya intelektual musik yang memberikan andil mengangkat nilai seni budaya Indramayu. Menurut Hidayatulla (2005) seni tarling masih ada dan berkembang, tetapi keberadaannya kurang mendapatkan perhatian dari masyarakat terutama generasi muda. Perkembangan budaya tersebut dipertegas oleh Maknum (2004:81) proses perkembangan seni dipengaruhi oleh beberapa faktor yaitu faktor ilmiah, lingkungan, dan waktu. Ketiganya berlangsung secara interaktif. Sebagai produk kebudayaan, kesenian dalam perkembangannya akan tunduk kepada hukum-hukum utama yang mengatur perkembangan manusia. Beragamnya musik Tarling yang terus berubah dan berkembang di masyarakat luas, dikhawatirkan mengurangi fungsi identitas, serta mengalami perubahan bentuk yang akhirnya bukan mustahil akan semakin jauh dan kehilangan bentuk aslinya.
Tujuan utama penelitian ini adalah upaya dalam pewarisan dan pemertahanan budaya Indramayu dengan cara merealisasikan rancangan pementasan naskah drama tarling “Dokter Palsu” Karya Hj. Dariyah dengan menganalisi struktur naskah drama tarling “Dokter Palsu” Karya Hj. Dariyah meliputi analisis tema, penokohan, dan alur. Penelitian dirancang dalam 1 (satu) tahun menggunakan metode kualitatif. Penelitian ini memberikan kontribusi mendasar terkait suatu bidang ilmu melalui pementasan naskah drama tarling “Dokter Palsu” Karya Hj. Dariyah. Pertama, mahasiswa yang terlibat sebagai pemain drama tidak hanya mendapatkan teori sastra saja pada perkuliahan, namun mahasiswa juga memeroleh pengalaman dalam mempraktikan ilmu sastra dalam sebuah pementasan. Kedua, hasil penelitian ini dapat dijadikan alternatif untuk dipentaskan pada group tarling se-Kabupaten Indramayu. Ketiga, hasil penelitian ini dapat dijadikan bahan pertimbangan bagi pemerintah daerah terkait dengan pewarisan dan pemertahanan budaya Indramayu.
26
LAQUEUR, THOMAS W. "Response: Men with a past." Cambridge Opera Journal 19, no. 1 (March 2007): 85–89. http://dx.doi.org/10.1017/s0954586707002273.
Full textAbstract:
It seems a very long way from a dog howling in pain on François Magendie’s laboratory table in 1816 to Gilbert-Louis Duprez’s more-or-less novel accomplishment at the Paris Opéra two decades later: the tenor’s high C from the chest; the darkened voice; the sound of the future first heard in a performance of Guillaume Tell. Most obviously, the sounds of the dog were horrible and horrifying. When Magendie’s teacher, the great Xavier Bichat, tried the experiment some years earlier, his cleaning lady asked to move her chambers from near the scene because she could not bear the dog’s cries. Duprez’s sound was, arguably, beautiful; at least some people thought so, even if two doctors, driven to study the physiology of singing by the occasion, claimed that most people thought the voice was forced and false. Whether it was ‘pathological’ or not – I’d prefer, at worse, ‘pathogenic’ in the sense that so many unnatural new activities of the nineteenth century, like sitting long hours at a desk or riding on a train, were thought to make one ill – the tenor’s high C did, even its detractors admitted, ‘transport and dominate with its power’. It was musical and in the minds of many opened up radically new interpretative possibilities.
27
Bing, Richard J. "Composing Music and the Science of the Heart: How to Serve Two Masters." Leonardo 41, no. 4 (August 2008): 365–66. http://dx.doi.org/10.1162/leon.2008.41.4.365.
Full textAbstract:
The author, both a composer and a physician, chronicles his development as a musician—from his childhood fascination with improvising on the piano to the eventual performance of one of his compositions in the church of Saint Stefan in Vienna—and his career as a medical doctor studying heart disease and researching new cures. He finds that the common denominator in composing music and doing medical research is the creative impulse. In his life, music and medicine have never been in competition. Rather, when frustrated by difficulties in medical research, the author has found renewal in composing music.
28
Last, Suzan. "Marlowe’s Literary Double Agency: Doctor Faustus as a Subversive Comedy of Error." Renaissance and Reformation 36, no. 1 (January 1, 2000): 23–44. http://dx.doi.org/10.33137/rr.v36i1.8587.
Full textAbstract:
Le présent article se veut une réévaluation des éléments comiques du 1616 (“B”) texte de Doctor Faustus deMarlowe, lesquels ont été régulièrement sous-estimés ou trop hâtivement catégorisés comme frivoles, falsifiés, ou nuisibles à l’unité de la pièce. Au lieu de les intégrer dans la tradition homilétique, donc celle du théâtre moralisateur du Moyen Âge, cette étude les trouve parodiques et subversifs. Le traitement de Marlowe annonce une nouvelle sensibilité littéraire d’indéterminisme ludique et ambiguïté morale.
29
Kolchanova, Liudmyla. "HIS VOCATION – SCIENCE, ART, EDUCATION (CREATIVE WORK BY O. I. CHEPALOV, HONORED ART WORKER OF UKRAINE)." Aspects of Historical Musicology 25, no. 25 (December 31, 2021): 250–67. http://dx.doi.org/10.34064/khnum2-25.11.
Full textAbstract:
Introduction. The scientific and creative work of one of the most famous Ukrainian theater critics, Oleksandr Ivanovych Chepalov, is analyzed. O. Chepalov is a choreologist, playwright and journalist, Honored Art Worker of Ukraine, Doctor of Arts, and professor, who currently holds the position of Head of the Department of Choreographic Arts at Kyiv National University of Culture and Arts. The article turns the spotlight on the wide thematic range of O.Chepalov as a scientist and researcher: musical theater, historical explorations in the field of Ukrainian theatrical avant-garde of the early XX century, experiments in modern attempts to visualize the performing arts. Materials and methods. The biographical method is used as a basis for studying the work of O. Chepalov’s creative personality. The comparative method is used for parallel analysis of the artistic research, as well as the principles of general scientific methodology that can determine the logic and sequence of the cognitive tasks. In particular, the experience of the article author is reviewed, a graduate student communicating with O. Chepalov as with an academic advisor of the Ph.D. thesis “The phenomenon of actress and singer Y. P. Kadmina in the cultural processes of the late XIX century”. Similar experience of the academic advice work on theatrical research (V. Mizyak, Li Zhenxing) and dissertations in the choreological field (L. Kosakovska, O. Shabalina, K. Bortnyk, N. Kabachok, N. Chilikina, E. Yanina-Ledovska, I. Mostova) has been reviewed. Discussions. For convincing evidence, the analytical comments by reviewers of O. Chepalov’s books, as well as the texts of the bibliographic guide “Chepalov Oleksandr Ivanovych” (2015) with the involvement of the articles by famous scientists and masters of arts (L. Tanyuk, N. Kornienko, V. Sheiko, T. Vierkina, V. Mulerman, R. Poklitaru, D. Gorbachov) are included. Results. O. Chepalov’s monographs dated from 2001 to 2020 consider important theoretical questions about the role and place of the Ukrainian avant-garde artists (including M. Foregger, a director and choreographer) in the world art space of the respective time. In his "Choreographic Theater of Western Europe in the XX century" study, which has no analogs in the world science, the author managed to recreate a panorama of the modern dance development in all its diversity of stylistic and formative features. During 2011–2014, the magazine “Dance in Ukraine and the World” was regularly published on the initiative and under the editorship of O. Chepalov. This magazine covered the problems of national and world choreographic art, analyzed the most significant phenomena among cultural and historical events. In his book “Notes of the Phantom of the Opera” O. Chepalov considered the creative path of the Kharkiv ‘M. V. Lysenko’ National Academic Opera and Ballet Theatre in personalities and historical retrospection, where he held the position of Head of the Literary Department for 47 years. The monograph “Theatrical Insomnia in Summer Night” collected the best articles by O. Chepalov in the field of art journalism for about 40 years, which marked the range of his priorities and revealed the most characteristic cultural processes of today. Finally, in his latest book “Choreology” (2020), the famous researcher published the texts of lectures and articles since the introduction of choreology (dance theory) in the educational practice of the Ukrainian universities (2004). The directions of O. Chepalov’s research, in particular in the fields of theater studies and dance science, can serve as examples of the purposeful and fruitful expansion of artistic and scientific priorities. Conclusions. O. Chepalov’s writings distinguish the universality and systematization of the culturological approach, impressive professional knowledge in almost all types and genres of art, and extraordinary literary talent. O. Chepalov is also characterized by establishing a high professional level in the criteria of creativity. He also cares to ensure that representatives of his choreological and theater school meet the world’s scientific criteria.
30
Bahn, Curtis. "Ereia performed by Doctor Nerve and the Sirius String Quartet, composed by Nick Didkovsky. Cuneiform Records, Silver Spring, MD, U.S.A., 2000." Leonardo 34, no. 3 (June 2001): 280–81. http://dx.doi.org/10.1162/leon.2001.34.3.280d.
Full text
31
Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 8–9. http://dx.doi.org/10.36340/2071-6818-2021-17-5-8-9.
Full textAbstract:
Dear readers, We are pleased to present to you Issue 5, 2021, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal traditionally opens with the Academic Interview rubric. In this issue, we present an interview with Alexander Burganov, Academician of the Russian Academy of Arts, an outstanding Russian sculptor, National Artist of Russia, Doctor of Art History, Professor, Director of the Burganov House Moscow State Museum, interviewed by Irina Sedova, the Head of the 20th Century Sculpture Department of the State Tretyakov Gallery. This dialogue became part of the sculptor’s creative evening at the State Tretyakov Gallery, which included a personal exhibition, donation of the sculptural work Letter, screening of a special film and a dialogue with the audience in the format of an interactive interview. In the article “The Apocalypse Icon from the Kremlin’s Assumption Cathedral. Dating and Historical Context”, T. Samoilova points out the similarities between some motifs of the Apocalypse iconography and the motifs of Botticelli’s illustrations to the Divine Comedy, as well as the role of a line in both artworks which testifies to the influence of the Renaissance art on icon painting of the late 15th — early 16th centuries. Studying palaeography and stylistic features of the icon, the author clarifies the dates and believes that the icon was most likely painted after 1500, in the first decade of the 16th century. P. Tsvetkova researches the features of the development of the Palladian architectural system in Italy, in the homeland of Andrea Palladio. On the examples of specific monuments, drawings and projects created during two and a half centuries, the author analyses the peculiarities of the style transformation in the work of Palladio’s followers, the continuity of tradition, deviations from canonical rules. In the article “Artistic Features of the Northern White Night Motif in the Landscapes of Alexander Borisov and Louis Apol”, I. Yenina conducts art analysis and compares the works of the Russian “artist of eternal ice”, A. Borisov, and the Dutch “winter artist”, L. Apol. They were the first to depict such a phenomenon as a white night in the Far North. V. Slepukhin studies the artworks of the first decades of the Soviet era in the article “Formation of the Image of a New Hero in Russian Art of 1920- 1930”. The author concludes that the New Hero in the plastic arts of the 1920s–1930s was formed as a reflection of social ideals. The avant-garde artists searched for the Hero’s originality in the images of aviators, peasants, women. The artists of socialist realism began to form the images of the “typical” heroes of the time — warriors, athletes, rural workers, scientists, as new “people of the Renaissance”. In the article “Dialogues of the Avant-garde”, A. N. Lavrentyev presents a comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20th century. Wei Xiao continues his analysis of contemporary art in the article “Chinese Sculpture in the New Era”. The author notes that the art of sculpture is in many ways a reflection of social change, both in terms of cultural content and practice. The author emphasises the need for cultural identity to preserve national traditions and spirituality. Xu Yanping’s article “The Dynamics of the Choral Culture Development in China in the 1930s on the Example of Huang Tzi’s Oratorio Eternal Regret” is a scientific study of a particular phase of the active entry of Chinese choral music into the sphere of the oratorio genre, directly related to the name of the great Chinese composer, Huang Tzi. It also highlights the issues of the country’s political life in the 1930s, which actively influenced the creation of nationwide singing movements and new choral works in the country. The author believes that the oratorio Eternal Regret presented in the article is a unique creation that organically combines ethnic musical material and Western composition techniques. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
32
Stephens, Tracy A. "‘Dear God, I am not a son of a bitch’: Justifications for patriarchal violence and the mischaracterization of Stephen King’s Jack Torrance." Horror Studies 12, no. 2 (October 1, 2021): 159–74. http://dx.doi.org/10.1386/host_00035_1.
Full textAbstract:
Stephen King has criticized Stanley Kubrick’s adaptation of The Shining for its characterization of Jack Torrance as an unsympathetic monster rather than a well-intentioned man tragically destroyed by his addiction and anger. However, a re-examination of the novel and its sequel shows that King’s Jack Torrance is, no matter what King says, a dangerous patriarchal figure long before he enters the Overlook. The Shining and Doctor Sleep detail Jack’s wife and son’s co-dependent attachment to him, their wariness and fear of him, his long history of toxic behaviour and his deep capacity for self-deception that all help to expose a justifying narrative for patriarchal violence. However, King’s extratextual defences of Jack and the critical narrative that reaffirms his assessment of Jack’s moral character must be part of our analysis of The Shining’s critique of patriarchal ideology, as the contrast between those statements and the textual evidence reveal a desire to see Jack as sympathetic that makes King and the audience complicit in the same narrative of justification that the novel exposes.
33
Harle, Rob. "Mademoiselle and the Doctor by Janine Hosking. First Run/Icarus Films, Brooklyn, NY, U.S.A., 2003. Video, 90 min, color. Distributor's web site:." Leonardo 40, no. 2 (April 2007): 210–11. http://dx.doi.org/10.1162/leon.2007.40.2.210.
Full text
34
Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 2 (May 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-2-6-9.
Full textAbstract:
Dear readers, We are pleased to present to you Issue 2, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "NON-Realism of Alexander Burganov" by I.Sedova. The author believes that modern Russian sculpture, at its best, has long since moved away from direct depiction and has learned to speak about painful issues exclusively in the language of plastic arts. In this regard, the author naturally raises the question - what is the "realism in sculpture" concept today? In the process of analysing the plastic techniques of A.Burganov, the author managed to identify several patterns, including the principle of "opposition": realistic images, being in opposition to each other, begin to form the world of symbolism and surrealism. Summing up her research, the author introduces a new term, "symbolic realism", into scientific circulation. Fang Zhiyu studies the specificity of modern Chinese sculpture in the article "Traditions and Innovations in Modern Chinese Sculpture". The author believes that two directions are clearly visible in the creative work of modern Chinese sculptors. The first direction basically follows the creative method of sculptors who studied in France before the formation of the People's Republic of China; the second direction is based on traditional Chinese culture. In the formation of the modern plastic language of Chinese sculpture, both directions mutually enrich each other. In the article “On Two Viewpoints on the Dramaturgical Conflict Structure: from Hegel’s Aesthetics to the Identity of the Formalists”, V.Kolotaev analyses the nature of the dramaturgical conflict in Russian humanitarian knowledge, which occurred under the influence of aesthetic ideas about beauty, harmony, the sublime, the ideal, formulated by Hegel in Lectures on Aesthetics. The author believes that in line with classical ideas, the conflict was understood as a necessary condition for maintaining the compositional unity of the work and the development of the action. It led to the final equilibrium state of all its elements after the separation of the participants in the collision to the maximum distance. In addition to the aesthetic understanding of the conflict as the basis of the harmonic organisation of the text, the author analysed the idea of conflict as the primary condition for the development of all systems. Ding Liang continues the topic of dialogue in the space of culture between national tradition and world trends in the development of art. In the article “Analysis of Creative Education in Ceramics and Student Creativity in Colleges and Universities in China”, the author rightly argues that Chinese education and global arts education are closely related to each other in the face of the globalisation of culture and economy. A number of texts are devoted to the issues of musical culture. In the article "On the First Graduation of Vocalists of the Saratov Alekseyev Conservatory", A.Rudyakova recreates a picture of the early period of the Saratov Alekseyev Conservatory, founded in 1912, based on rare unpublished sources. In the article "Alexander Ryndin's 104 Psalm: the Problem of the Expression of Author's Will Within the Canon", I.Mertseva studies the problem of secularisation, which the traditional genres of Orthodox worship are exposed to, in connection with the renewal of the means of musical expressiveness of choral music. Biographical information about the composer and facts explaining the address to the composition on canonical liturgical texts are introduced into scientific use. The author uses an interdisciplinary approach typical of liturgical musicology, combining musicological analysis and interpretation of the liturgical text in the traditions of Russian liturgy. Also, the article provides an overview of the methods by which it is possible to study original works on canonical liturgical texts. In the article "Heraldic Motifs in Family Stained-glass Windows of the 16th Century of the von Disbach Family", D.Platonov considers the study and attribution of heraldic stained-glass windows of the Swiss Union of the 16th century, when the art of stained glass was in its heyday. The author notes that by this time, the formation of a new social class, the burghers, was completed and the rich families were able to have their own family coat of arms thanks to the special historical conditions of the Old Confederation development. Based on sources in the form of surviving armorials and official documents of the period under study, the author investigates the rules for the creation of heraldry, the artistic image, and the specifics of stained glass technology. In the article “Zaha Hadid in the United Arab Emirates. An Architect Ahead of Time”, J.Smolenkova considers the architect’s buildings from the point of view of innovative technologies, features of the artistic image and plastic design. Along with articles, this issue of the journal presents K.Lopatkina’s scientific review of the book “The Moscow Union of Artists. A Perspective from the 21st Century. Book Two” by B.Ioganson (Moscow: Booksmart, 2021). The reviewer believes that one of the essential tasks that the author of this monumental work solves is the need to demonstrate and prove that the Moscow Union of Artists was very different primarily because it included various artists. For the researcher, “the presence of a unique experience accumulated in the course of the life of this multifaceted and well-coordinated organism that regulates the artistic life of Moscow and spreads its influence far beyond the capital” comes to the fore. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
35
Basnayake, V. "James de S Wijeyeratne: a musical doctor." Ceylon Medical Journal 45, no. 4 (February 7, 2014): 155. http://dx.doi.org/10.4038/cmj.v45i4.6558.
Full text
36
Armstrong, Tim. "The Nuclear Family from Wellington to Hiroshima: Eithne Wilkins's ‘Oranges and Lemons’." Modernist Cultures 17, no. 1 (February 2022): 127–46. http://dx.doi.org/10.3366/mod.2022.0362.
Full textAbstract:
This is a recuperative essay addressing the work of Eithne Wilkins (1914–75), a poet with a strong presence in journals of the 1940s and 1950s, but now mainly remembered as the first translator (with her husband Ernst Kaiser) of Musil's The Man Without Qualities. I argue for her importance as a largely forgotten late modernist, and examine her major poetic sequence ‘Oranges and Lemons’, possibly the only long poem published by an English woman writer between 1945 and 1960, and almost certainly the most ambitious. It is comprised of a series of allusive poems incorporating memories of her New Zealand childhood, of her father Edgar, portrayed as a fire-watching doctor, and of the experience of her brother Maurice Wilkins, who worked on the Manhattan Project and later won a Nobel Prize. I argue that the poem, with its complex and personal mythopoesis, represents a response to global conflict in which the scattering of the ‘nuclear family’ figures a hemispheric war.
37
Alvarez Perez, Purificacion, Maria Jose Garcia-Antelo, and Eduardo Rubio-Nazabal. "“Doctor, I Hear Music”: A Brief Review About Musical Hallucinations." Open Neurology Journal 11, no. 1 (February 28, 2017): 11–14. http://dx.doi.org/10.2174/1874205x01711010011.
Full textAbstract:
Auditory hallucinations are defined as the abnormal perception of sound in the absence of an external auditory stimulus. Musical hallucinations constitute a complex type of auditory hallucination characterized by perception of melodies, music, or songs. Musical hallucinations are infrequent and have been described in 0.16% of a general hospital population. The auditory hallucinations are popularly associated with psychiatric disorders or degenerative neurological diseases but there may be other causes in which the patient evolves favorably with treatment. With this clinical case we want to stress the importance of knowing the causes of musical hallucinations due to the unpredictable social consequences that they can have.
38
Ābiķe-Kondrāte, Agija. "PSRS Literatūras fonda Latvijas republikāniskās nodaļas poliklīnika: ieskats atmiņu mantojumā un funkcijās." Letonica, no. 35 (2017): 53–67. http://dx.doi.org/10.35539/ltnc.2017.0035.a.a.k.53.67.
Full textAbstract:
Respecting the ideological aspects of the totalitarian regime and interpreting the most significant functions of the institution, the article provides an insight in one of the institutions under the supervision of the Latvian Republican branch of the USSR Foundation for Literature—the Polyclinic of Latvian Republican Branch of the USSR Foundation for Literature—locally the most important medical institution for the representatives of creative professions and related persons. This polyclinic was one of the most prestigious medical institutions in the entire Union of Soviet Socialist Republics and was commonly referred to as the Polyclinic of Writers or the Polyclinic of Lit-Foundation. In the framework of the functions of this institution, the article sheds light on various memories of the previous employees and patients looking into their memoirs, memory literature and interviews. The article briefly examines the importance of the two leading or key persons—the Director of the LSSR Foundation for Literature Elvīra Zaķe (1909–1992) and the Head of the Polyclinic, Head Doctor Vitāls Oga (1924–1984), as well as their role in the domestic lives of the creative individuals and cultural history of the Soviet period. The most essential five functions, which characterise the activities and existence of the Polyclinic are the following: 1) basic—service or treatment function; 2) the psychological support function; 3) (LSSR) the ideological-prestige function; 4) the function of sustaining Latvian cultural environment; 5) the function of a cultural sign (entails the processes of the respective period and the history of literary circles).
39
Bogue, Ronald. "Deleuze, Mann and Modernism: Musical Becoming in Doctor Faustus." Deleuze Studies 4, no. 3 (November 2010): 412–31. http://dx.doi.org/10.3366/dls.2010.0106.
Full textAbstract:
Thomas Mann's Doctor Faustus traces the life of the composer Adrian Leverkühn, whose career culminates in the compositions Apocalipsis cum figuris and The Lamentation of Doctor Faustus. Mann treats Apocalipsis as the endpoint of a dangerous modernism allied to fascism, and The Lamentation as its partial antidote. From Deleuze and Guattari's perspective, however, Apocalipsis is a positive musical becoming-other and The Lamentation a regression. Crucial to the contrasting interpretations of Apocalipsis are two very different conceptions of modernity and fascism, that of Deleuze and Guattari providing a means of valorising becoming as a mode of aesthetic and political invention and redefining modernism and fascism.
40
ROHOLT, TIGER C. "Musical Musical Nuance." Journal of Aesthetics and Art Criticism 68, no. 1 (February 2010): 1–10. http://dx.doi.org/10.1111/j.1540-6245.2009.01387.x.
Full text
41
Burganova, Maria A. "Letter from the editor." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-4-6-9.
Full textAbstract:
Dear readers, We are pleased to present to you Issue 4, 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The journal opens with articles by Chinese researchers devoted to the art of Ancient China. In the article "The Heaven-and-Man Oneness Concept and the Style of Funerary Plastic Art During the Han Dynasty", Xiang Wu analyses the idea of heaven-and-man oneness, which was important for the art of this period. It was based on the Confucian view, the rituals of a strict social hierarchy and Taoist metaphysics. Qiu Mubing’s scientific research topic is “Objects of the Funerary Cult in the Han Dynasty. Gold and Silver Items. Aesthetics of Gold and Silver in the Han Dynasty”. Examining archaeological sources, the author concludes the high achievements of Chinese artisans during the Han Dynasty on examples of works of arts and crafts made of precious metals. In the article “Aesthetics of the Song Dynasty. The Origins of the New Style of Furniture Design in China", N.Kazakova and Qiu Qi analyse the vector of development of the furniture industry through the prism of the industrial design evolution. The reasons for the emergence of the New style in furniture design in China are studied. They are analysed in detail against the background of changing economic, political and cultural realities. The issues of the influence of Ancient China aesthetics on the formation and development of a new language in furniture design are touched upon. In the article "Problems of Colour Harmonisation of Composition and Development of Associative and Imaginative Thinking in the Environmental Design", N.Bogatova reveals the potential of colouristic graphic two-dimensional modelling in artistic and imaginative thematic compositions. On the example of the compositional laws of colouristics, the author traces the path of ascent from the concrete to the abstract, pictorial to the expressive, and emotional to the figurative. P.Dobrolyubov presents the text “Sculptor Alexander Matveev’s School and His Students”, which includes many archival documents and photographs. The author describes the process of learning from teacher and sculptor A.Matveev, names the main dates in his creative work, reveals the details of the sculptural craft, talks about the variety of moves in the master’s plasticity, analyses the methods and principles of work in sculpture, shows the attitude of students to their teacher, and highlights the entire course of historical milestones in the sculptor’s creative biography. In the article "The Golden Age of PRC History Painting (1949–1966): Origins, Searches, Achievements”, K.Gavrilin and L.Xiaonan consider the issues of the formation of the modern Chinese art school. Its foundation was laid in the framework of the creative and educational dialogue between China and the Soviet Union at the beginning of the second half of the 20th century. The authors believe that the characteristic features of the golden age of Chinese historical painting were, on the one hand, the popularisation of painting as an art form and, on the other hand, the predominance of the dominant position of realism over the traditional styles of Chinese painting. It is noted that during this period, two main plots became widespread: scenes of socialist construction and historical events of the revolution. S.Zubarev considers theoretical and practical aspects of the activities of military musicians in the article "Academic Music in the Practice of Russian Military Bands of the 19th - early 21st Centuries". In the process of studying military bands, special attention is paid to the study of the features of military band service development in the 19th and 20th centuries. Factors revealing the role of Russian composers in the history of military musical culture are highlighted, and several works of academic music performed by military bands are analysed. In conclusion, the author notes that in the national culture, unique conditions for the development of military musicians’ arranging activity were created. They made it possible to preserve the traditions of the military band service and form the value principles of academic art. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
42
Davies, Stephen. "Musical Understanding and Musical Kinds." Journal of Aesthetics and Art Criticism 52, no. 1 (1994): 69. http://dx.doi.org/10.2307/431586.
Full text
43
DAVIES, STEPHEN. "Musical Understanding and Musical Kinds." Journal of Aesthetics and Art Criticism 52, no. 1 (December 1, 1994): 69–82. http://dx.doi.org/10.1111/1540_6245.jaac52.1.0069.
Full text
44
Jung, Friedrich, Sandro Forconi, and Michel R. Boisseau. "Hemorheology and musical arts." Clinical Hemorheology and Microcirculation 41, no. 4 (2009): 219. http://dx.doi.org/10.3233/ch-2009-1170.
Full text
45
Kasianova, Olena. "The Concept of Training a Doctor of Art from Music Directing." Ukrainian musicology 47 (October 21, 2021): 17–27. http://dx.doi.org/10.31318/0130-5298.2021.47.256713.
Full textAbstract:
The relevance of the research is due to need to train highly qualified professionals in today's sociocultural challenges, able to generate creative ideas in the implementation of creative projects, able to respond quickly to changes in the market of theater services, to be competitive in the fleeting space. Scientific novelty - outlining the concept of formation of professional competencies of the artist in the synthesis of domestic traditions and foreign innovations, taking into account the specifics of the mental perception of works by the Ukrainian audience. Main objectives of the research is the process of preparing a doctor of art in music directing in the context of Ukraine's integration into the European educational and artistic space and to determine the specifics of the integrative educational and creative training of the doctor of art in musical directing in the context of world tendencies of musical theater development. The methodology of the research is the application of a comprehensive intersectoral approach based on the synthesis of systems analysis (the concept of modern directing in a new paradigm of musical theater) and the structural-functional method (algorithm of integrative training of doctors of art in creative graduate school). Findings and conclusion of the research is the influence of globalization and integration processes has affected the paradigm shift of musical and theatrical art in a positive sense - the information exchange of experience; professional growth of artists; application of art technologies; joint solution of urgent problems; in the negative - the dominance of foreign repertoire over domestic with the priority of foreign language content; commercialization of the theater; changes in value orientations; hedonistic orientation of interpretations of works. Factors influencing modern musical directing are the need to find means of expression for adequate perception of the Ukrainian audience of a foreign text; combining the aesthetic and value aspect with the financial and economic content of the play; inadmissibility of vulgarized interpretations of works; mastering the techniques of artistic reconstruction, authentic, modern, art-technological solution of performances; mastering the specifics of dancers, international and festival projects. The concept of training a doctor of art in music directing involves a creative rethinking of global innovative directing practices on domestic soil, taking into account the peculiarities of the Ukrainian mentality, cultural traditions, and achievements of national educational and art schools with gradual integration into Europe.
46
D'Ottavio Cattani, Alberto Enrique. "Doctor Finlay." Revista de Medicina y Cine 17, no. 4 (November 26, 2021): 309–13. http://dx.doi.org/10.14201/rmc2021174309313.
Full textAbstract:
El presente trabajo completa uno previo dedicado a Archibald Joseph Cronin y significa un hondo reconocimiento a él y a muchas personas, libros y películas que me guiaron hacia esa aventura atrapante e inacabable que es la Medicina
En tal sentido, reseña un producto televisivo escocés basado en historias de ese médico-escritor sobre un médico ficticio en la aldea escocesa, imaginaria y lacustre, de Tannochbrae, tras la Segunda Guerra Mundial.
Esta serie, continuación de la exitosa serie de la BBC de 191 episodios Casebook del Dr. Finlay (1962-1971), comprende cuatro temporadas de veintisiete episodios dramáticos y conmovedores (seis episodios por año en 1993 y 1994, siete en 1995 y ocho en 1996).
Excediendo las diversas situaciones humanas entre los residentes de la casa Arden, aborda ineludibles aspectos políticos, sociales, sanitarios y cinematográficos, incluidos en la serie y derivados de ella.
47
Heyde, Herbert. "Musical Instruments." Metropolitan Museum of Art Bulletin 59, no. 1 (2001): 52. http://dx.doi.org/10.2307/3269172.
Full text
48
Libin, Laurence. "Musical Instruments." Metropolitan Museum of Art Bulletin 49, no. 2 (1991): 52. http://dx.doi.org/10.2307/3258935.
Full text
49
Libin, Laurence. "Musical Instruments." Metropolitan Museum of Art Bulletin 48, no. 2 (1990): 54. http://dx.doi.org/10.2307/3258955.
Full text
50
Moore, J. Kenneth. "Musical Instruments." Metropolitan Museum of Art Bulletin 47, no. 2 (1989): 48. http://dx.doi.org/10.2307/3259899.
Full text