Journal articles on the topic 'Violin expression'
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1
Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (December 13, 2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.
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The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
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Rice, Hugh Collins. "SERIAL EXPRESSION IN SCHOENBERG'S VIOLIN CONCERTO, OP. 36." Tempo 63, no. 247 (January 2009): 38–44. http://dx.doi.org/10.1017/s0040298209000047.
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This article is, in many ways, a direct response to the more or less simultaneous publication of Alex Ross's The Rest is Noise and the release of Hilary Hahn's recording of the Schoenberg Violin Concerto.
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Helbing, Volker. "Konzert als Groteske — Anmerkungen zum ersten Satz des Violinkonzerts." Studia Musicologica 57, no. 1-2 (June 2016): 139–60. http://dx.doi.org/10.1556/6.2016.57.1-2.10.
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The grotesque and the theatrical, as essential facets of Ligeti’s oeuvre, become more evident in his Violin Concerto than in most of his works from the 1980s. The analysis shows how these facets find expression on different levels of the composition — from the harmonic and rhythmic pre-settings over the compositional detail to the individual interpretation of the Violin Concerto as a genre and the formal dramaturgy.
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Lysychka, Oleksandr. "INTROSPECTION AS A SIGN OF LYRICALLY-DRAMATIC GENRE TYPE IN E. ELGAR’S VIOLIN CONCERTO." Aspects of Historical Musicology 25, no. 25 (December 31, 2021): 57–86. http://dx.doi.org/10.34064/khnum2-25.03.
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Statement of the problem. Edward Elgar’s instrumental concertos occupy the special place in European music. Most of the violin concertos of Romantic composers were written before E. Elgar created his own (1910); the concertos by J. Sibelius (1904) and M. Reger (1908) are closest to this work in time, and Elgar’s Concerto almost coincides with the chronology of K. Nielsen’s Violin Concerto (1911), which has already been, however, significantly influenced by neoclassical aesthetics. In five years, K. Szymanowski’s First Violin Concerto (1916) will appear, rejecting the romantic way of expression, and later a new “era” in the development of this genre will begin. Elgar’s Violin Concerto (1910), the first of his two instrumental concerts, is another step of the composer on the way to mastering various musical genres, the accumulation of new creative ideas. In a number of parameters, the work is closer to the First Symphony, becoming almost a doppelganger of it but with a solo violin, an instrument played by the composer himself. Thus, the study of the Concerto is relevant, at least, in three aspects: in the analysis of the creative evolution of the composer, for understanding his attitude to the concert genre, and for revealing the meaning of the composer’s self-expression. Consideration of the work in the aspect of the latter – identifying features of introspection in the music of the Violin Concerto as part of its genre structure – is the purpose of this study, which is the first attempt of its kind. Conclusions. Elgar’s Violin concerto follows the tradition of lyricallydramatic type of symphonism, which the composer employed in his First symphony written shortly before the Concerto. It can be seen both in thematically-intonational content and in special features of dramaturgy and composition (“throughout” themes, large duration, conflict dramaturgy). The genre of instrumental concerto suggests additional dimension of the work, relation between solo and orchestral parts, and in this case the composer maintains a balance in such things as distribution of themes and their development and interpretation of soloist’s part. The introspective character of the Violin concerto is most obvious in its Cadenza – the most significant episode for this genre – due to its significant length, the lyrical way of expression, reminiscences and derivative themes, the rejection of a clear metrorhythmic organization that allows the perception of Cadenza as a stop in time for lyrical reflection. Other aspects of introspectiveness include the predominance of lyrical themes, a large number of fragments with quiet dynamics and the genre’s predicted concentration of attention on the soloist, although the composer retains balance between solo and orchestral parts.
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Glowacka-Pitet, Danuta. "Music and its performance like a vehicle of expression and communication." Comunicar 12, no. 23 (October 1, 2004): 57–60. http://dx.doi.org/10.3916/c23-2004-10.
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Through the practice experience as violin´s performer, in this paper the author shows the communicative intention of music and emphasizes the expressive and emotional feelings that musicians feel and perceive through the music they perform, transmitting their sensations to the audience. With a very personal vision, she shows how the communicative function of performers has always existed along the history of music, and she remembers the most representative figures of all times, as performers and as expressive creators. A través de la experiencia práctica como intérprete del violín, la autora plasma en este artículo la intención comunicativa de la música y destaca los valores emocionales y expresivos que los músicos sienten y perciben a través de la música que interpretan, proyectando sus sensaciones al oyente. Con una visión muy personal, muestra cómo la función comunicadora de los intérpretes ha existido siempre a lo largo de la historia de la música, y recuerda las figuras más representativas de todos los tiempos que desempeñaron su actividad como intérpretes-comunicadores y como creadores-expresivos.
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Ревуцький, А. Я., and О. П. Гужва. "Melody of S. Prokofiev as the main feature of his style (on the examples of Concerts No. 1 and No. 2 for violin and orchestra)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 61–75. http://dx.doi.org/10.33287/22195.
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The purpose of the article is to analyze the violin concertos No. 1and No. 2, to find and explore the characteristic signs of S. Prokofievʼsmelody, lyrics, cantilenas, and ways of its construction. One of the taskswill be to discover their differences, using the example of concerts to showthe evolution of melody development by S. Prokofiev. Find thecharacteristics of his melody with works that were created in the same timeinterval along with the violin concertos. The methods are based on a comprehensive analysis of violin concertos; the historical and structurallyanalytical methods are used to track the evolution of the melody ofS. Prokofiev. Scientific novelty claims relevance because, unfortunately,very little attention is paid to the unique lyrics of Prokofiev, which standsout very clearly among other composers. Therefore, the study of thecharacteristics of the canted melody reveals the melodic style in itsmainstream. Especially since it is the cantilena that contains the mostimportant artistic discoveries of the composer in the field of melody, this iswhere the peculiarity of his melodic thinking manifested itself.Conclusions. Prokofiev was one of the first composers of the twentiethcentury, who brought the violin art back to its natural, for centuries acertain lyrical-emotional direction. The violin in his works appears mostoften in the role of „actorˮ, who predominantly distinctly „singsˮ. Thisfeature is inextricably linked with the lyrical direction – very strong in allProkofievʼs works. The lyrical direction, we can assume, dominatesProkofievʼs entire violin heritage. His innovation in the field of updatingthe melody from the inside consisted in updating its imaginative,intonational, mode. Over the years, the Prokofievʼs violin style haschanged, reflecting the general evolution of its artistic and aestheticprinciples. The last period of his work was marked by the desire forsimplicity, clarity of musical thinking, and hence to even greater modesty,transparent texture, and wise savings in the means of expression.
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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.
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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.
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Tulyantsev, Andrey. "Harry Logwin as a symbol of the violin Dnepropetrovsk region." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 16–24. http://dx.doi.org/10.33287/222030.
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The purpose of the article is to study the creative person of Harry Logvin. He is the only Peopleʼs Artist of Ukraine, as a violinist, who lived and worked in our region. Garry Logvin was concertmaster of the Dnepropetrovsk Opera and Ballet Theater, teacher, co-founder of the private new chamber orchestra «Seasons». The scientific novelty of this article has the following vectors: approved the concept „accompanist of the orchestra of the Dnepropetrovsk Opera and Ballet Theater”, a study is being made of the relationship between internal and external form and how the master performed works for violin solo in the Dnepropetrovsk private chamber orchestra „Seasons”, in the vector about the pedagogical heritage of the teacher Garry Logvin, the structural periodization of the masterʼs performing heritage is being done, which is inseparably united with the evolution of the expressive means of the repertoire for orchestral works. To achieve the goal and solve the assigned tasks, the following research methods were used: historiographic – articles are analyzed where the facts of the violinistʼs creative biography are recorded; systemic – the author analyzes the art of violin in the Dnipropetrovsk region as a system of genres, which has a specific structure – an opera and ballet theater, violin pedagogy, a private chamber orchestra. Conclusions. The features of Harry Logvinʼs violin art are concentrated into amazing expression. They had their own specifics in multi-genre performances of the Dnepropetrovsk Opera and Ballet Theater, concerts of the private chamber orchestra „Seasons”. Sound is a means of expression, a part of the orchestral play being reproduced. The dramatic, technical, emotional, informational aspects of sounding had their own plots. The art of Harry Logvin is of great importance for the popularization of classical music in the Dnipropetrovsk region.
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Chamczyk, Ewa. "Duels in Sound: Pietro Antonio Locatelli vs Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 69–102. http://dx.doi.org/10.4467/23537094kmmuj.20.043.13916.
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The tradition of musical duels harkens back to the days of ancient Greece. One of the earliest examples of musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the tournaments of the ancients served as an inspiration for later generations of musicians. In each epoch they took a different form, tailored to the current norms and customs. In the sixteenth century the singing contests of the Meistersingers became extremely popular. With the development of instrumental music in the seventeenth century, duels, in which the main subject of the dispute was the superiority of one of the performers in terms of interpretation and mastery of playing a given instrument, were increasingly growing in importance. The eighteenth century, in which public concert life flourished and demand for virtuoso instrumentalists consequently grew, brought a genuine boom in musical duels. During that era, musical duels were not only confrontations between individual musicians or their patrons, but also important contributions to the exchange of experiences between artists, the spread of musical novelties and dissemination of the works themselves. Additionally, such ‘battles’ symbolised a confrontation of musical styles, in particular the Italian and the French one. Jean-Marie Leclair, known as the French Corelli, is considered by many researchers as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli, is justifiably considered as the Paganini of the eighteenth century. Despite shared roots in the Italian violin school, their music differs in both form and expression. At first glance, Locatelli’s typically Italian music goes far beyond the previously accepted norms as far as demands placed on the violinists are concerned, whereas Leclair’s French music bears the mark of Antonio Vivaldi’s models set in the latter’s violin concertos. We know that the first confrontation of the violinists took place on 22 December 1728 at Kassel court. Some authors speculate that it was not the only meeting of these two musicians. The surviving accounts suggest that both of them stirred strong emotions among the audiences with their playing. Despite their enormous importance for the development of violin music, both composers remain underrated. This article briefly outlines the history of musical duels and sheds light on the practice of violin performances in the first half of the eighteenth century. Additionally, I have attempted a comparative analysis of selected violin concerts, namely: Locatelli’s Violin Concerto in G major Op. 3 No. 9 and Violin Concerto in A minor Op. 7 No. 5 by Jean-Marie Leclair. These two come from a similar period in the work of both composers and are close in time of composition to the famous duel.
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Kudashova, V. A. "VIOLIN SOUND IMAGE AND NEW COMPOSITIONAL WRITING TECHNIQUES OF THE SECOND HALF OF THE XXTH CENTURY." Arts education and science 2, no. 31 (2022): 49–56. http://dx.doi.org/10.36871/hon.202202007.
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The expansion of the sound image of violin music in the second half of the XXth century is largely due to the emergence of new compositional writing techniques. The spirit of experimentation, the pathos of finding ways to embody original artistic ideas significantly influenced the composers' attitude to the "sound" and image of the instrument. The authors adapt the writing technique and the acoustic and expressive possibilities of the violin to the content and concept of their compositions. In sonoristic, minimalistic, aleatoric compositions, the creation of a new musical reality encourages the authors to measure the boundaries of sound and penetrate into its internal structure. It ceases to be only instructive material for composer and performer, acquiring an autonomous semantic role. In this regard, the violin sound device is ideal for experiments in the direction of expanding the timbre acoustic capabilities of the instrument. Traditional instrumental techniques and performing means of expression are being adjusted. The searches for the liberation of sound from the regulations of pitch, rhythm, form, and so on become productive. Such an interpretation of the instrument subordinates the sound to the creator's will, equalizing the rights of the composer and the performer. It opens up unlimited ways to implement individual ideas, expanding the range of artistic possibilities of the sound image of the violin in the works of Western and Russian composers of the second half of the XXth century. This process has been little studied in modern musicology, so its present study acquires a particular relevance and novelty.
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Brook, Taylor. "Ascending Music: Meaning and Expression in the Chamber Music of Brian Cherney." Overviews 37, no. 1 (May 17, 2019): 83–98. http://dx.doi.org/10.7202/1059888ar.
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This article investigates the musical language of Brian Cherney, applying the idea of musical topics as a strategy for analyzing the extramusical content of his music. The idea of musical topics, traditionally applied to works from the classical era, is expanded with a collection of topics that are specific to Cherney’s work. Focusing on a set of chamber pieces from throughout Cherney’s compositional output beginning in the 1960s, this article focuses particularly on the topic of “ascending music,” tracing its musical and expressive meaning through these chamber works. The article concludes with a topic-based analysis ofGan Eden,a 1983 piece for violin and piano, providing an example of how topics coexist and interact within a single composition.
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Melnyk, A. O. "Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 102–15. http://dx.doi.org/10.34064/khnum2-17.07.
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Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors ‒ V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.
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Kendall, Roger A., and Edward C. Carterette. "The Communication of Musical Expression." Music Perception 8, no. 2 (1990): 129–63. http://dx.doi.org/10.2307/40285493.
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This study focuses on the performer-listener link of the chain of musical communication. Using different perceptual methods (categorization, matching, and rating), as well as acoustical analyses of timing and amplitude, we found that both musicians and nonmusicians could discern among the levels of expressive intent of violin, trumpet, clarinet, oboe, and piano performers. Time-contour profiles showed distinct signatures between instruments and across expressive levels, which affords a basis for perceptual discrimination. For example, for "appropriate" expressive performances, a gradual lengthening of successive durations leads to the cadence. Although synthesized versions based on performance timings led to less response accuracy than did the complete natural performance, evidence suggests that timing may be more salient as a perceptual cue than amplitude. We outline a metabolic communication theory of musical expression that is based on a system of sequences of states, and changes of state, which fill gaps of inexorable time. We assume that musical states have a flexible, topologically deformable nature. Our conception allows for hierarchies and structure in active music processing that static generative grammars do not. This theory is supported by the data, in which patterns of timings and amplitudes differed among and between instruments and levels of expression.
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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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ANASTASIU, Alexandru, and Ioana TURCU. "Performing J. S. Bach’s D minor Chaconne on Vibraphone." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 14 (63), no. 1 (2021): 7–16. http://dx.doi.org/10.31926/but.pa.2021.14.63.1.1.
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The purpose of this study is to highlight the technical aspects and details in performing Bach’s Chaconne from the second Partita for solo violin on vibraphone. Many transcriptions of this work have been made, but so far none for the vibraphone. Topics related to producing the baroque sound on vibraphone, means of expression on this instrument and specific aspects of performance are analyzed and presented. An analysis of this monumental work depicts the structure and the development of the variation set. The performance semantic in Bach creation is revealed in order to help the artist to understand the means of expression for this work.
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Serdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.
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Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of gender equality is quite acute in contemporary public discourse. The indicated tendencies determine the interest of many musicians and listeners in the work of women-composers (for example, recently, the creativity by Clara Schumann attracts the attention of performers all over the world, in particular, in Ukraine the International Music Festival “Kharkiv Assemblies” – 2018 was dedicated to her works). The theme of the proposed work is also a response to the noted trends in performing practice and musicology discourse. For the first time in domestic musicology an attempt is made to give a brief overview of the life and career of another talented woman, whose name is little known in the post-Soviet space. This is a Swedish violinist, composer and pianist Amanda Röntgen-Maier (1853–1894), a graduate of the Stockholm Royal College of Music and the Leipzig Conservatory, a contemporary of Clara Schumann, J. Brahms, E. Grieg, with whom she and her husband – composer, pianist, conductor Julius Röntgen – were associated for enough long time by creative and friendly relationships. In the post-Soviet space, not a single work has been published that would be dedicated to the works of A. Maier. In European and American musicology, the composer’s personality and creative heritage is also not widely studied. Her name is only occasionally mentioned in works examining the musical culture and, in particular, the performing arts of Sweden at that time (Jönsson, Å., 1995, 151–156; Karlsson, Å., 1994, 38–43; Lundholm, L., 1992, 14–15; Löndahl, T., 1994; Öhrström, E., 1987, 1995). The aim of the proposed study is to characterize Amanda Meier’s creative heritage in the context of European romanticism. Research results. Based on the available sources, we summarized the basic information about the life and career of A. Maier. Carolina Amanda Erica Maier (married Röntgen-Maier ) was born on February 20, 1853 in Landskrona. She received the first music lessons from his father, Karl Edward Mayer, a native of Germany (from Württemberg), who worked as a confectioner in Landskrona, but also studied music, in particular, in 1852 he received a diploma of “music director” in Stockholm and had regular contracts. In 1869, Amanda entered to the Kungliga Musikaliska akademien (Royal College of Music) in Stockholm. There she learns to play several instruments at once: the violin, cello, piano, organ, and also studies history, music theory and musical aesthetics. A. Maier graduated from Royal College successfully and became the first woman who received the title of “Musik Direktor”. The final concert, which took place in April 1873, included the performance of the program on the violin and on the organ and also A. Maier’s own work – the Romance for Violin. In the spring of 1874, Amanda received the grant from the Royal College for further studies at the Leipzig Conservatory. Here, Engelbert Röntgen, the accompanist of the glorious orchestra Gewandhaus, becomes her teacher on the violin, and she studies harmony and composition under the guidance of Karl Heinrich Karsten Reinecke and Ernst Friedrich Richter. Education in Leipzig lasts from 1874 to 1876. In the summer and autumn of 1875, A. Maier returns to Landskron, where she writes the first major work – the Concerto for violin and orchestra in one-movement, D minor, which was performed twice: in December 1875 in Halle and in February 1876 with the Gewandhaus Orchestra under the direction of K. Reinecke. The further career of A. Maier, both performing and composing, developed very successfully. She made several major concert trips between 1876 and 1880: to Sweden and Norway, to Finland and St. Petersburg; she also played to the Swedish king Oscar II (1876); concerts were held with constant success. While studying in Leipzig, A. Maier met her future husband (the son of her violin teacher) Julius Röntgen, composer and conductor. They married 1880 in Landskrona. Their personal relationships included active creative communication, both playing music together, and exchanging musical ideas, getting to know each other’s works. Part of his chamber opuses, for example, the cycle of Swedish folk dances, A. Maier created in collaboration with her husband. An analogy with life of Robert and Clara Schumann may take place here, although the Röntgen spouses did not have to endure such dramatic collisions that fell to the lot of the first. After the wedding, Röntgen family moved to Amsterdam, where Julius Röntgen soon occupies senior positions in several music organizations. On the contrary, the concert and composing activities of A. Maier go to the decline. This was due both, to the birth of two sons, and to a significant deterioration in her health. Nevertheless, she maintains her violin skills at the proper level and actively participates in performances in music salons, which the family arranges at home. The guests of these meetings were, in particular, J. Brahms, K. Schumann, E. Grieg with his wife and A. Rubinstein. The last years of A. Maier’s life were connected with Nice, Davos and Norway. In the fall of 1888 she was in Nice with the goal of treating the lungs, communicating there with her friends Heinrich and Elizabeth Herzogenberg. With the latter, they played Brahms violin sonatas, and the next (1889) year A. Maier played the same pieces with Clara Schumann. Amanda Maier spent the autumn of 1889 under the supervision of doctors in Davos, and the winter – in Nice. In 1890, she returned to Amsterdam. His last major work dates back to 1891 – the Piano Quartet in D minor. During the last three years of her life, she visited Denmark, Sweden and Norway, where she performed, among other, her husband’s works, for example, the suite “From Jotunheim”. In the summer of 1889, A. Maier took part in concerts at the Nirgaard Castle in Denmark. In 1894, she returned to Amsterdam again. Her health seems stable, a few hours before her death she was conducting classes with her sons. A. Maier died July 15, 1894. The works of A. Maier, published during the life of the composer, include the following: Sonata in H minor (1878); 6 Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891). Still unprinted are the following works: Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. The composer style of A. Mayer incorporates the characteristic features of the Romantic era, in particular, the Leipzig school. Lyric elements prevail in her works, although the composer is not alien to dramatic, heroic, epic images (the Piano Quartet E minor, some pieces from the Six Songs for Violin and Piano series). In the embodiment of such a circle of images, parallels with the musical style of the works of J. Brahms are quite clearly traced. In constructing thematic structures, A. Maier relies on the melody of the Schubert-Mendelssohn type. The compositional solutions are defined mainly by the classical principles of forming, which resembles the works of F. Mendelssohn, the late chamber compositions of R. Schumann, where the lyrical expression gets a clear, complete form. The harmonic language of the works of A. Maier gravitates toward classical functionality rather than the uncertainty, instability and colorfulness inherent in the harmony of F. Liszt, R. Wagner and their followers. The main instrument, for which most of the opuses by A. Maier was created, the violin, is interpreted in various ways: it appears both, in the lyrical and the virtuoso roles. The piano texture of chamber compositions by A. Maier is quite developed and rich; the composer clearly gravitates towards the equality of all parties in an ensemble. At the same time, piano techniques are reminiscent of texture formulas by F. Mendelssohn and J. Brahms. Finally, in A. Mayer’s works manifest themself such characteristic of European romanticism, as attraction to folklore, a reliance on folk song sources. Conclusions. Periods in the history of music seemed already well studied, hide many more composer names and works, which are worthy of the attention of performers, musicologists and listeners. A. Mayer’s creativity, despite the lack of pronounced innovation, has an independent artistic value and, at the same time, is one of such musical phenomena that help to compile a more complete picture of the development of musical art in the XIX century and gain a deeper understanding of the musical culture of this period. The prospect of further development of the topic of this essay should be a more detailed study of the creative heritage of A. Maier in the context of European musical Romanticism.
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Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (March 7, 2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.
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What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for children?” and “Can musical expression be taught to children?” Data were collected through interviews with teachers and students, observations of lessons with children, and archival materials about each teacher’s studio practice. Transcripts of interviews, artifacts, and observed lessons were analyzed through emergent category coding and axial coding, using member checking and negative case analysis. Findings are discussed in relation to extant literature. Implications for teacher training and future research are explored.
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Prip, Emanuela-Fabiola. "Valentin Timaru – The Concerto for Violin and Orchestra. The Ratio of Combining Formal Principles within the Genre." Artes. Journal of Musicology 21, no. 1 (March 1, 2020): 96–106. http://dx.doi.org/10.2478/ajm-2020-0006.
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AbstractThe Concerto for Violin and Orchestra (1976) uses aesthetic and stylistic features often found in Valentin Timaru’s compositions: the Romanian musical-folkloric expression, the modal-diatonic and the modal-chromatic language, the free chromaticism, the improvisational nature, the musical articulations with generative purpose, the cyclic thinking and structuring, the preoccupation with the musical form, the proportion and the alternance of the forms used within the genre, as well as the juxtaposition of different formal principles in one part. The four constitutive movements (Lamento, Melopoeia, Variations, and Epilogue) are connected through the thematic interdependence (parts I and IV), the abandonment of the classical formal structure (the sonata form) and the attacca connections.
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Ioniță, Raluca Dobre. "The Second Sonata for Piano and Violin, Ópus 6 by George Enescu." Review of Artistic Education 21, no. 1 (June 1, 2021): 149–56. http://dx.doi.org/10.2478/rae-2021-0018.
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Abstract The second Sonata for Piano and Violin, op. 6 by George Enescu marks the beginning of a long road of assimilation and synthesis of the Romanian folklore elements and of the way of expression“in Romanian popular character”, transposed on the characteristics of the universal language. Without knowing the authentic folk art from a scientific point of view, Enescu was deeply influenced, shaping his entire artistic personality. He consciously assimilated popular music by generalizing some essential folkloric principles, which he later organized in a personal vision. The innovative elements of the Enescian musical language are transposed in the free rhythm, the heterophonic construction, the complexity and subtleties of dynamics and agogics, the timbre color, as well as in the synthesis between freedom and rigor in the creative and interpretive act.
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Rose, Jon. "Bow Wow: The Interactive Violin Bow and Improvised Music, A Personal Perspective." Leonardo Music Journal 20 (December 2010): 57–66. http://dx.doi.org/10.1162/lmj_a_00013.
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Bowed string music has always existed as an aural culture with improvisation considered as a prime focus of expression. It is the author's strong belief that experimentation is the natural state of all string music. This paper concentrates on recent history: bows that have incorporated interactive sensor technology. The central narrative deals with the author's own experiments and experience at STEIM since 1987. How reliable and practical is this technology? Are the results worth the trouble? Are there new modes of improvising only possible with an interactive bow?
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Rakochi, Vadym. "TIMBRAL ALTERNATIONS IN TCHAIKOVSKY’S VIOLIN CONCERTO AS A MULTIFUNCTIONAL SYSTEM." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 257–61. http://dx.doi.org/10.32461/2226-3209.2.2021.240077.
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The purpose of the article is to consider the alternations in Tchaikovsky’s Violin Concerto as a multifunctional system. The methodology includes score analysis as a way to determine the functions of different instruments in the Concerto and variants of their interaction; stylistic analysis is applied in order to highlight the specific features of the presentation in the orchestra of Tchaikovsky; comparative method allows us to compare the features of the orchestra in different concertos of other composers. The scientific novelty lies in the interpretation of the alternations in the Violin Concerto as an interconnected system with multifaceted influence. This paper aims to examine timbral alternations in the Concerto. On the first layer, there are alternations as a means to expose musical material: the change of timbre becomes an impetus to deploy the theme. On the second layer, there are alternations as a means of expression: a lyrical mood receives a touch of joy, a dramatic component strength, the foreground/background comparisons give a three-dimensional effect. On the third level, the alternations have form-defining function. They mark the end of a section when thematically different but emotionally identical material appears; recall the ‘remote alternations’ (tutti – tutti frame the development in the first movement). On the fourth layer, the alternations reflect Tchaikovsky’s style: his reliance on the strings’ timbers, particular attention to woodwind instruments and the horn, and a number of ‘in-the-orchestra’ soloists. Conclusions. The alternations enhance the concertizing effect, enforce the timbre and texture contrasts, add particular dynamization, and contribute to the active involvement of the orchestra in a development process by making the interaction between the soloist and the orchestra, and within the orchestra itself, much more expressive. Such a diversity of alternations creates a multifunctional system that became a distinctive feature of the Concerto.
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Nidecka, Ewa. "Piano concerto no. 1 by Andrzej Nikodemowicz – a hidden desire for freedom." Notes Muzyczny 1, no. 9 (June 20, 2018): 123–59. http://dx.doi.org/10.5604/01.3001.0012.9902.
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Piano concerto no. 1 (1994) by Andrzej Nikodemowicz (1925-2017) is among seven piano concertos written by the composer. Its first version is the Violin concerto created in 1973. Because of the difficult violin part, the composer remade the composition for the piano. The first performance of the Piano concerto no. 1 took place in 1998 in Lviv. While writing the piece, Andrzej Nikodemowicz was persecuted by the Soviet authorities in Lviv for his religious views, that is why the piece expresses his hidden desire for creative freedom. It remains close to expressionist tradition influenced by Scriabin and his idea of “unhindered power of artistic creation” and “apotheosis of the freedom of creative spirit” . The proof for the expressionist origin of Piano concerto no. 1 are the lack of melodic lines, significant dispersion of sound material, loosened rhythmic relationships, lack of tonal centralisation (full atonalism) and a special kind of musical material formation that places the tension layer on extremely different poles: from arhythmic, muffled, slowed, veiled and dreamlike, to a cascade of scattered tones and harmonies preferring sharp, extensive dissonances, passages which are maximally dense in terms of rhythm and divergent, leading to an explosion of drama. The shape of the piano part indicates a clear analogy to an expressionist character – alienated, contradicted and conflicted with the world, experiencing loneliness and suffering. Piano concerto no. 1 by Andrzej Nikodemowicz was also influenced by other 20th century composers, such as B. Bartók and I. Stravinsky (new kind of expression manifested e.g. in impulsive rhythm) and W. Lutosławski (aleatorism).
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Vișenescu, Oana Iuliana. "14. The Violin in L’histoire Du Soldat – A Metaphor of the Soul." Review of Artistic Education 21, no. 1 (June 1, 2021): 113–21. http://dx.doi.org/10.2478/rae-2021-0014.
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Abstract From 1909, Stravinsky manifested a keen interest in composing theatre music, as proves the many and various dedicated scores. Almost all of his large works, from the ballet The Firebird (1909-10) to the one-act opera buffa Mavra (1921-22), are written for the stage. Stravinsky thus worked most of the time with scenic presentations, with questions on movement, dance, gestures or scenic tableaus. He develops a particular theatrical instinct: his works have a good scenic orientation, and the correlation with modernism and the new currents in theatre aesthetics is more than obvious. Critics have already analysed and discussed the parallels with such contemporary theatrical concepts as by Bertold Brecht (1898-1956) or Vsevolod Meyerhold (1874-1940). After three great ballets, whose new conception by Stravinsky and Sergei Diaghilev (1872-1929) brought about a fundamental revolution in dance aesthetics, the composer crystallises his notion of incidental music. The aesthetics of L’Histoire du soldat, a work “to be read, played and danced”, is opposed to that of Richard Wagner (1813-83) and his Gesamtkunstwerk (a work blending various arts, a total work of art): a new artistic idea, frozen in gesture and movement, compressed, finding its concentrated expression. Stravinsky establishes a brilliant draft of the issues of Opera, to which he would from now on dedicate himself. Stravinsky’s theatre music reveals a tendency to introduce new concepts in the works written between Sacre du printemps and Pulcinella. A quick look at his stage works before and after L’histoire is necessary in order to fit it in his artistic view.
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Kurtbedinova, L. T. "STYLE FEATURES OF A CHAMBER-INSTRUMENTAL MUSIC MALZY HALITOVA BY THE EXAMPLE OF TRIO “IN THE RHYTHM OF PINK TONES” FOR VIOLIN, TROMBON AND PIANO." EurasianUnionScientists 6, no. 4(73) (May 12, 2020): 15–18. http://dx.doi.org/10.31618/esu.2413-9335.2020.6.73.689.
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In the musical creativity of composers of the XXI century, the issue of interaction of various national musical cultures remains relevant. The article discusses the features of the creative style of the Crimean Tatar composer Merzie Khalitova on the example of chamber and instrumental creativity. The analysis of the trio "in the rhythm of pink tones" for violin, trombone and piano, from the point of view of the interaction of national musical traditions and European musical thinking, is presented. The analysis of the work represents the characteristic trends in the development of chamber and instrumental music of the beginning of the XXI century. Means of musical expression aimed at revealing figurative semantics are also indicated. In each of his works, the composer finds an individual solution for the synthesis of folk elements and modern musical intonation means. It is possible to distinguish the ornamental melody and patterned rhythmics, which are variously reproduced by the composer, as the national basis of Merzie Khalitova's works.
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Geringer, John M., and Clifford K. Madsen. "Musicians' Ratings of Good versus Bad Vocal and String Performances." Journal of Research in Music Education 46, no. 4 (December 1998): 522–34. http://dx.doi.org/10.2307/3345348.
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This study continues a line of research attempting to ascertain the focus of musicians' attention when listening to music. It is the fifth study in a series structured to determine whether musicians demonstrate consistent listening patterns across excerpts intentionally designed to be perceived as good and bad performances. Soprano, tenor, violin, and cello excerpts varied considerably in intonation and tone quality and, to a lesser extent, in other performance aspects. In this study, 48 music students were asked to rate excerpts on traditional performance evaluation rating scales (phrasing/expression, intonation, rhythm, dynamics, tone quality) and give an overall rating. Results indicated that musician listeners consistently discriminated between the good and bad performances across all rating scales. Intonation was identified as the element most in need of improvement in performances. Significant differences were found also between the four timbres and the accompaniment conditions. Results of acoustical analyses that portray a variety of differences in the performances are discussed in relation to listener ratings.
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Dedusenko, Zhanna. "Features of the embodiment of the genre of sonata for violin and piano in the works by Gabriel Fauré (on the example of Sonata № 2, in E Minor, op. 108)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 157–70. http://dx.doi.org/10.34064/khnum1-59.11.
Full textAbstract:
Background. The article reveals the genre-style, form-building and dramatic features of G. Fauré’s Sonata No. 2, in E Minor, op. 108. It is determined that this work, in contrast to his first sonata in A Major op. 13, written in the early period of the composer’s life and embodying romantic elation and inspiration, belongs to the late period of G. Fauré’s work, which is distinguished by a complex harmonic and polyphonic writing, sophisticated form and dramatic content characteristic of the early 20th century music and the First World War. The purpose of this article is a characteristic of genre-stylistic and compositional-dramaturgical features of G. Fauré’s Sonata for violin and piano № 2, in E Minor, op. 108. Results. The Second Violin Sonata by G. Fauré, in contrast to the First, has a different dramaturgy and is built on the principle of dramatic antithesis. A special place – and this brings its logical patterns closer to Beethoven’s – is given to the sonata allegro of the first movement, the excitement and explosiveness of which contrasts not only with the lyrical Andante of the second one, in A Major, but also with the enlightened and carefree Allegro non troppo of the finale in E Major. The logic of the formation in the first movement is associated with the originality of the passage of musical events and has a spiral structure consisting of five turns. The musical image of the second movement’s theme is interesting, as it is born from the conjugation of several voices, combining the features of rhythmic variability. This gives the theme a special, truly French charm. There are several dynamic build-ups in the second movement throughout Andante, which shows the implementation of the wave dramaturgy principle. Rondo shows the freshness of musical colors and spontaneity of expression. The last refrain of this part is especially interesting from the dramatic, thematic and ensemble points of view. The general culmination of the Sonata takes place in the refrain. It includes the main intonational ideas and serves as a generalization of the key events of the composition. At the highest climax of Rondo the main and secondary themes from the first movement of the Sonata appear. Thus, the idea of concentric circles, which was noted in the sonata allegro, is implemented in the finale of the Rondo. Conclusion. The analysis of the Second Violin Sonata by G. Fauré allows us to speak not only about a special implementation of the form in this work, but, in comparison with the First Sonata, about a great variety of ensemble writing, marked by the polyphonization of texture. The timbre contrast of the violin and piano allows the composer to set off the emerging replicas, arrange them in different sound spaces, which may resemble the organ register. The loss of any “character” by the members of the ensemble is most consistently traced in the sonata allegro. Another regularity can be traced in the reduction of the background, which is supplanted by the thematization of the texture. This is emphasized by the frequent change of role-playing functions of the instruments and the multitude of ensemble details that ensure the mobility of the musical texture and its multidimensionality. In this Sonata G. Fauré shows a special sensitivity to the harmonic component of the musical language. This search for expressive possibilities of harmony subsequently becomes a distinctive feature of the modern French musical language, which affects the sound image of a chamber ensemble, leading to the interpretation of chamberness as a refined variability of sensations.
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Zhang, Hao, Zijian Kang, Haiyi Gong, Da Xu, Jing Wang, Zhixiu Li, Zifu Li, et al. "Digestive system is a potential route of COVID-19: an analysis of single-cell coexpression pattern of key proteins in viral entry process." Gut 69, no. 6 (April 2, 2020): 1010–18. http://dx.doi.org/10.1136/gutjnl-2020-320953.
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ObjectiveSince December 2019, a newly identified coronavirus (severe acute respiratory syndrome coronavirus (SARS-CoV-2)) has caused outbreaks of pneumonia in Wuhan, China. SARS-CoV-2 enters host cells via cell receptor ACE II (ACE2) and the transmembrane serine protease 2 (TMPRSS2). In order to identify possible prime target cells of SARS-CoV-2 by comprehensive dissection of ACE2 and TMPRSS2 coexpression pattern in different cell types, five datasets with single-cell transcriptomes of lung, oesophagus, gastric mucosa, ileum and colon were analysed.DesignFive datasets were searched, separately integrated and analysed. Violin plot was used to show the distribution of differentially expressed genes for different clusters. The ACE2-expressing and TMPRRSS2-expressing cells were highlighted and dissected to characterise the composition and proportion.ResultsCell types in each dataset were identified by known markers. ACE2 and TMPRSS2 were not only coexpressed in lung AT2 cells and oesophageal upper epithelial and gland cells but also highly expressed in absorptive enterocytes from the ileum and colon. Additionally, among all the coexpressing cells in the normal digestive system and lung, the expression of ACE2 was relatively highly expressed in the ileum and colon.ConclusionThis study provides the evidence of the potential route of SARS-CoV-2 in the digestive system along with the respiratory tract based on single-cell transcriptomic analysis. This finding may have a significant impact on health policy setting regarding the prevention of SARS-CoV-2 infection. Our study also demonstrates a novel method to identify the prime cell types of a virus by the coexpression pattern analysis of single-cell sequencing data.
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Hu, Kejin. "Become Competent within One Day in Generating Boxplots and Violin Plots for a Novice without Prior R Experience." Methods and Protocols 3, no. 4 (September 23, 2020): 64. http://dx.doi.org/10.3390/mps3040064.
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The boxplot is a powerful visualization tool of sampled continuous data sets because of its rich information delivered, compact size, and effective visual expression. The advantage of boxplots is not widely appreciated. Many top journals suggest that boxplots should be used in place of bar charts, but have been wrongly replaced by bar charts. One technical barrier to the usage of boxplots in reporting quantitative data is that bench scientists are not competent in generating boxplots, and are afraid of R, a programming tool. This tutorial provides an effective training material in that even a novice without prior R experience can become competent, within one day, in generating professional boxplots. The available R scripts for boxplots are very limited in scope and are aimed at specialists, and the bench scientists have difficulty in following these scripts. This tutorial provides extensive step-by-step R scripts and instructions, as well as 29 illustrations for customizing every detail of the boxplot structures. Basic R commands and concepts are introduced for users without prior R experiences, which can be skipped by audiences with R knowledge. Violin plots are the enhanced version of boxplots, and therefore, this tutorial also provides a brief introduction and usage of the R package vioplot with one additional illustration. While the protocol is prepared for the newbies and trainees it will be a handy tool for infrequent users, and may benefit the experienced users as well since it provides scripts for customizing every detail of boxplots.
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Cvejić, Žarko. "From men to machines and back: Automata and the reception of virtuosity in European instrumental art music, c.1815-c.1850." New Sound, no. 48-2 (2016): 65–80. http://dx.doi.org/10.5937/newso1648065c.
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In most histories of Western music, the 1830s and 40s are typically described as "the age/era of virtuosity and/or virtuosi". Indeed, major contemporary sources, including leading musical journals of the time, teem with reports on the latest exploits of Liszt and his rivals and in much of this body of criticism, piano and violin virtuosi were commonly celebrated for pushing the limits of humanly conceivable excellence in musical performance. However, a significant number of these critical responses were also negative, critiquing individual virtuosi for playing not like humans, but like automata. My claim in this article, documented with a detailed perusal of contemporary music criticism, is that this line of anti-virtuosic critique was part of the larger 19th-century suspicion of virtuosity as super but also, perhaps, non-humanly accomplished, automatic technique, devoid of all emotion, expression, that is, of human presence and content. Also, I propose to interpret this line of criticism with reference to the even broader 19th-century anxiety over the issue of human subjectivity, that is, its freedom, evident not only in contemporary philosophy (Schelling, Schopenhauer, Novalis, etc.), but also in literature. Such narratives and, as I argue in this paper, much of contemporary criticism of virtuosity were shaped by the uncanny feeling that the human subject, too, like automata and "automatic" virtuosi, may not be free, contrary to the Enlightenment view of the human subject in Rousseau, Kant, and others, but actually under the power of mechanisms beyond itself, operating automatically and not of its own accord. In contemporary criticism of virtuosity, the elusive notions of expression, expressivity, expressive playing and the like, which were deliberately kept under-explained, were then marshalled to preserve the supposedly ineffable or at least ineffably human core of musical performance, in line with the contemporary Romantic view of music as the only means of expressing what is otherwise inexpressible, that is, ineffable.
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Huberth, Madeline, Stacey Davis, and Takako Fujioka. "Expressing melodic grouping discontinuities: Evidence from violinists’ rubato and motion." Musicae Scientiae 24, no. 4 (March 21, 2019): 494–514. http://dx.doi.org/10.1177/1029864919833127.
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Within phrases, melodies can be perceived as continuous or discontinuous. Large pitch intervals tend to promote the perception of melodic discontinuity, though surrounding pitch contexts can promote or diminish this percept. The present study investigated if performers express discontinuities in rubato and motion. In Experiment 1, audio and motion capture recordings were made of six violinists performing a piece with pairs of segments containing strong and weak discontinuities. Violinists’ rubato computed from audio onsets differentiated between discontinuity types. A principal component analysis of the motion data revealed that nontechnical whole-body motions explained a significant amount of variance corresponding to the discontinuity types, although the strength of the effect varied across analyzed segments. In Experiment 2, the motion and audio data were used to create audiovisual stimuli to examine whether these components influenced judgments of discontinuity in third-party audiences. Participants saw, heard, or both saw and heard the performed segments with either natural motion or altered motion after nontechnical principal components were removed, then judged whether violinists expressed either one or two groups of notes. Similar to Experiment 1, variation between segments in differentiation between discontinuity types was observed only when participants saw the violinists’ natural motion. Together, these data suggest that violinists can express melodic continuity through timing and motion, though expression through motion is relatively subtle and variable across individuals. Our results extend previous findings of the relationship between performer interpretation and motion to local musical structures, demonstrating observations across multiple performers with a previously less-studied instrument, namely, the violin.
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Goldman, Mary, Brian Craft, Jingchun Zhu, and David Haussler. "Abstract 5039: Visualization and analysis of cancer genomics data using UCSC Xena." Cancer Research 82, no. 12_Supplement (June 15, 2022): 5039. http://dx.doi.org/10.1158/1538-7445.am2022-5039.
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Abstract UCSC Xena (http://xena.ucsc.edu/) is a web-based visual integration and exploration tool for multi-omic data and associated clinical and phenotypic annotations. Researchers can easily view and explore public data, their own private data, or both using the Xena Browser. Private data are kept on the researcher's computer and are never uploaded to our public servers. The toll supports Mac, Windows, and Linux. Questions Xena can help you answer: 1) Is overexpression of this gene associated with lower/higher survival? 2) What genes are differentially expressed between these two groups of samples? 3) What is the relationship between mutation, copy number, expression, etc for this gene? Xena showcases seminal cancer genomics datasets from TCGA, the Pan-Cancer Atlas, GDC, PCAWG, ICGC, and more; a total of more than 1500 datasets across 50 cancer types. We support virtually any type of functional genomics data: SNPs, INDELs, copy number variation, gene expression, ATAC-seq, DNA methylation, exon-, transcript-, miRNA-, lncRNA-expression, and structural variants. We also support clinical data such as phenotype information, subtype classifications and biomarkers. All of our data is available for download via python or R APIs, or using our URL links. Our signature Visual Spreadsheet view shows multiple data types side-by-side enabling discovery of correlations across and within genes and genomic regions. We also have dynamic Kaplan-Meier survival analysis, powerful filtering and subgrouping, differential gene expression analysis, charts, statistical analyses, genomic signatures, and the ability to generate URLs to live views. We link out to the UCSC Genome Browser as well as MuPIT/CRAVAT and TumorMap. New features include: - Genome-wide differential gene expression analysis - New interface for filtering samples and creating subgroups - New interface to create charts and graphs - Violin plots on any numerical data - Loading of Microsoft Excel files - A new Publication Page showcasing publications and authors that use UCSC Xena Our beta prototype for visualizing single-cell data delivers million-cell-scale multi-omics data for interactive visualization in a web browser. Citation Format: Mary Goldman, Brian Craft, Jingchun Zhu, David Haussler. Visualization and analysis of cancer genomics data using UCSC Xena [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 5039.
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Danylets, Viktoriia. "The hutsul music features in the structural and stylistic context of the performing folkloryzm." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 77–88. http://dx.doi.org/10.34064/khnum1-57.05.
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Research objective. The article aims to describe the structural and stylistic components of performing folklorism and consideration regarding the existing definitions of multifaceted concept «performing folklorism», which represents theoretical and methodological tools for deep analysis of stylistics, genre, technical and performing elements and musical features that folklore expresses, their extrapolation to performing interpretative diversity in the context of Ukrainian music art. The methodology of the research is based on the theoretical, historical, comparative and analytical methods. The scientific novelty outlines structural and stylistic components of performing folklorism, which significantly affect the expression of national features in modern Ukrainian performing art. Conclusions. In a concept “performing folklorism” are two ponderable constituents in the dialogic form of intercommunication of these systems: professional academic performing art and folklore in his various palette of expression. Performing interpretation is a main point of arranged and ethnographic folklorism, that present performing folklorism. An important value in the context of modern national performing style belongs to the Hutsul instrumental traditional music, which is the unique artistic phenomenon of the Ukrainian musical culture. In general, the Hutsul genres played an important role in the formation and development of Ukrainian instrumental music, even though the Hutsul performance tradition mostly has an instrumental type of music presentation. The Hutsul region presents a numeral musical tool, ramified genre palette, and original stylish description that is provided due to the whole complex of structural and performing elements (strokes, articulation, fingering principles, timbre descriptions of sounding, dynamic). The outlined lines of the Hutsul folklore are traced in academic performing art. It follows to underline the originality of artistic expression and stylish originality of musical art of the Carpathian region, that predefined by the row of objective structural and style components: 1) maintenance and functioning of archaic elements of musical structure, such as a variant, improvisation, repetition; 2) considerable genre variety of executable music (kolomyjka, hutsulka, Ukrainian dance, hopak, snowstorm); 3) rhythms, as a cementing factor of musically-composition structure; 4) ornamental melodious line. The outlined structural and style components of the Hutsul folklore present wide interpretation multiplicity within the performing folklorism. The ponderable constituent of traditional music is the various system of technically-performing features. On technically-performing and genre-stylish levels, violin traditional art of the Hutsul region presents all system of the musical expressive features, presents traditional professional school of the violin performing art with a clear vector on the maintenance of archaic structures of musical compositions and them highly-artistic interpretation based on a wide palette of the whole complex of technical possibilities, that crystallized in the folktraditional performing. Ukrainian vocal, instrumental and vocally-instrumental collectives reconstruct an authentic genre-stylish model within the performing folklorism. Underlined the diversity of folk styles, symbiosis of the folk manner of singing with the academic vocal art. Thus, the national performing style provides an intelligent and deep interpretation of authorial works of folklore maintenance, a study of a wide palette of the traditional music that is characterized by ethnic characteristic intonation (concept of O. Kozarenko) musicians. The stylish component of performing folklorism presents differentiation of folk styles of implementation, following regional features, genres, forms, features of the traditional musical expressiveness. Performing folklorism, as a highly artistic phenomenon in Ukrainian music art, opened new possibilities for the representation of folk-instrumental and vocal traditions in the context of the national professional academic performing. Review and learning of the structural and stylistic components of performing folklorism, such as ethnic-regional style, genre characteristics, details, articulation, fingering, manner of play, vocal manner, dynamic nuances, timbral coloristic palette, determines the quality of the performing interpretation of the music compositions with the brightly national dominant. Within the performing folklorism crystallized appropriate professional repertoire, which comprises genres of vocal, choir, and instrumental music with the bright images and symbols of Ukrainian national folklore.
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Dukaļska, Iveta. "ĪŠONA GRADZĒS – THE EXPRESSION OF SOCIAL ASPECTS IN MASKING RITUALS IN LATGALE." Via Latgalica, no. 1 (December 31, 2008): 174. http://dx.doi.org/10.17770/latg2008.1.1597.
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Īšona grjadzēs (gradzēs) (an expression used in Latgalian to describe a specific masking tradition) is a unique masking tradition in Latgal in the district of Ludza. It existed until the 1970s parallel to the better known čigānos iešana (literally ‘going as gypsies’). Originally, these rituals had a social meaning as an activity of the poorer classes, thereby obtaining food for the Yule festivities. Since the 1960s it has been a masking ritual performed mainly by older women. I assume that it is this particular ritual that has given rise to the mask of a beggar in a more recent masking tradition. A narrator, when asked what a gradze is, usually answers that it is a poor person, a beggar, and gradzes is a ‘group of poor people’. Groups of poor people are usually associated with filth, which is also confirmed by the looks of the gradzes through their dirty faces. In turn, one of the ritual activities of the masked groups is frightening, making noise, and attracting attention, which can be explained as a function of the frightening of evil spirits. This tradition could took place during Christmas night on December 24, whereas other groups of masked people could begin their activities only on December 25. Today, it is not possible to connect these traditions to the Catholic Church, but according to the materials of a field study which has been carried out in the region of Ludza since 2005 it is possible to conclude that īšona gradzēs was allowed by the Catholic church because this ritual was performed on the most Holy holiday night. Gradzes were considered to be the first Christmas messengers, or messengers of the birth of Christ.Until the 1960s, testimonies of the narrators and available research material relating to the masking ritual allow the conclusion that people sang the Lord’s songs when going for gradzēs, and only when asking for a treat they sang traditional Christmas songs and carols. Later, as the traditions changed, different songs were sung. Singing was accompanied by slow dancing, which mostly resembled the „standing pat”. In the 1970s, sometimes a village musician, who played harmonica or violin, would join the gradzes. Gradzes were not invited in and did not enter the rooms. The treats (sausages, pies, etc.) were offered through the windows or doors. It is possible to assume that the mythical origins of the gradzes’ image could be found in Slavic mythology, where the Slavic God Kolyada (коляда) is a child of the Sun as an image of the beginning of the new year’s cycle and festivities. In Slavic mythology, there is an image similar to the gradzes, called деды, диды, дзяды – „old men” or „greybeards”. The Ded (old man) is a guardian of the family and its children. This image was also worshiped as a giver of welfare and a master of hidden fortunes. An old man with red fiery eyes and a red beard would walk around dressed as a beggar and endow the poors he would meet. Sometimes they would say that the fortune was hidden in the old man’s dirty shredded clothes. The story goes that souls of the departed relatives would walk in the form of old men, and that these souls would be treated on a Christmas evening, taking the meals out below the window. A long-term study of the tradition of īšona grjadzēs (gradzēs) was started only in 2005. At present, the work is not yet completed and research will therefore continue to be carried on by the author of the paper.
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Hromchenko, Valerii, and Andriy Gorban. "PERFORMANCE-STYLE FEATURES OF THE CONCERTO № 3 FOR CLARINET AND ORCHESTRA BY L. SPOHR." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 61–69. http://dx.doi.org/10.33287/222005.
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The purpose of this scientific investigation is the disclosure of the creative phenomenon of German composer L. Spohr in wind contemporary academic music and performing art by identifying the most characteristic performance and the stylistic peculiarities of creator that is instrumentally artistic speech. The material of this study is the well-known Concerto № 3 for Clarinet with symphonic orchestra by L. Spohr. The methods of this scientific intelligence are in the application of general scientific approaches to the study of a particular topic. The historical method is used to highlight the place of clarinet masterpieces and, in particular, Concert № 3, in the palette of the artistʼs creative achievements. The comparative method creates the possibility of comparing a number of clarinet means of expression with the artistic potential of string-bow performance. The sequence of presentation of the material is determined by the action of the structural-analytical method. Methods of observation and generalization are of practical importance. The scientific novelty of this specialized disquisition is due to the insufficient study of the clarinet works of L. Spohr in the light of modern musicological thought. Conclusions. The distinctiveness of L. Spohrʼs performance- stylistic peculiaritics of instrumental speech in clarinet Concerto № 3 for clarinet and orchestra is marked, first of all, by the use of various types of virtuosity (shallow, combined, large virtuosity), the performance of various types of melismatics both in slow and melodic ways, the use of high and ultra-high sound registers of the instrument (note to the fourth octave), which, we emphasize, comes from the violin academic artistic and creative activity of L. Spohr and, in general, and of high performing skill as a virtuoso violinist.
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Lysychka, Oleksandr. "Orchestral works of E. Elgar of 1910s as an attempt to renovate composer’s style." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 225–41. http://dx.doi.org/10.34064/khnum2-16.13.
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Background. In researches belonging to the domain of music history, revealing of general trajectory of artists’ evolution and defining its character either as stable or flexible becomes one of the most important tasks. This allows to make conclusions of the way composers’ creative life interacts with the cultural context of his time, to define degree of interdependency of individual style and epochal. In the end, this work becomes a foreground for periodization of artists’ creative life, that is a prerequisite of historical comprehension of his legacy. Three-partite periodization of E. Elgar’s creative life seems to be rather typical on the face of it, but in fact it reflects quite peculiar trajectory of his professional growth, chiefly because the last period largely negates achievements of the former two. This reveal striving of E. Elgar to find completely new way of organisation of musical material on different levels. Moreover, general tendency towards economy of musical material, accentuating of “aphoristic” density of expression, found in the works of this timespan, allow to consider this period as late one, as they are typological features of this stage of composer’s creative life. The aim of the research is to unveil congregation of features allowing to regard orchestral works of E. Elgar in the 1910s as an attempt to renew his composing style. Thus, the leading tasks were generalisation of analytical observations on the Second Symphony, symphonic study “Falstaff” and Cello Concerto as well as comparison of these results with acquired by analysis if E. Elgar’s works in 1900s. Methodology. In order to reach the abovementioned goal several typical methods of musically-historic research have been deployed. First and foremost, it is genre-stylistic one, allowing to locate the meaning of given work in the context of musical culture. To define the differences between two styles a comparative method has been used. Classification of E. Elgar’s late period of creative life as one of three most common types, according to N. Savytska, uses her conception, regarded in doctoral thesis if this scholar. Results. One of the most peculiar traits of E. Elgar’s creative life is his way of acquiring compositional craftsmanship – a way that he went completely on his own. A mention of this starts one of the most recent books on the composer (McVeagh, 2013: 114), but it doesn’t get universal significance, even in spite of the fact that self-learning became a principle of E. Elgar’s professional growth both before and after worldwide recognition as outstanding composer. Analysis of his orchestral works from “Enigma” Variations (op. 38, 1899) up to the Violin Concerto (op. 61, 1910) allows to detect a single direction of development of composer’s arsenal of devices, his genre-stylistic inclinations, special features of themes and methods of working with them, harmony, orchestration etc. Thus, E. Elgar demonstrates a very noticeable tendency to a system usually associated with Late-Romantic symphonism of lyrically-dramatic type: overwhelming emotionality of music, prevalence of large and complicated structures and abundant orchestral resources, rather dense orchestral texture and usage of two harmonic systems: diatonic and chromatic. Moreover, research on the works, composed between abovementioned two, allows to trace gradual crystallisation of these principles, their generalisation in the First Symphony and final confirmation in the Violin Concerto. On this background, appearance of composition like “Falstaff” (ор. 68, 1913) and even Second Symphony (ор. 63, 1911) was truly of revolutionary nature as it was the first attempt to change general line of development. Conclusions. Late period of E. Elgar’s creative life, started in 1911 with the composition of the Second Symphony, can not be entirely classified as any of three types, defined by N. Savytska (2010: 24–25): composer is characterised by traits of both reduced and prognostic periods. Such paradoxicality can be explained by the fact that E. Elgar, on the one hand, decided to abstain from composition after 1919, and on the other – by radical innovation of creative method in 10s and beginning of the work on the Third Symphony shortly before his death in 1934. Signs of the third, consolidating type of period might be seen in tempering the innovative radicality of “Falstaff” in Cello Concerto. Traits of E. Elgar’s creativity after 1911 can be generally comprehended as inclination to move away from the framework of late-romantic style, that played the prominent role during all his life. Composer experiments with deploying absolutely new themes in means of stylistics (connected with songs, dances and marches), appeals to unequivocally humorous plots, eludes complex thematic relations, intonational fabula as well as exceeding density of orchestral texture. Moreover, the comprehension of the time itself changes as it becomes much more concentrated: E. Elgar abandons protracted circumlocutionary expanding of the structure as the expression of ideas in comparison to precedent works becomes more condensed. It seems almost impossible to state the reasons for these changes, but we should propose two hypotheses: of immanent evolution and of external impact. The first one is founded in overly-expressive Late-Romantic symphonic cycle being pushed to its limit in the First Symphony and then repeated in the Violin Concerto in different genre conditions – further reproduction of this model would have led to arid copying and stagnation. The second hypothesis considers radical innovations of musical art that took place in the 1920s, and in this case, metamorphoses are explained by communicative reasoning of the composer, for he was critiqued for his style being “outdated” before.
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Mumme, Hope L., Swati S. Bhasin, Beena E. Thomas, Bhakti Dwivedi, Deborah DeRyckere, Sharon M. Castellino, Daniel S. Wechsler, et al. "Pediatric Single Cell Cancer Atlas: An Integrative Web-Based Resource for Single Cell Transcriptome Data from Pediatric Leukemias." Blood 138, Supplement 1 (November 5, 2021): 3488. http://dx.doi.org/10.1182/blood-2021-154282.
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Abstract Introduction: The emergence and optimization of single cell profiling as a powerful tool to characterize the tumor microenvironment has revealed the heterogeneity of pediatric cancers, particularly different leukemia types/subtypes. Ease of access and analysis of the data from studies on different leukemia types is critical for improving diagnosis as well as therapy.Currently, there are no single cell data based resources available for pediatric leukemias. We have developed a comprehensive resource, Pediatric Single Cell Cancer Atlas (PedScAtlas), with the goal of developing a pan-leukemia genomics signature as well as highlighting the heterogeneity of different types of leukemia. This resource facilitates exploration and visualization of expression signatures in different leukemias without requiring extensive analysis and bioinformatics support. Methods: The PedScAtlas was built based on single cell data from various leukemias and normal bone marrow (BM) cells that have been pre-processed and analyzed using a uniform approach to generate normalized expression data (M. Bhasin et al. Blood 2020 (ASH), S. S. Bhasin et al. Blood 2020 (ASH), Panigraphy et al. JCI 2019, Stroopinsky et al. Haematologica 2021, Thomas et al. Blood 2020 (ASH)). The current version of PedScAtlas contains data from 30 local leukemia samples (Bhasin, et al. Blood 2020 (ASH), Thomas et al. Blood 2020 (ASH)) and those available on public resources such as GEO (Bailur et al. JCI Insight 2020). The PedScAtlas dataset and the Immune cell dataset each underwent quality control, integration, normalization, and dimensionality reduction using the Uniform Manifold Approximation and Projection (UMAP) method. Unsupervised UMAP analysis identified cellular clusters with similar transcriptome profiles that were annotated based on expression of cell-specific markers. Differential expression comparing different types of leukemia including acute myeloid leukemia (AML), B-cell acute lymphoblastic leukemia (B-ALL), T-cell acute lymphoblastic leukemia (T-ALL), and mixed phenotype acute leukemia (MPAL) samples was performed. To further ascertain genes specifically expressed in malignant blasts, the atlas also contains data from normal BM samples (Bailur et al. JCI Insight 2020) and healthy immune cells from the census of Immune Cells by the Human Cell Atlas Project (https://data.humancellatlas.org/). The web resource source code is written in R programming language and the interactive webserver has been implemented using the R Shiny package (Fig 1). The tool has been extensively tested on multiple operating systems (Linux, Mac, Windows) and web-browsers (Chrome, FireFox, and Safari). The tool is currently hosted on a 64bit CentOS 6 backend server running the Shiny Server program designed to host R Shiny applications. Results: The PedScAtlas contains data that facilitate exploration of gene expression profiles across leukemia types/subtypes and tumor microenvironment (TME) cell types. The atlas includes data from 33,930 AML, 25,744 T-ALL, 13,404 MPAL, and 6,252 B-ALL blast cells. It also contains single cell profiles of healthy BM samples from publicly available studies. The user can select data sets from the 5 major types of leukemia and normal BM in any combination of their choice to explore the expression profile of a gene of interest. The data can be visualized as UMAP (Fig. 1), or violin plots with annotations based on cluster ID, cell type, disease type, sample ID, and future continuous remission or relapse outcome. The UMAP with gene expression analyses allows the user to visualize the distribution of cell expressing a given gene on the UMAP plot. The Biomarker tool shows expression of different leukemia biomarker gene sets in the entire leukemia dataset. The Immune Cell section contains BM data from the Human Cell Atlas Project; the purpose of this section is to validate leukemia biomarkers by checking that the gene does not have significant expression in the healthy immune microenvironment. Conclusions: The PedScAtlas resource provides a unique and straightforward tool for biomarker identification, analysis of leukemia subtype heterogeneity, and transcriptome profile of the immune cell microenvironment. The resource is available online at https://bhasinlab.bmi.emory.edu/PediatricSC/. Figure 1 Figure 1. Disclosures DeRyckere: Meryx: Other: Equity ownership. Graham: Meryx: Membership on an entity's Board of Directors or advisory committees, Other: Equity ownership.
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Onishchenko, Aleksandra. "Violin and non-violin in the performing activity (the Concert for violin with orchestra D-dur, op. 35 is consideredby P. I. Tchaikovsky)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 132–49. http://dx.doi.org/10.34064/khnum1-57.08.
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Background. The matters of performing and composing art of the XIXth century are considered in this article. The way of formation and changes that have been brought into the violin literature for 100 years ‒ extension of performing techniques, breaking stereotypes that had been built for centuries ‒ were taken as a standard in the repertoire of the violinists of that time. The development of the concert genre by famous performers – composers and division of these two functions by the end of the century encouraged musicians to talk about «violin» and «non violin», limiting performer’s opportunities, by giving them anti violin tasks. It was encouraged by the presence of certain templates that were formed in the period of Italian violinists-composers, who defined a specific format of sound performances, formed definite formulas of technical phrases, and developed a full range of performing tools that built the violin-performing machine. In their turn, composers of the late XIX century had an opportunity to look at the performing structure from another perspective, bringing new acoustic author’s expressions into the violin literature. E. Lalo, A. Dvořák, К. Saint-Saens, J. Brahms, P. Tchaikovsky laid the foundation for new trends and performances that created a discussion about violin and non-violin. During 5 years (from 1874 until 1879), the mentioned authors were divided into two camps – followers of traditions E. Lalo, A. Dvořák, К. Saint-Saens and innovators in the concert genre J. Brahms and P. Tchaikovsky. The latter ones managed to avoid violin clichés and despite much resentment in the musical world showed those sides of performer’s characteristics that could not be positioned with related to violin performance. Objectives. This article is aimed at defining the range of techniques that allow to talk about «violin» and «non-violin» following the analysis of musical edition of the Concert for violin with orchestra by P. Thaikovsky. Results. Every era of violin art has brought its elements of expressive means that extended the violinists’ capabilities, thereby enriching the performing palette with new techniques and at the same time a range of complicated figurativesemantic objectives are given to performers. During a long period (from the seventeenth until the mid-nineteenth centuries), performers-composers, creating compositions for violin, did some methodical work as well, using specific technical tools for specific artistic objectives. In other words, musical value was intrinsically connected with the comfort while performing. Types of fingerings, dashes, chord techniques, timbres – what makes a performer’s toolbox ‒ was determined in the study and performance practice as a certain template. Over time teaching materials in form of «schools of violin performance», used for mastering performer’s technique, focused the composers on certain sound technical models, that particular «violin» structure that could be easily «read» not only the time of the composition creation but its style belonging and even its authorship. However, in the history of musical art the cases when the author’s imagination goes beyond templates, setting difficult objectives, including technical ones, for the performer are not so rare. Premier failures, musicians’ refusal to participate in the performance of a new composition ‒ all of it was the consequence of inertial processes of concert practice, its «delay» towards the composer’s practice. A clear example of such a situation is the Concert for violin with orchestra by P. Tchaikovsky, the composition that generated a discussion about «violin» and «non-violin» in musical art. It is evident that the modern performing toolbox allows mastering and overcoming those difficulties, which created an opinion about the composition as inconvenient and «non-violin» in days of the composer. So, what is the meaning of «violin» and «non violin»? Can «non violin» be outdated or is it a phenomenon at different stages of the evolution of musical stylistics? Conclusions. The end of the XIXth century was marked not only by the renewal of violin material, but also by extension of performer’s techniques, withdrawal of stereotypes that had been built for centuries and were taken as a standard in the repertoire of the performers of that time. The richness of the Concert for violin by P. Tchikovsky with technical discoveries, going ahead of the time, caused L. Auer’s refusal to take part in the premiere. A young soloist A. Brodsky needed more than a year to learn the musical language, dramaturgy and all those difficulties that were mentioned above. Nowadays the Concert for violin by P. Tchaikovsky is a mandatory composition in all prestigious violin contests. It is evident that modern violinist’s toolbox allows them to master and overcome all those difficulties that earlier were told to be «inconvenient» and «non-violin» in the composition. These days «non violin» can be considered a thing of the past. A range of authors of remarquable methodical works of the XX‒XXI centuries (К. Flesch, K. Mostras, I. Yampolsky, Yu. Yankelevich, L. Gurevich, M. Berlianchik) relied on their own experience while answering the questions that worried all the performers without any exception during the development of the whole complex of techniques. However, none of them studies the notion «non violin» as a methodological problem because the practice proves: the technical inconveniences are overcomed in case the performer can hear and understand the innovations, offered by a composer, that raise the performer above any stereotypes.
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Hall, Cordelia, and John T. O'Donnell. "Regular Expressions as Violin Bowing Patterns." Computer Music Journal 36, no. 2 (June 2012): 74–84. http://dx.doi.org/10.1162/comj_a_00120.
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String players spend a significant amount of practice time creating and learning bowings. These may be indicated in the music using up-bow and down-bow symbols, but those traditional notations do not capture the complex bowing patterns that are latent within the music. Regular expressions, a mathematical notation for a simple class of formal languages, can describe precisely the bowing patterns that commonly arise in string music. A software tool based on regular expressions enables performers to search for passages that can be handled with similar bowings, and to edit them consistently. A computer-based music editor incorporating bowing patterns has been implemented, using Lilypond to typeset the music. Our approach has been evaluated by using the editor to study ten movements from six violin sonatas by W. A. Mozart. Our experience shows that the editor is successful at finding passages and inserting bowings; that relatively complex patterns occur a number of times; and that the bowings can be inserted automatically and consistently.
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Lee, Seow Phing, C. H. Raymond Ooi, and Ku Wing Cheong. "Bach and Busoni Essentials in A Chaotic World." Harmonia: Journal of Arts Research and Education 21, no. 1 (June 7, 2021): 1–8. http://dx.doi.org/10.15294/harmonia.v21i1.30152.
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The study analyses the manifestation of structural change from the Bach Violin Chaconne (BWV1004, c.1720) to the Bach-Busoni piano transcription (c.1897). This article explores the use of two-dimensional music abstraction for vertical (pitch height) and horizontal (time) and its signal insignificant identified bariolage sections in music. Bariolage excerpts are chosen for they are implied sounds captured in repeatability and recontextuality. The first part of the article offers an excerpt of the Bariolage from violin at bars (113-120) and its parallel piano transcription at bars (118-125). Significant expressions of registral change utilizing different voice parts (Soprano, Alto, Tenor) offer a wider expansion with piano. These excerpts were chosen after reviewing the original Bach Chaconne and its essentials in analytical aesthetics for the projection of beauty in symmetry-asymmetry-chaos in composition. This study captures the aesthetics of the beautiful from the original score of the violin Chaconne at (bars 89-96) and (bars 113-120) for Bach-Busoni piano transcription. Further, there are recommendations for future studies to explore vertical spaces and mathematical sequences embedded in the music in other sections. The findings of this study were implied through new music analytical formats to be applied in composition, pedagogy, and performance practice.
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Mikhieieva, Nadiia. "The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.
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Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard Mühlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – with a certain amount of recomposition in each case – in two parallel forms: as sonatas for viola and piano, and for violin and piano. The violin versions are rarely heard, but the viola sonatas have become cornerstones of this instrument’s repertoire, just as the original forms have for the repertoire of the clarinet. Brahms was effectively establishing a new genre, since before they appeared there were virtually no important duo sonatas for viola and piano. These sonatas embody his compositional technique in its ultimate taut, essentialized, yet marvelously flexible manner. The purpose of this article is to show the interaction of variable and invariant components of the musical text as a factor influencing performance decisions in the process of working on a piece of music. To achieve this goal, it is necessary to conduct a comparative analysis of the musical text of clarinet and viola parts in the Sonatas of J. Brahms op 120, which are the material of this study. The article relevance is in the importance of comprehension the performing differences for pianists (especially, for those specialized on the sphere of chamber music) working J. Brahms’ Sonatas op. 120 with clarinetists or violists. Every piece could offer its own unique complex of special “challenges”, thus the need of analyzing specifics of performance in every such a piece of music appears. This uniqueness is the basis for the innovativeness of the results of the study of the performance specifics of J. Brahms’ Sonata op. 120 in a selected aspect. Results of the research. Clarinet and viola versions Sonatas by J. Brahms op. 120 occupy a prominent place in the performing repertoire, including training. Because the article provides a comparative analysis of the musical text of clarinet and viola parts with the same piano part; provides a comparative overview of the specifics of the artistic expression of the clarinet and viola to determine the performing strategy of the pianist in the ensemble. The differences found in the viola and clarinet parts are divided into the groups – octave transfers, addition of double notes and melismatics, changes in melodic lines, difference in the strokes (staccato, non legato, tenuto, portamento etc.). There is also a detailed description of clarinet and viola timbres. Due to the different possibilities of the instruments, it is quite obvious that the pianist faces certain creative tasks and in general they can be formulated as follows: when playing the viola, the dynamic range of the piano should be smaller than when performing with the clarinet. In addition, you need to pay attention to other details, such as pedal, texture quality, articulation. Yes, the viola sounds much more confident against the background of a “thick” pedal, while the clarinet in this case loses the volume of its sound. With regard to phrasing, it should be borne in mind that the clarinetist needs to take a breath, and the violist’s ability to lead a bow for a long time does not depend on his physiological characteristics. The question arises: which is more important – tempo or phrasing? In this situation, the specificity is that phrasing should be given more attention. The tempo when performing with the clarinet varies significantly than with the viola, and it is also chosen and changed for practical reasons that follow from the physical data of the performer. The pianist should also pay special attention to the differentiation of voices and the quality of articulation. In terms of sound balance, it is obvious that the clarinet needs more piano support than the viola, because it is dynamically brighter. Nevertheless, this does not mean that piano shades “p” should be avoided, because the contrast of dynamics expands the acoustic range of Sonatas and their expressive potential. Conclusion. The comparative-analytical description contributes to the awareness of the differences in the dynamic balance due to the change of the obligatory instrument. Accurate knowledge of where and how such changes occur not only focuses the musicians’ attention on the relevant details in the performance process, but also encourages them to make more informed decisions about the dynamic balance of performance in general.
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ." World Science 3, no. 8(48) (August 31, 2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.
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Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his interest in European civilization and artistic attainment. On the other hand, he tends to synthesize arts. As you know, the phenomenon of synthesis of the arts also comes from antiquity. According to the Greek mythology, Parnassus is the home of gods and also the residence of the nine muses – the patronesses of arts and sciences.The first piece «Clio» (the muse of history) is aimed at improvisation. At the same time the author accompanies every miniature with remarks concerning instrumentation, manner, tempo, rhythm, provides detailed notes as to the sound dynamics, etc.The second piece «Euterpe» (the muse of lyrical poetry and music) is marked by the lack of lilt organization. Music theme has abundant rhythmics, abrupt texture and dynamic changes.The third and the fourth pieces «Thalia» (the muse of comedy) and «Melpomene» (the muse of tragedy) expose quite the opposite images and emotions of the Greek theatre genres. However, the composer applies means of humorous and tragic music spheres of different epochs.The fifth piece «Polyhymnia» (the muse of sacred poetry and pantomime) is based on the intonations of antique chants. Melody develops gradually, has narrow range, but in the middle of the piece reaches significant dramatic effect. The sixth miniature «Urania» (the muse of astronomy) is the illustration of a starry night. Quiet and peaceful sounding dominates, short motives are directed upwards.In the seventh piece «Terpsichore» (the muse of dance and choral singing), with the help of antiphonous sounding of imaginary male and female groups of singers, the author reproduces the model of an ancient syncretic roundelay. The eighth miniature «Erato» (the muse of love lyrics) resembles the second piece (Euterpe) in images’ character and exposition.The last piece «Calliope» (the muse of epos) reflects V. Manyk’s aspiration to generalize the contents of the entire cycle. That’s why short reminiscences of all previous pieces are quite prominent here.The cycle of short miniatures is enriched with the wide range of historic, cultural and even philosophical connotations. Programme plot embodies by means of expression such as improvisation of musical texture, s broad range articulation, characteristic contrast melodies and motifs, the uniqueness semantic structure work.
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ROPOTAN, Radu Mihai. "Elements of musical legacy reflected in Eugène Ysaÿe’s solo violin works." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 14 (63), no. 1 (2021): 67–74. http://dx.doi.org/10.31926/but.pa.2021.14.63.1.8.
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Without question the world we are living in is constantly changing hence experiencing new perspectives. Every now and then there is a personality that inspires others and brings forth new ideals and ideas that capture innovative inherent expressions. One of those musical personalities was Eugène Ysaÿe. Ysaÿe has managed to encompass and bring new pedagogical-interpretative violinistic ideals that merge together the history of performance on the violin together with the music history as a whole. The op. 27 of Eugène Ysaÿe represents his most notable composition that bears a distinct mark of this fascinating violinist and musician.
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Alvarez, Christophe. "Re-write and Re-create the French “Ballet du temps” (1654): Knowledge, Historical Sources, and Creative Strategies." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 29–55. http://dx.doi.org/10.24193/subbmusica.2022.2.02.
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"This article discusses the author’s process of reconstructing the “Ballet du Temps”, one of the great court ballets of the French 17th century, danced by King Louis XIV in 1654, which has remained partially copied by Philidor. With the Violin 1 being the only remnant of what has been this Ballet, the article presents the issues raised during the musical rewriting, notably the harmonic formulation, the instrumentarium, the ornaments, among others. This study also recalls the fundamental aesthetic differentiation between the Ballet dances (called Entrées and Airs in the score) and the society dances, which, in the context of the choreographic reconstruction, implies a flexible approach in which expressing the dramaturgy of the Entrée is central. Keywords: ballet de cour, recreation, French 17th century, performance study "
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Weiss, E. M., K. A. Nolan, J. Volavka, J. Loughead, R. E. Gur, R. C. Gur, and C. Kohler. "Discrimination of facial expressions in violent and non-violent patients with schizophrenia." Schizophrenia Research 60, no. 1 (March 2003): 161. http://dx.doi.org/10.1016/s0920-9964(03)81010-1.
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Müller, Henrik Høeg. "Bare nouns in Danish with special reference to the object position." Nordic Journal of Linguistics 40, no. 1 (April 20, 2017): 37–72. http://dx.doi.org/10.1017/s0332586517000038.
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Based on a discussion of correlations between syntactic position, prosodic cues, aspect and generic vs. non-generic interpretations, this paper substantiates that Danish Bare Plural count nouns (BPs) have a wider distribution than Bare Singular count nouns (BSs). BPs, unlike BSs, can occur in subject position, function as both generic and existential arguments, and appear with all aspectual verb classes. However, BPs and BSs expressing a non-generic, modificational meaning concur in object position of activity verbs and stative verbs with a possession relation implicature. These V+BP and V+BS structures, it is suggested, form a progressive continuum of three different subtypes of pseudo-incorporation (PI), namely (i) PI of BPs (low integration as inspise æbler‘eat apples’), (ii) PI oftype 1BSs (medium integration as inmale hus‘paint house’), and (iii) PI oftype 2BSs (maximum integration as inspille violin‘play violin’).
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Koivusalo, Anna. "Honor and Humiliation: James Chesnut and Violent Emotions in Reconstruction South Carolina." American Studies in Scandinavia 50, no. 1 (January 30, 2018): 27–49. http://dx.doi.org/10.22439/asca.v50i1.5692.
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Reconstruction has been seen as the period of redeeming lost southern honor. I argue, however, that the Reconstruction struggle was not simply about restoring pre-war honor to defeated Southerners, for the Civil War had not terminated or subdued honor. Rather, its contents, the idea of what was honorable, underwent changes. These changes were observed and lamented by James Chesnut, Jr. (1815–1885), a politician from South Carolina. Honor can be seen both as a source of emotion guidelines and as a tool used for navigating between acceptable and unacceptable emotions. By expressing acceptable emotions, an individual could claim ownership to honor and attempt to achieve life goals. During Reconstruction, the role of honor and the importance of honor-related emotional expression intensified. Because of major changes in society, individual goals changed and the necessity of forceful alteration to the understanding of honor arose. It became transformed, borrowing from violence, racism, and a more acute fear of shame. Aiming to preserve white supremacy, many white Southerners readjusted their honor ideals and emotional expression. Nonetheless, some moderate individuals, like Chesnut, found it difficult to adopt these new ideals and thus all but lost their political power.
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Jiang, Xiaoyan, Machelle T. Pardue, Kiwako Mori, Shin-ichi Ikeda, Hidemasa Torii, Shane D’Souza, Richard A. Lang, Toshihide Kurihara, and Kazuo Tsubota. "Violet light suppresses lens-induced myopia via neuropsin (OPN5) in mice." Proceedings of the National Academy of Sciences 118, no. 22 (May 24, 2021): e2018840118. http://dx.doi.org/10.1073/pnas.2018840118.
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Myopia has become a major public health concern, particularly across much of Asia. It has been shown in multiple studies that outdoor activity has a protective effect on myopia. Recent reports have shown that short-wavelength visible violet light is the component of sunlight that appears to play an important role in preventing myopia progression in mice, chicks, and humans. The mechanism underlying this effect has not been understood. Here, we show that violet light prevents lens defocus–induced myopia in mice. This violet light effect was dependent on both time of day and retinal expression of the violet light sensitive atypical opsin, neuropsin (OPN5). These findings identify Opn5-expressing retinal ganglion cells as crucial for emmetropization in mice and suggest a strategy for myopia prevention in humans.
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Karadenizova, Zhana M., and Klaus-Peter Dahle. "It is Written in Your Eyes: Hostile Attributions and Self-Directed Gaze Perception in Incarcerated Violent Adolescent Male Offenders." International Journal of Offender Therapy and Comparative Criminology 62, no. 12 (December 9, 2017): 3623–38. http://dx.doi.org/10.1177/0306624x17746292.
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To date, we have frugal knowledge about the hostile attribution bias (HAB) and the biased gaze perception in violent adolescent offenders. This however is a major contributing factor in understanding delinquent behavior. Using a computer-based approach, presenting faces modulated in gaze direction (0°, 2°, 4°, 6°, 8°) and valence (angry, fearful, happy, neutral), the present study examined the impact of HAB of the feeling of being stared at in a sample of 27 adolescent offenders (aged 17-24 years). The study was conducted institution-intern in the Department for Social Therapy of a German correctional facility. Results showed that in comparison with faces with negative expressions, happy faces were more likely to be perceived as self-directed. Interestingly, emotion showed significant influence of the gaze perception in only two viewing angles (2° and 6°), revealing the role of the facial expression in highly ambiguous conditions. Furthermore, hostility did not modulate the relationship between the self-referential gaze perception and (negative) facial expression. Possible frameworks and limitations of the study are discussed.
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Michaud, Yves, Jean-Claude Dionne, and Larry D. Dyke. "Frost bursting: a violent expression of frost action in rock." Canadian Journal of Earth Sciences 26, no. 10 (October 1, 1989): 2075–80. http://dx.doi.org/10.1139/e89-174.
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The breakdown of rock by forces attributable to the freezing of water is one of the various weathering processes included under the general term "frost action." Field observations in the Guillaume–Delisle Gulf area, subarctic Quebec, suggest that under certain conditions the process can be rapid, even explosive. By analogy to rockbursting, the term "frost bursting" is proposed as the equivalent to the French term "éclatement". Frost bursting is the process by which intact and massive rock is shattered when water saturated and submitted to intense and rapid freezing. Hydrostatic pressure developed either in pore spaces or rock cracks allows strain energy to be stored in the freezing rock. Frost bursting will occur if the material is stiff and strong enough to exhibit release of a large quantity of stored strain energy.
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Schönenberg, M., S. Christian, A. K. Gaußer, S. V. Mayer, M. Hautzinger, and A. Jusyte. "Addressing perceptual insensitivity to facial affect in violent offenders: first evidence for the efficacy of a novel implicit training approach." Psychological Medicine 44, no. 5 (July 1, 2013): 1043–52. http://dx.doi.org/10.1017/s0033291713001517.
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BackgroundAlthough impaired recognition of affective facial expressions has been conclusively linked to antisocial behavior, little is known about the modifiability of this deficit. This study investigated whether and under which circumstances the proposed perceptual insensitivity can be addressed with a brief implicit training approach.MethodFacial affect recognition was assessed with an animated morph task, in which the participants (44 male incarcerated violent offenders and 43 matched controls) identified the onset of emotional expressions in animated morph clips that gradually changed from neutral to one of the six basic emotions. Half of the offenders were then implicitly trained to direct attention to salient face regions (attention training, AT) using a modified dot-probe task. The other half underwent the same protocol but the intensity level of the presented expressions was additionally manipulated over the course of training sessions (sensitivity to emotional expressions training, SEE training). Subsequently, participants were reassessed with the animated morph task.ResultsFacial affect recognition was significantly impaired in violent offenders as compared with controls. Further, our results indicate that only the SEE training group exhibited a pronounced improvement in emotion recognition.ConclusionsWe demonstrated for the first time that perceptual insensitivity to facial affect can be addressed by an implicit training that directs attention to salient regions of a face and gradually decreases the intensity of the emotional expression. Future studies should focus on the potential of this intervention to effectively increase empathy and inhibit violent behavior in antisocial individuals.