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1
Brayko, Oleksandr. "Coloring in Short Prose by Yevhen Hutsalo." Академічний журнал "Слово і Час", no. 2 (February 25, 2019): 41–56. http://dx.doi.org/10.33608/0236-1477.2019.02.41-56.
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The paper considers the means of representing space in Yevhen Hutsalo’s prose which are suitable for comparison with the painting technique. Coloring is one of determining graphic resources of a picture. The artistic effect of the figures and spatial compositions fixed on canvas is to a great extent predefined by the color solution of the subjects and air environment depicted. In order to make the world of imagination more representational the literature used to involve visual imagery in a verbal design, in which color and light markers not only specify a representation of fictitious or real situation but also give some lyrical, epical or dramatic coloring to the narration, increasing the expressivity of a picture. In the descriptions of landscapes in the short stories by Yevhen Hutsalo one may find the verbal analogues of such painting tools as color dominant, color harmony, lighted up and shaded areas. The dynamics of color solution in a verbal picture, the introduction of new hues and their combinations, and the constructing of light environments help to strengthen the emotional effect of the narration and make some special mood accents. The change of chromatic range and interpretation of painting components of the verbal image liken the narration to the melodious and sound transitions in music and editing tools in filmmaking. The color effects contribute to plasticity of the represented objects or, on the contrary, make their representation less material, give some decorative or symbolic sense to the nature. The story “On the Shining Horizon” may be compared to the cycle of paintings by Oscar-Claude Monet “Rouen Cathedral”. The unsteady landscape of Y. Hutsalo is marked by interpretative activity of the narrator. The landscape descriptions with a less vivid and not too rich, i. e. comparatively weak in terms of stimulating emotions, color range are also endowed with a noticeable expressive potential. In accordance with the requirements of expression in painting the verbal chiaroscuro also may give dynamics to relatively static environment. The paper offers a comparative analysis of the verbal ‘pictures’ and their corresponding paintings-predecessors.
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Zhou, Yi. "Presentation of the Motherland image in the creativity of modern Chinese vocalists." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 285–97. http://dx.doi.org/10.34064/khnum2-19.16.
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Background. The mindset of people who inhabit one or the other country determines the process of formation and fixation of intonational vocabulary, which reflects and in the music culture, including songs. In such a case, phonetic and syntax particular qualities of verbal language intersect with national musical language. The proof of that is a vocal art, whose essential parameters (from intonational scale to the aspects of voice staging) present originality of national worldview. However, in recent decades, the preservation of the uniqueness of the artistic expression of peoples and ethnic groups is under threat. Culture integration increasingly unifies musical thinking of representatives of different countries. The striking instance of this is an art of modern China. Here, vocalists work either based on national traditions of singing, or developing the achievements of leading European schools. Moreover, choice, made once, determines a singer’s creative fate – his technique and repertoire. As a result, there is a gradual transformation of the entire system of musical culture in China, a rethinking of the basic intonation complexes, including those that embody the national image of the world. These facts define the purpose of given research – uncovering specificity of Motherland image presentation in modern China vocalists’ interpretation. The methodology of the research is determined by its objective, it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. Themes related to Motherland image are an integral part of China musical art. In folk art, these are songs that sing about China, about people living in this country, about love for the Motherland. Authors often recourse to allegories using synonymic emblematic row: dragon, red color, Yin and Yan signs, Beijing opera. These kinds of songs are gradually beginning to be accepted as the symbol of the country, where they were created. Exactly this way happened with one of the most famous in the world Chinese folksong «Jasmine Flower», which words for the first time were written down in the time of Ming dynasty. The version of «Jasmine Flower», which nowadays is the most times performed, is credited with composer He Fang. He Fang made some changes both in lyrics and in verbal text of the folksong. One of the greatest interpreters of «Jasmine Flower» is Song Zuying singing in the folk manner. It is revealing that song «Jasmine Flower» at her concert sounds exactly like a symbol of China, what characterize a lot of performing interpretation aspects. The song is construed by the singer not as a lyrical utterance, but as an “aria di sortita”. One more variant of Song Zuying’s «Jasmine Flower» interpretation was performed to the public together with Celine Dion at the «Spring Festival» in China (2013). According to the director design, the singers performing one song together appear as the embodiment of the images of their peoples that is reflected in the visual row. On deeper layers of understanding, this performance shows musical thinking specificity of representatives of different cultures. Consequently, ancient Chinese song «Jasmine Flower» appears in modern art as open text, which transformation process, obviously, will continue. One more composition, which became the symbol of China, is the song «Me and my Motherland» composed in 1985 by Qin Youngcheng (on Zhang Li lyrics). In our thinking, the song «Me and my Motherland» is illustrative of intonational transformation of music characterizing the Motherland image in the China art. Written in the last third of the twentieth century, the song is a vivid example of the refraction of European musical traditions, there is continuity with ideologically biased, but artistically distinctive and highly professional the Soviet pop. In this song, a person appears as a part of more important wholeness: nature, nation, a family. It is felt also in Liao Changyong’s performing version. His interpretation is characterized by happy combination of Chinese and West European traditions; bel canto singing and musical texture of song smooth out those Chinese language phonetic properties that usually demonstrate national arts specificity. Conclusions. Songs, presenting the image of China, are an integral part in Chinese vocalists’ work. These compositions inspired by love for their native land withstood the test of time, spread in sing repertoire and reflect that huge way that Chinese vocal school has passed over the past hundred years. Today, both the national tradition and the stylistics borrowed from a number of European countries organically coexist there. The demand for such compositions in concert world space testifies to the action of a centripetal force aimed at preserving national identity in conditions of cultural globalization.
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Kopeliuk, Oleh. "THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 65–95. http://dx.doi.org/10.34064/khnum1-58.05.
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Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.
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Straw, Will. "Music video in its contexts: popular music and post-modernism in the 1980s." Popular Music 7, no. 3 (October 1988): 247–66. http://dx.doi.org/10.1017/s0261143000002932.
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Writing on music video has had two distinctive moments in its brief history. The first wave of treatments tended to come from the culture surrounding rock music and from those who were primarily interested in music video as something which produced effects on that music. Here, two claims were most common, and generally expressed in the terms and the contexts of rock journalism:(1) that music video had made ‘image’ more important than the experience of music itself, with effects which were to be feared (for example, the potential difficulties for artists with poor ‘images’, the risk that theatricality and spectacle would take precedence over intrinsically ‘musical’ values, etc.);(2) that music video would result in a diminishing of the interpretative liberty of the individual music listener, who would now have visual or narrative interpretations of song lyrics imposed on him/her, in what would amount to a semantic and affective impoverishment of the popular music experience.
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I.V., Nemchenko. "MARINE DIMENSION OF DMYTRO SHUPTA’S STANZAS COLLECTION “AUTUMN FACET”." South archive (philological sciences), no. 86 (June 29, 2021): 28–33. http://dx.doi.org/10.32999/ksu2663-2691/2021-86-4.
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Purpose. Many writers from various epochs and countries have been admirers and propagandists of marine literature. The article examines the marine motifs and images of the Ukrainian poet Dmуtro Shupta’s lyrics in the early 21st century. The purpose of the work is to analyze the marine space in his stanzas collection “Autumn facet”.Methods. The elements of the following methods are used in the research: aesthetic (allows analyzing each text as a phenomenon of literature and art), hermeneutic (ensures free and open interpretation of texts with the possibility for new explanations), biographic (helps to describe autobiographic features in the writer’s literary works), intermedial (systematization of various elements of marine, musical and artistic presence in the lyrics of the poet), comparative (provides wide possibilities for the coverage of interdependence between poetry, music and painting micro-images), intertextual (links between writer’s poems and folklore songs and literary tradition), textual analysis (for coverage of the main motifs of stanzas collection). The research is based on the general method of analysis, synthesis, observation, selection and systematization of the material.Results. The effect of a hero’s co-living with the environment depicted by the author, with the marine environment in particular, is characteristic of D. Shupta’s stanzas collection “Autumn facet”. The article finds out that the Ukrainian writer has delicate understanding of music and painting, and can embody it in his own marine texts, combining different artistic elements. He uses auditory, visual and tactile impressions. Marine motifs and images of the literary works of D. Shupta play an important role in the creation of the artistic image of the world by verbal means. Marine space in his interpretation is a symbol of the nature and the world of human passions and life difficulties, their creative sources and ruinous essence. Shupta’s marine works combine real and fairy plans, have characteristics of legends, tales and mysteries. Close relations between the writer’s marine poetry and Ukrainian folklore songs and literary traditions are traced in the article.Conclusions. D. Shupta’s stanzas collection «Autumn facet» is an original artistic work on the crossing of literary, musical and descriptive imagery. The author presents different variants of stanzas, proposes many marine motifs, images, attributes, his own vision of the sea in its power and beauty. The collection confirms that the poet appertains to the best representatives of the national and the world marine literature.Key words: motif, image, metaphor, symbol, poetry, music, painting. Мета. Морська тематика є однією з найулюбленіших у доробку багатьох митців різних часів і країн – шанувальників і пропагандистів літературної мариністики. У статті розглядаються морські мотиви та образи в творчості українського поета Дмитра Шупти початку ХХІ століття. Метою нашої статті є висвітлення особливостей художнього осмислення мариністично-го простору письменником у його збірці стансів «Осіння грань».Методи. У статті використано елементи таких методів: естетичного (забезпечує розгляд творів митця як літературно-мистецького феномену), герменевтичного (пропонується вільна інтерпретація текстів із можливістю подальших витлумачень), біографічного (простежуються риси автобіографізму в поезіях співця), інтермедіального (здійснюється систематизація різноманітних мариністичних, музичних, живописних елементів, наявних у текстах поета), компаративного (висвітлюються взаємозалежності та взаємовпливи між поетичними, музичними, живописними мікрообразами), інтертекстуального (звертається увага на зв’язки між віршами митця та українським фольклором і літературною традицією), текстуального аналізу (застосовується для окреслення провідних мотивів cтансової збірки). Дослідження засноване на загальнонауковій методиці аналізу, синтезу, спостереження, добору та систематизації матеріалу.Результати. Для ліричної збірки Дмитра Шупти «Осіння грань» характерним є ефект органічного вживання героя в зображуване автором середовище й це насамперед мариністичний світ. Цей нерозривний зв’язок український письменник, який тонко розуміє музику і живопис, уміє передавати через переплетіння елементів різних мистецьких стихій. Він майстерно використовує слухові, зорові враження. Морські мотиви та образи виконують важливу функцію у творенні автором художньої картини світу. Мариністичний простір у поета символізує й природну стихію, й амплітуду людських почуттів, і складний вир життя, і творче начало, і руйнівну сутність. У мариністичних замальовках збірки Д. Шупти поєднуються реальний і феєричний плани, дійсність переплітається з легендою, казкою, містичними уявленнями. У статті простежено зв’язки між віршами письменника-мариніста та українським фольклором і літературною традицією. Висновки. Збірка стансів Дмитра Шупти «Осіння грань» є самобутнім мистецьким витвором, що заснований на перехресті літературної, музичної та живописної образності. Варіюючи різні стансові форми, видозмінюючи найрізноманітніші мариністичні мотиви, образи, атрибутику, автор зумів передати своє власне бачення моря у всій його cилі та красі. Збірка потверджує належність митця до найяскравіших представників вітчизняної і світової літературної мариністики. Ключові слова: мотив, образ, метафора, символ, поезія, музика, живопис.
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Kiaer, Christina. "Lyrical Socialist Realism." October 147 (January 2014): 56–77. http://dx.doi.org/10.1162/octo_a_00166.
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The thirty-three-year-old artist Aleksandr Deineka was given a large piece of wall space at the exhibition 15 Years of Artists of the RSFSR at the Russian Museum in Leningrad in 1932. At the center of the wall hung his most acclaimed painting, The Defense of Petrograd of 1928, a civil-war-themed canvas showing marching Bolshevik citizens, defending against the incursions of the White armies on their city, arrayed in flattened, geometric patterns across an undifferentiated white ground. The massive 15 Years exhibition attempted to sum up the achievements of Russian Soviet art since the revolution as well as point toward the future, and Deineka, in spite of his past association with “leftist” (read: avant-garde) artistic groups such as OST (the Society of Easel Painters) and October, was among those younger artists who were anointed by exhibition organizers as leading the way forward toward Socialist Realist art—a concept that was being formulated through both the planning of and critical response to this very display of so many divergent Soviet artists. Known for his magazine illustrations and posters, Deineka had also established himself at a young age as a major practitioner of monumental painting in a severe graphic style that addressed socialist themes, such as revolutionary history (e.g., Petrograd), and, as his other works displayed at the Leningrad exhibition demonstrate, proletarian sport (Women's Cross-Country Race and Skiers, both 1931) the ills of capitalism (Unemployed in Berlin, 1932), and the construction of the new Soviet everyday life (Who Will Beat Whom?, 1932).
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Rosand, Ellen. "Operatic ambiguities and the power of music." Cambridge Opera Journal 4, no. 1 (March 1992): 75–80. http://dx.doi.org/10.1017/s0954586700003621.
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‘Pur sempre su le nozze canzoneggiando vai.’ Arnalta's remark to Poppea (L'incoronazione di Poppea, Act II scene 10), occasioned by Poppea's lyrical exultation over the death of Seneca, provokes the closing sententia of Edward T. Cone's recent exploration of the ambiguous world of opera and its inhabitants. Translating the nurse's comment as ‘You're forever going around singing songs about your wedding’, Cone concludes that ‘this is just what characters in opera do: they go around singing songs all the time’.
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Silvey, Brian A., Aaron T. Wacker, and Logan Felder. "Effects of baton usage on college musicians’ perceptions of ensemble performance." International Journal of Music Education 35, no. 3 (September 19, 2016): 333–42. http://dx.doi.org/10.1177/0255761416667465.
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The purpose of this study was to investigate the effects of baton usage on college musicians’ perceptions of ensemble performance. Two conductors were videotaped while conducting a 1-minute excerpt from either a technical ( Pathfinder of Panama, John Philip Sousa) or lyrical ( Seal Lullaby, Eric Whitacre) piece of concert band music. Each excerpt was conducted twice, once with and without a baton. After viewing each of the four videos, college musicians ( N = 119) rated the ensemble expressivity and ensemble precision of each performance. Technical excerpt performances were rated significantly higher when the conductor used the baton than we he did not. No baton effect was found for ratings assigned to the lyrical excerpt. A separate panel of evaluators ( N = 44, college musicians), who served as the control group, assigned ratings to the same excerpts, but was presented these excerpts in an audio-only format. Findings indicated that the use of the baton significantly affected these participants’ ratings of ensemble expressivity and ensemble precision for the technical excerpt, with higher ratings being assigned to those excerpts in which the conductor used a baton. Similar to our results in the audio-visual condition, no significant differences were found between participants’ ensemble expressivity or ensemble precision ratings when listening to the lyrical excerpt.
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GIOL-CALEFARIU, Emilia. "Vocal technique in the formation stages of the lyric artist." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 79–84. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.8.
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Singing is the way of expression through which feelings, experiences, an ideational content are poetically expressed; in its absence the vocal qualities cannot justify the purpose of the interpretation. The topicality of music education for young performers is determined by an appropriate approach to the process of knowing the essential structure of singing, by understanding and mastering the multiple styles and ways of interpreting each genre, all in conjunction with an integration of historical views on the art of singing. Finding directions of orientation and thinking in the field of vocal interpretation, corroborated with the identification of some intrinsic values of it will contribute to achieving a stable foundation on which the lyrical artist can build a career in interpretation.
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Moran, Richard, Norman Bryson, Michael Ann Holly, and Keith Moxey. "Visual Theory: Painting and Interpretation." Journal of Aesthetics and Art Criticism 50, no. 3 (1992): 257. http://dx.doi.org/10.2307/431238.
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Hagberg, Garry L., and Michael Krausz. "The Interpretation of Music: Philosophical Essays." Journal of Aesthetics and Art Criticism 54, no. 2 (1996): 201. http://dx.doi.org/10.2307/431100.
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Barrett, Thomas M. "“No, A Soldier Doesn’t Forget”: The Memory of the Great Fatherland War and Popular Music in the Late Stalin Period." Canadian-American Slavic Studies 48, no. 3 (2014): 308–28. http://dx.doi.org/10.1163/22102396-04803004.
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This article examines the fate of lyrical songs of the Great Fatherland War in the post-war, late-Stalin period. Despite a relentless attack by critics, songs that emphasized loss and suffering continued to be written, recorded, and performed after the war. These kept a narrative of individual struggle alive during a period when the Party attempted to impose a state-heavy, heroized interpretation of the war that emphasized the glory of Stalin’s leadership. The article includes analyses of performances by Mark Bernes and Klavdiia Shul’zhenko, traces the continued popularity of songs written during the war, and examines songs of return and memory written in the post-war period. It also makes a plea for increased attention to this neglected era: the tensions between the attempts to restalinize culture in various ways after the war and the need to promote escapism and create culture that was truly popular made for a level of complexity during the post-war period that has been largely neglected by scholars. Since the lyrical songs of the Great Fatherland War secured a public place in Soviet culture, this article also challenges the notion that the so-called cult of the Great Fatherland War was simply bombastic and dehumanizing.
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Hill, Sarah. "Ending it all: Genesis and Revelation." Popular Music 32, no. 2 (May 2013): 197–221. http://dx.doi.org/10.1017/s0261143013000044.
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AbstractBecause of their brevity, many pop songs of the last 50 years seemingly elude the application of narrative theory. But the deliberate lengthening of individual tracks during the early years of progressive rock exposes them to precisely that kind of examination. One such song is ‘Supper's Ready’, which closes the 1972 Genesis album Foxtrot. This allegorical 23-minute epic, abundant with references to the Book of Revelation, provides an intriguing model for the ‘concept song’, and confounds the listener's expectations – lyrical, musical, narrative, structural and temporal. In this article I explore the seven tableaux of ‘Supper's Ready’, paying particular attention to the treatment of the apocalyptic theme, apply formalist and narrative theories of interpretation, and consider ways in which the song's design demands that the listener engage with both its concept and its construction.
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Bottà, Giacomo. "The city that was creative and did not know." European Journal of Cultural Studies 12, no. 3 (July 16, 2009): 349–65. http://dx.doi.org/10.1177/1367549409105368.
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This article explores the relation between popular music and creative cities through the example of Manchester between 1976 and 1997. The formation of a local music scene is analysed through the notion of urban creative milieu stating its historical debt to the city industrial heritage; place-images produced by the local popular music scene are analysed as visual, aural and lyrical productions. The article examines the consolidation of the considered local popular music scene through bottom-up and autonomous projects and the regeneration of some areas of Manchester. It looks at the role of the 'New Left' municipality, its difficulties in recognizing the city's creative capital and its attitude towards the production and consumption of popular music. The conclusions present some general reflections on the Manchester legacy and its significance for a definition of creativity at the urban level.
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SWINEHART, KARL. "The Ch'ixi Blackness of Nación Rap's Aymara Hip-Hop." Journal of the Society for American Music 13, no. 4 (November 2019): 461–81. http://dx.doi.org/10.1017/s1752196319000373.
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AbstractThis essay examines the music of Nación Rap, Aymara rappers of El Alto, Bolivia, as an expression of what Aymara sociologist Silvia Rivera Cusicanqui terms a ch'ixi cultural form, one that juxtaposes seeming opposites into a changed third. I look to earlier moments of Aymara and Quechua cultural production, specifically colonial New World Baroque art, to consider Aymara hip hop as another instance of ch'ixi cosmopolitanism. In examining the lyrical, musical, and visual elements of Nación Rap's performance, I argue that their music intervenes in local ideologies of race and Indigeneity. By reformulating what is understood as Aymara, by situating the Aymara language as poetically equivalent to the colonial lingua franca of Spanish, English, and French, and by wearing Aymara clothing and hairstyles in the performance of an urban musical genre with proximity to Blackness, these artists challenge dominant racial logics of their society.
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Caldwell, Mary Channen. "Cueing Refrains in the Medieval Conductus." Journal of the Royal Musical Association 143, no. 2 (2018): 273–324. http://dx.doi.org/10.1080/02690403.2018.1507115.
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AbstractAs lyrical refrain forms flourished beginning in the twelfth century and increased attention was paid to the mise en page of song in manuscript sources, scribes faced the dilemma of how to cue frequent repetition of poetry and music. Owing to a lack of shared conventions among these scribes, the signalling of repetition varied greatly among sources, the resulting inconsistencies furnishing what Ardis Butterfield calls ‘glimpses of scribal thinking’. Nowhere is this more evident than in approaches to notating the Latin refrain, a structural feature in a range of genres and an inexact yet related parallel to the French refrain. I argue in this article that the graphic treatment of refrains in Latin song exposes assumptions that both scribes and performers made about form, genre and the realization of song in performance. Attending to the visual cueing of refrains clarifies textual and musical ambiguities arising from the simultaneously oral, written and performative milieu within which Latin song was cultivated and disseminated.
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Chaunina, N. V., and E. G. Razdyakonova. "“Lyrical Dialogue” by N. Gumilyov and A. Akhmatova: Communicative Aspect." Nauchnyy Dialog, no. 2 (February 28, 2020): 275–86. http://dx.doi.org/10.24224/2227-1295-2020-2-275-286.
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The attempts to analyze the “mutually addressed” lyrics of N. S. Gumilyov and A. A. Akhmatova within the framework of a communicative approach is analyzed in the article. The novelty of the study is in the fact that the particularities of the realization of dialogical intentions are determined, the principles of expressing addressing in lyric texts at the level of motive-shaped structure, visual-expressive and speech means are indicated. A comparative analysis of the artistic practice of the two greatest poets of the XX century is carried out. The material for analysis was the most representative lyric poems of A. Akhmatova and N. Gumilyov of 1900-1921, containing explicitly or implicitly expressed directives for dialogue, as well as devotional notes that indicate addressing each other. As a result of the study, it was revealed that in the poems of Akhmatova and Gumilyov there are similar communicative scenarios, the choice and content of which varies depending on the image of the addressee, the problematic thematic focus, as well as the specifics of the lyrical emotion. The “tools” of communicative interaction, due to the biographical context, the features of its personal interpretation, as well as the professional and philosophical development of colleagues in the “Workshop of poets”, are examined in detail.
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Dennis, Brian. "Cardew's ‘Treatise’ (mainly the visual aspects)." Tempo, no. 177 (June 1991): 10–16. http://dx.doi.org/10.1017/s0040298200013516.
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Cornelius Cardew's 193–page Treatise is the longest and most elaborate piece of Graphic Music ever made. Although it was intended for improvisation and realization, using as many or as few pages as required, and with no fixed rules of interpretation, the piece can be regarded as a graphic construction inspired by music – and with ‘music’, in the broadest sense, as its subject matter. It was influenced by the philosophy of Frege and Wittgenstein, and in particular the latter's exhaustive treatise Tractatus Logico-Philosophicus, which not only inspired the title but almost certainly the composer's economical approach to this endeavour and the rigorous development of his material. It was composed from 1963 to 67.
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Zekang, Chen. "JIA DAQUN CONCERTO ″FUSION II″: INTERPRETATION OF CHINESE PERCUSSION INSTRUMENTS." Arts education and science 1, no. 2 (2021): 136–43. http://dx.doi.org/10.36871/hon.202102017.
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The article introduces Jia Daqun's Concerto for Percussion and Symphony Orchestra "Fusion II" into Russian musicology for the first time. The work is considered as one of the illustrative examples of the inclusion of traditional Chinese percussion instruments in symphony orchestra. Following modern trends in unconventional ways of playing the tanggu solo drum, the composer achieves a timbre transformation which, along with rhythmic and dynamic qualities, allows to imitate the sound of Indian drums and African tambourines. The new sound created in this way becomes one of the indicators of the cross-cultural integration, which is accomplished not by mechanical borrowing of authentic musical material, but by developing a distinctive rhythmic pattern and sound production techniques. The combination of the timbres of Chinese gong and the vibrato of stringed instruments in Fusion II creates slowdowns and an "echo" effect typical for electronic music. In the Concerto all the features of the genre are observed, but the classical constant received a refraction in the light of modern processes, which required the composer to use new and sometimes harsh methods, almost completely eliminating the lyrical expression.
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Campbell, Sean. "‘Agitate, educate, organise’: partisanship, popular music and the Northern Ireland conflict." Popular Music 39, no. 2 (May 2020): 233–56. http://dx.doi.org/10.1017/s0261143019000242.
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AbstractThis article explores popular-musical invocations of the Northern Ireland conflict (1968–1998), focussing specifically on the period between the IRA hunger strike of 1981 and the British Government's Broadcasting Act in 1988. Whilst most songs addressed to the ‘Troubles’ were marked by (lyrical) abstraction and (political) non-alignment, this period witnessed a series of efforts that issued upfront and partisan views. The article explores two such instances – by That Petrol Emotion and Easterhouse – addressing each band's respective views as well as the specific performance strategies that they deployed in staging their interventions. Drawing on original interviews that the author has conducted with the musicians – alongside extensive archival research of print and audio/visual media – the article explores the bands’ songs in conjunction with salient ancillary media (such as record sleeves, videos and interviews), yielding a more nuanced account of popular music's engagement with the ‘Troubles’ than has been offered in existing work (which often assumes the form of broad surveys).
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Mazzola, Guerino, and Stefan G�ller. "Performance and Interpretation." Journal of New Music Research 31, no. 3 (September 1, 2002): 221–32. http://dx.doi.org/10.1076/jnmr.31.3.221.14190.
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Margolis, Joseph. "Reinterpreting Interpretation." Journal of Aesthetics and Art Criticism 47, no. 3 (1989): 237. http://dx.doi.org/10.2307/431004.
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Stecker, Robert. "Art Interpretation." Journal of Aesthetics and Art Criticism 52, no. 2 (1994): 193. http://dx.doi.org/10.2307/431166.
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MARGOLIS, JOSEPH. "Reinterpreting Interpretation." Journal of Aesthetics and Art Criticism 47, no. 3 (June 1, 1989): 237–52. http://dx.doi.org/10.1111/1540_6245.jaac47.3.0237.
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STECKER, ROBERT. "Art Interpretation." Journal of Aesthetics and Art Criticism 52, no. 2 (March 1, 1994): 193–206. http://dx.doi.org/10.1111/1540_6245.jaac52.2.0193.
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Girard, Stéphane. "(Un)originality, hypertextuality and identity in Tiga's ‘Sunglasses at Night’." Popular Music 30, no. 1 (January 2011): 105–25. http://dx.doi.org/10.1017/s0261143010000681.
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AbstractIn 2001, Montreal disc jockey Tiga, with the help of Finnish producer Jori ‘Zyntherius’ Hulkkonen, recorded and released a techno cover version of ‘Sunglasses at Night’, a song popularised in 1983 by fellow Canadian Corey Hart. This paper examines how a so-called ‘unoriginal’ musical practice such as the cover version, when re-contextualised into a brand new musical genre (a process called ‘trans-stylisation’), can engender new meaning, especially when it comes to the generic identity purveyed by the song's enunciator. The analysis of this new ‘original’ utterance relies on the theory of hypertextuality and describes, on the musical, lyrical and visual levels, the transformative processes from the hypotext (Hart's version) to the hypertext (Tiga's), thereby shedding new light on the poetics of the cover version and on the representational modalities of the postmodern subject.
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Steege, Benjamin. "Janáhček's Chronoscope." Journal of the American Musicological Society 64, no. 3 (2011): 647–87. http://dx.doi.org/10.1525/jams.2011.64.3.647.
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Abstract Leoš Janáček's fascination with the trappings of experimental psychology has boosted his image as a kind of realist, for whom empirical engagement with psychological experience was a prerequisite for aesthetic value. Yet careful contextualization of the sources he drew upon in later years suggests that such discourses—above all, the work of Wilhelm Wundt—work ironically against the constitution of the expressive subjectivity we are used to inferring in his work. An emblematic case in point is Janáček's use of an experimental research instrument known as the “chronoscope,” which psychologists had traditionally used for studying reaction times, a formative concern for the discipline since its emergence in the 1870s. While remarkable for its utility in accurately measuring extremely short durations, the chronoscope also highlighted the temporal limits of perception. It appealed to the composer's obsession with minute details of sensation, but it can also be seen to raise questions about the integrity or continuity of the very image of subjectivity it was meant to ascertain. The conjunction of the chronoscope's dramatization of short timespans and Janáček's related concern for the calibrated gesture together suggest a mode of interpretation through which the expressive impulse in his music may be sensed as incipient, in a state of deferral, rather than as the immediate manifestation of an integral lyrical self.
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HAGBERG, GARRY. "Michael Krausz, Ed., The Interpretation of Music: Philosophical Essays." Journal of Aesthetics and Art Criticism 54, no. 2 (March 1, 1996): 201–4. http://dx.doi.org/10.1111/1540_6245.jaac54.2.0201.
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Adetu, Edith Georgiana. "Verdian lyric theatre. Hermeneutics of the performance and contemporary challenges." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 196–206. http://dx.doi.org/10.2478/ajm-2021-0011.
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Abstract Engaging the viewer in a dialogue with the opera of Giuseppe Verdi is an approach that involves him spiritually, culturally, morally. You can enter this universe of opera music through several gates. The wide path of science will walk through the portal of stylistics, aesthetics, philosophy or art history. On another road comes the profane, motivated by the love for the beautiful. The opera Nabucco was the first step in the evolution of Italian lyrical theatre – from melodrama to realistic drama – characterised by the unity and strength of artistic conception, the energy and simplicity of musical language. Verdi’s dramatic sense and affinity for realism propelled him over time into the role of composer- playwright, his name being closely linked to titles such as: Ernani, Luisa Miller, Macbeth, Othello, Falstaff. However, we can note in recent decades the lack or low presence of important titles among Verdian operas in the repertoire of lyrical theatres. Can the contemporary public still receive this composer’s authentic message? Can current performers wear the clothes of truthful characters and meet the composer’s requirements for the vocal approach? The mission of hermeneutics – this interdisciplinary science – is to discover, as far as possible, the mechanisms of the interpretation of a social phenomenon (as the opera of Giuseppe Verdi has been repeatedly perceived), and its reminiscences in contemporary society.
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Davies, Stephen. "Relativism in Interpretation." Journal of Aesthetics and Art Criticism 53, no. 1 (1995): 8. http://dx.doi.org/10.2307/431731.
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Stecker, Robert. "Relativism about Interpretation." Journal of Aesthetics and Art Criticism 53, no. 1 (1995): 14. http://dx.doi.org/10.2307/431732.
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Olsen, Stein Haugom, and Gary Iseminger. "Intention and Interpretation." Journal of Aesthetics and Art Criticism 51, no. 4 (1993): 627. http://dx.doi.org/10.2307/431897.
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Goehr, Lydia, Umberto Eco, Richard Rorty, Jonathan Culler, Christine Brooke-Rose, and Stefan Collini. "Interpretation and Overinterpretation." Journal of Aesthetics and Art Criticism 51, no. 4 (1993): 632. http://dx.doi.org/10.2307/431900.
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Leddy, Tom. "Against Surface Interpretation." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 459. http://dx.doi.org/10.2307/432152.
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DAVIES, STEPHEN. "Relativism in Interpretation." Journal of Aesthetics and Art Criticism 53, no. 1 (December 1, 1995): 8–13. http://dx.doi.org/10.1111/1540_6245.jaac53.1.0008.
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STECKER, ROBERT. "Relativism About Interpretation." Journal of Aesthetics and Art Criticism 53, no. 1 (December 1, 1995): 14–18. http://dx.doi.org/10.1111/1540_6245.jaac53.1.0014.
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Kun, Sui, and Kim Hyung-Gi. "Innovative Methods in Planning, Design and Lighting of Music Visual Buildings in Modern Architectural." Open House International 44, no. 3 (September 1, 2019): 17–19. http://dx.doi.org/10.1108/ohi-03-2019-b0005.
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Based on the analysis of the data of the landscape live performances which have already been performed, this paper combs the development process of the live performances and other information of the performance types so that the public can have a clearer and clearer understanding of the live performances. Through time-frequency domain analysis method, the characteristic elements of waveform music are extracted and classified into sub-music segments in different rough emotional domains according to certain classification methods. And the application weights of the feature values of each music feature are defined in different emotion domains, which makes the input of the system more rational. For the output of the light action control data, this article has a certain interpretation of the DMX512 data, making the interpretation of the output more intuitive. The basic characteristics of music include speed, mode, beat, tone, volume, and the pitch, pitch, and length of notes. Therefore, in the future, the method of realizing music visualization in architectural lighting design and the method of realizing interaction with people will have more possibilities.
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Kuchina, Tayjana G. "«FILLING IN THE GAP BETWEEN SOUND AND WORD»: ACOUSTIC IMAGE-MAKING IN B. AKHMADULINA’S LYRICAL POETRY." Verhnevolzhski Philological Bulletin 22, no. 3 (2020): 61–67. http://dx.doi.org/10.20323/2499-9679-2020-3-22-60-66.
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The article analyzes relations between the sound and the word in the image-bearing system of B. Akhmadulina’s lyrical poetry. Among the acoustic objects in the poetess’ works one may discover sounds of natural environmental phenomena, as those of rain, of dripping water, cock’s crowing, etc., as well as the audible strata of culture (sounds of music, singing, or gramophone play). Meaningfully, the audible natural world is often expressed by either comparing it with music, or metaphorically, associating it with human speech, or, ultimately, with a prophetic or even sacred word. Sounds of everyday life, as the click of an electric switch, or the squeak of an opening door, as a rule, lose their direct material meaning and acquire metaphorical and symbolic connotations. The acoustic background of everyday life in Akhmadulina’s lyrical contents is turned into the «speech» of ordinary objects and can be juxtaposed with the poetess’ word, the poet being responsible to endow space with a voice. Paradoxically, it cannot be achieved by music. For all the high density of Akhmadulina’s musical associations, she seldom describes them, more often than not in the majority of musical fragments there appears «the silent movie effect», when acoustic means of the performed music is represented via its visual analogs, while musical instruments are needed only metaphorically or as means of comparison. Real sounds, those that will acquire actual meaning serve as blood emphatic accents which turn into ‘bleeding speech’. It is only then that the gap between the sound and the word dies away. The process of extracting the sound is hard and almost always painful. Still, that is the only way of overcoming the existing noise which claims the word’s space, and thus saves the object from namelessness. It is only the poet’s living voice that is able to give speech its identity and credibility. It is only by extreme effort that one can give name to the existing matter. Only by saying it aloud can you come into contact with Truth.
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Wang, Bojian. "The role of E. Mravinsky in the triumph of Shostakovich’s Symphony No 5." PHILHARMONICA. International Music Journal, no. 4 (April 2021): 1–10. http://dx.doi.org/10.7256/2453-613x.2021.4.36033.
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The author reconsiders the interpretation of the concept of Shostakovich’s Symphony No 5 based on the fact that the composition was created during Stalin’s Great Terror of the 1930s and after a harsh criticism of his compositions by the Communist Party and the USSR government in the early 1930s. During the creation of the Symphony No 5, the Soviet music experts defined its concept as a celebration of a “happy” life of Soviet people, However, in the author’s opinion, the symphony has another idea. The researcher notes that the triumph of the Symphony No 5 in the global culture had happened only owing to the director’s interpretation by Yevgeny Mravinsky during the premiere at Leningrad Philharmonic Hall on November 21, 1937, after which the Symphony was performed all over the world and became the gold standard of the Soviet music. Probably, Shostakovich intended to create an optimistic finale for the Symphony. But there are many examples when the composer’s goal doesn’t correspond with the final result. The author provides the conclusion that almost all music experts, who analyze this symphony, use abstract phrases: contrast themes, lyrical image, enemy, etc. But the only proven fact is that a “mechanistic” march is a heavy and ponderous advance of the power of a tyrant eliminating everything he wants based on the principle “who is not with us is against us”. This idea pierces into the Forth and later the Seventh Symphonies by Shostakovich. Today, the Symphony is still a music masterpiece and a part of the global music heritage, but the new socio-cultural interpretations of modern directors each time reveal the new faces of this composition.
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Boltz, Marilyn G., Brittany Ebendorf, and Benjamin Field. "Audiovisual Interactions: the Impact of Visual Information on Music Perception and Memory." Music Perception 27, no. 1 (September 1, 2009): 43–59. http://dx.doi.org/10.1525/mp.2009.27.1.43.
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PREVIOUS RESEARCH HAS DEMONSTRATED THAT MUSICAL soundtracks can influence the emotional impact, interpretation, and remembering of visual information. The present research examines the reverse relationship and whether visual information influences the perception and memory of music. In Experiment 1, listeners were presented with affectively ambiguous tunes paired with visual displays varying in their affect (positive, negative) and format (video, montage), or a control condition (no visual information at all). After each, participants were asked to provide a set of perceptual ratings that evaluated different melody characteristics and qualities of the visual displays. Results showed that both the affect and format of visual information differentially influenced the way a melody was perceived. Experiment 2 extended these findings by revealing that the affect of visual displays distorted melody recognition in a mood congruent fashion. These results are discussed in terms of their theoretical implications for audiovisual processing.
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Cosano Molleja, Andrés, Rosario Ortega, and Izabela Zych. "Attention, communication and development of interpretation skills in chamber music pianists´education." Psychology, Society, & Education 9, no. 2 (July 24, 2017): 283. http://dx.doi.org/10.25115/psye.v9i2.715.
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Pianists performing chamber music require skills of conscious listening and non-verbal, body or visual communication to perfect coordination, synchrony and dynamic balance. This study hypothesize that pianists have perceptive-attentional and psychological skills that allow them to communicate with other musicians. These skills are hypothesized to be better in more experienced pianists. This survey was conducted with 278 graduate and under-graduate pianists from all parts of Spain, who reported that the attention and communication skills are important in chamber music performance. Women reported higher levels of multitask competencies pertaining to conscious listening, body language and visual efficiency. At the same time, participants who are more highly trained and experienced report higher levels of attention, communication and interpretation skills when compared to the participants with shorter training and experience. Future research and practice should focus on assessment and inclusion of these skills in the curriculum of future chamber music pianists.
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Skelchy, Russell P. "Worshippers of the sugarcane fields: Agrarian politics, symbolic inversion and black metal in Indonesia." Metal Music Studies 5, no. 2 (June 1, 2019): 163–86. http://dx.doi.org/10.1386/mms.5.2.163_1.
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The inverted cross as a symbol in black metal music has long associated the genre with the mysterious and transgressive aura of the occult. Although the inverted cross can be construed as simultaneously sinister and frivolous, the idea of social inversion carries broader implications. Drawing from interpretations of social and symbolic inversion from multiple disciplines, this article examines how social order is contested and negotiated in Indonesia through the musical idiom of black metal. Indonesia currently has the world’s largest Muslim population and is one of Asia’s fastest growing economies; its transition to democracy since 1998 has been touted as an example of how Islam, capitalism and democracy can successfully coexist. And yet democratization and the expanded influence of capitalism have had uneven (or deleterious) results in halting the country’s increasing wealth gap. Using the Indonesian black metal act Bvrtan as a case study, I describe how their song lyrics, sampled sounds and visual artwork convey the exigencies of the Indonesian agrarian class in a shifting political landscape. Furthermore, I argue that Bvrtan use black metal as a space of social inversion in a way that simultaneously upholds the virtues and values of agricultural workers while depicting a dystopian world where they are further marginalized in the ongoing project of constructing a modern Indonesia.
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Stoia, Nicholas, Kyle Adams, and Kevin Drakulich. "Rap Lyrics as Evidence." Race and Justice 8, no. 4 (January 31, 2017): 330–65. http://dx.doi.org/10.1177/2153368716688739.
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Recent scholarship has shed light on the troubling use of rap lyrics in criminal trials. Prosecutors have interpreted defendants’ rap lyrics as accurate descriptions of past behavior or in some cases as real threats of violence. There are at least two problems with this practice: One concerns the interpretation of art in a legalistic context and the second involves the targeting of rap over other genres and the role of racism therein. The goal of the present work is translational, to demonstrate the relevance of music scholarship on this topic to criminologists and legal experts. We highlight the usage of lyric formulas, stock lyrical topics understood by musicians and their audiences, many of which make sense only in the context of a given genre. The popularity of particular lyric formulas at particular times appears connected to contemporaneous social conditions. In African American music, these formulas have a long history, from blues, through rock and roll, to contemporary rap music. The work illustrates this through textual analyses of lyrics identifying common formulas and connecting them to relevant social factors, in order to demonstrate that fictionalized accounts of violence form the stock-in-trade of rap and should not be interpreted literally.
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Kumanyika, Chenjerai. "‘We demand justice. We just getting started’: the constitutive rhetoric of 1Hood Media's hip-hop activism." Popular Music 34, no. 3 (September 8, 2015): 432–51. http://dx.doi.org/10.1017/s0261143015000355.
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AbstractThe hip-hop activism of Pittsburgh's 1Hood Media has been a key element of the success of several contemporary social justice campaigns, such as the 2010 Justice For Jordan Miles police brutality case. After offering some background on 1Hood Media and a discussion of constitutive rhetoric, this study offers a close reading of 1Hood's rhetorical appeal, focusing on the ways in which the audience is constituted as both collective and individual subjects whose participation in the narrative is essential to its closure. 1Hood Media's texts focus on a diverse range of victims of injustice who suffer at the hands of police brutality and murder, and other forms of systemic oppression. The villains in these narratives are institutional forces, such as racist police forces, or corrupt Wall Street banks. By focusing on music, lyrical and visual features of 1Hood's cultural products, this study contributes to studies of popular music, hip-hop, rhetoric and cultural politics.
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Petrobelli, Pierluigi. "On Dante and Italian music: Three moments." Cambridge Opera Journal 2, no. 3 (November 1990): 219–49. http://dx.doi.org/10.1017/s0954586700003268.
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We publish here, in slightly altered versions, three lectures given by Pierluigi Petrobelli in Autumn 1988 as Chair of Italian Culture at the University of California, Berkeley. The terms of the Chair, established in 1928, state that the person entrusted with the post should ‘lecture in illustration and interpretation of Italian culture’.
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Shusterman, Richard. "Interpretation, Intention, and Truth." Journal of Aesthetics and Art Criticism 46, no. 3 (1988): 399. http://dx.doi.org/10.2307/431110.
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Buechner, Jeffrey. "Radically Misinterpreting Radical Interpretation." Journal of Aesthetics and Art Criticism 45, no. 4 (1987): 409. http://dx.doi.org/10.2307/431332.
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Roskill, Mark. "The Interpretation of Pictures." Journal of Aesthetics and Art Criticism 49, no. 1 (1991): 104. http://dx.doi.org/10.2307/431669.
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SHUSTERMAN, RICHARD. "Interpretation, Intention, and Truth." Journal of Aesthetics and Art Criticism 46, no. 3 (March 1, 1988): 399–412. http://dx.doi.org/10.1111/1540_6245.jaac46.3.0399.
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LEDDY, TOM. "Discussion: Against Surface Interpretation." Journal of Aesthetics and Art Criticism 57, no. 4 (September 1, 1999): 459–62. http://dx.doi.org/10.1111/1540_6245.jaac57.4.0459.
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