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Momo, Saito. "NIKOLAI MEDTNER ― PROFESSOR OF MOSCOW CONSERVATORY". Arts education and science 1, nr 1 (2020): 162–67. http://dx.doi.org/10.36871/hon.202001021.
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The article presents the history of the pedagogical activity of the Russian composer and pianist N. K. Medtner, whose 140th birthday is celebrated in 2020. The article presents new information about Medtner's first piano mentors, as well as about Medtner as a teacher, and his musical preferences. Based on archives of The Moscow State Conservatory, as well as on the memories of Medtner's students, a list of master's successors who studied in his class for approximately seven years during his teaching in Russia was revealed. The study of personal files of students of the first decade of the XXth century allows us to touch upon fundamental questions: what material was used for the pedagogical process of Medtner, whether he used his own compositions for teaching students in his class. Among classical composers Medtner chose for his class J. S. Bach, L. van Beethoven, R. Schumann, F. Chopin and F. Liszt. The Russian repertoire was represented by the works from M. A. Balakirev to A. N. Scriabin. Students often made requests to include their Professor's essays in their programs, which Medtner rarely granted. It is noted, that N. K. Medtner's teaching at The Moscow Conservatory and in private musical institutions in Moscow, did not complete his mentoring pedagogical activity, which continued later outside of Russia.
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Zuk, Patrick. "Medtner". Nineteenth-Century Music Review 6, nr 2 (listopad 2009): 169–72. http://dx.doi.org/10.1017/s1479409800003268.
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Maytesian, T. D. "SOME STYLE FEATURES OF VIOLIN WORKS BY N. K. MEDTNER". Arts education and science 1, nr 4 (2020): 111–16. http://dx.doi.org/10.36871/hon.202004014.
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The article examines violin works by Nikolay Karlovich Medtner in the context of creative collaboration with his wife A. N. Medtner and his elder brother, violinist and conductor A. K. Medtner, who repeatedly made orchestral arrangements of piano works by Nikolay Karlovich. General and specific features of each of the five opuses are characterized: Three Nocturnes op. 16, Two Canzones op. 43 and Sonatas op. 21, 44 and 57. The leading role of the theme, the originality of rhythm, combining the static nature of ostinato episodes with improvisation are emphasized. The scale of the concept and the philosophical depth of violin works also determined new conceptual possibilities, which were revealed in the interpretation of forms, genre orientation and figurative content. The study of Medtner's creativity allows to expand the knowledge about the Silver Age violin art through a new search for eternal cultural values.
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Dolinskaya, E. B. "FABULOUS MUSICIANS: S. PROKOFIEV AND N. MEDTNER". Arts education and science 1, nr 2 (2021): 180–84. http://dx.doi.org/10.36871/hon.202102022.
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This year marks the 130th anniversary of the birth of S. S. Prokofiev and the 70th anniversary of the death of N. K. Medtner. The article provides a socio-cultural background to the similar circumstances of the lives of these two great musicians. Both were forced to leave Russia during the October events, learning all the difficulties of emigration. Their joint tour in the USSR in 1927 was for Medtner a last meeting with his beloved Moscow, where he had studied and taught at the Conservatory, while Prokofiev's emigration ended with his return home. The author wonders what brought together such different personalities as Sergey Prokofiev and Nikolay Medtner. The composers were united, among other things, by a special interest in narrative genres derived from folk epic poetry. However, each musician interpreted them differently — while the composer of "Tales of an Old Grandmother" was more interested in the representational aspect, Medtner wrote works with a more psychological depth.
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Левая, Т. Н. "The Muse vs The Fashion (According to the Pages of N. Medtner's Treatise)". Журнал Общества теории музыки, nr 3(35) (28.01.2022): 1–7. http://dx.doi.org/10.26176/otmroo.2021.35.3.001.
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Статья посвящена трактату Н. К. Метнера «Муза и мода», который все чаще становится сегодня предметом исследовательского внимания. Высоко оценивается, в частности, систематически изложенная в книге метнеровская философия музыки, тяготеющая к ранней античности, христианским представлениям о Боге и эстетике символизма. Но не меньший интерес представляет собой «полемическая» часть трактата, посвященная критике «неперсонифицированной» музыкальной современности. Отчасти перекликающаяся с книгой старшего брата композитора Э. К. Метнера («Модернизм и музыка», 1912), она обладает и самостоятельной ценностью, раскрывая отношение Н. Метнера к искусству модернизма и к фактору моды — второй важнейшей составляющей метнеровской дуалистической формулы. Подобные рассуждения перекликаются с позднейшими научными трудами, посвященными моде как явлению массовой культуры и наделяют трактат Н. Метнера весомой культуртрегерской миссией. The article is devoted to N. K. Medtner's treatise “The Muse and The Fashion” which has increasingly become the subject of research attention in recent years. Today's researchers highly appreciate the Medtnerian philosophy of music described in the book, which tends to early antiquity, Christian ideas about God and the aesthetics of symbolism. Meanwhile, the “polemical” part of the treatise devoted to the criticism of “non-personalized” musical contemporaneity is of no less interest. Partly echoing the book of the composer's elder brother E. K. Medtner (“The modernism and the music”, 1912), it has an independent value, revealing N. Medtner's attitude to the art of modernism and to the fashion factor – the second most important component of the Medtner dualistic formula. Such arguments coincide with the later scientific works devoted to fashion as a phenomenon of mass culture and endow N. Medtner's treatise with a weighty cultural mission.
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Medvedev, N. A. "N. Medtner. Sonata-Vocalise. Performer’s view". Muzyka. Iskusstvo, nauka, praktika, nr 1 (2022): 41–48. http://dx.doi.org/10.48201/22263330_2022_37_41.
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Слонимская, Р. Н. "Dresden commemorative meetings: Vladimir Scherbachev — Nikolay Medtner". OPERA MUSICOLOGICA, nr 1 (26.03.2020): 25–39. http://dx.doi.org/10.26156/om.2020.12.1.002.
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В статье рассматриваются взаимоотношения выдающихся музыкальных деятелей русской культуры Владимира Владимировича Щербачёва и Николая Карловича Метнера. Фактический материал анализируется на основе писем Щербачёва к жене, Марии Илларионовне, написанных в период командировки 1922-1923 годов в Пильниц под Дрезденом. В письмах раскрывается атмосфера музыкальной культуры Германии этого периода (в том числе постановка в Дрезденской опере Бориса Годунова Модеста Петровича Мусоргского). Подробно описывается процесс работы Щербачёва над партитурой монументального симфонического полотна Второй симфонии на стихи Александра Блока и приводится мнение Метнера о ней. Раскрываются музыкально-эстетические позиции Щербачёва и Метнера в отношении разных сторон техники сочинения, педагогики, исполнительского искусства. Одна из ключевых проблем сохранение традиции и радикальное новаторство, вызывавшее у Метнера весьма сложную реакцию. В целом, письма музыкантов дают возможность воссоздать живой и органичный облик двух композиторов разных творческих ориентаций, но искренне переживающих за музыкальное искусство. В конце статьи представлена роль Щербачёва в становлении ленинградской школы композиции. The article considers the relationship of outstanding music figures of the Russian culture VladimirV.Scherbachev and NikolayK.Medtner. The analyzed factual material is based on Scherbachevs letters to his wife Maria Illarionovna, written during a one-year trip to Pilnitz on the Elbe near Dresden 19221923. The letters reveal the atmosphere of musical culture of Germany of this period (including the production of Boris Godunov by Mussorgsky in the Dresden opera house). The author gives a detailed description of the process of Scherbachevs work on the score of the monumental symphonic canvas the Second Symphony on the poems by A.Blok, and Medtners opinion about it. In general, the letters of the two musicians give us an opportunity to recreate living and organic image of the two composers possessing different creative bearings, but sincerely worried about the music art.
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Liwan, Bao. "ON THE RELATIONSHIP OF N. MEDTNER'S PEDAGOGICAL WORK WITH HIS COMPOSING ACTIVITIES". Arts education and science 1, nr 30 (2022): 20–25. http://dx.doi.org/10.36871/hon.202201002.
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The article is devoted to the little-studied problem of correlation between the compositional and pedagogical components in Medtner's heritage. It indicates important stages of Medtner's development as a pianist in connection with his work at the Moscow Conservatory. Medtner's compositions are analyzed in which he pursues not artistic and expressive tasks, but rather sets important technical goals as a teacher, passing on his vast experience as a piano playing mentor. There is much printed and oral evidence that Nikolay Karlovich attached great importance to working on technique, but did not use fragments of plays as Corto did. The article provides composer's comments on his repertoire as a pianist, and deciphers the repertoire that Medtner went through with students at the Moscow Conservatory. Attention is focused on Medtner's three titles: composer, pianist, teacher, with all three developing in parallel, but in different proportions during the musician's life in Russia and during his forced emigration abroad. It is proved that among the three hypostases of the composer, the mutual influence of creativity on pedagogy and teaching on the creative process is especially noticeable.
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Долинская, Е. Б. "London Harbor on the Way of Nikolai Medtner". Музыкальная академия, nr 1(769) (29.03.2020): 24–33. http://dx.doi.org/10.34690/33.
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Статья посвящена лондонскому периоду жизни Николая Карловича Метнера. В биографиях выдающихся деятелей культуры разных народов и эпох не раз можно встретить указание на тот или иной город, сыгравший особую роль в их творческом пути. Как отдельные феномены исследовались, например, жизнь и творчество Баха в Лейпциге, Генделя и Гайдна в Лондоне, Шиллера и Гёте в Веймаре, Пушкина в Болдино, Тургенева и Листа в Париже. Не имея возможности вернуться на родину, Николай Карлович провел около пятнадцати лет в скитаниях по Европе и обрел второй дом уже в конце жизни - в Великобритании. Здесь, в Лондоне, его ждала не только надежная гавань, но и новые друзья, ученики, исполнители, в том числе поклонники музыкального гения Метнера, прежде всего его пианистического мастерства и камерновокальной лирики. The article is devoted to the London period of life of Nikolai Karlovich Medtner. In the biographies of prominent cultural figures of different nations and eras, one can often find an indication of a particular city that played a significant role in their creative path. For example, the life and work of Bach in Leipzig, Handel and Haydn in London, Schiller and Goethe in Weimar, Pushkin in Boldino, Turgenev and Liszt in Paris were studied as individual phenomena. Unable to return to his homeland, Nikolai Karlovich spent about fifteen years wandering around Europe and found at the end of his life a second home in the UK. Here, in London, he was waited not only by a safe haven, but also by new friends, students, performers, including fans of Medtner’s musical genius—above all, his piano performance and vocal music.
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Gheorghieva, Maria. "THE TEXTURE OF SONATA-REMINISCENZA (ОР. 38, NO.1) BY NIKOLAY MEDTNER THROUGH THE PRISM OF INTERPRETATIVE TASKS". Studiul artelor şi culturologie: istorie, teorie, practică, nr 1(42) (wrzesień 2022): 91–97. http://dx.doi.org/10.55383/amtap.2022.1.17.
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The article analyzes the Sonata-reminiscenza of Nikolai Medtner from the point of view of the types of piano texture used in it. It is about such distinctive qualities of the musical texture of this work as graphicity, a combination of homophonic-harmonic and polyphonic structure, the relationship between the position in the form and the type of textural design. Starting from the thesis about the priority of the content of musical thematism, the author concludes that only a close analysis of the compositional and dramatic features of the Sonata-reminiscenza of N. Medtner for the performer can become the key to creating an adequate performing concept of the composition and to comprehending its textural features.
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Штром, А. А. "On Tone-Painting Elements of Music Language in Vocal Chamber Music by Nikolai Medtner". Музыкальная академия, nr 1(769) (29.03.2020): 14–23. http://dx.doi.org/10.34690/32.
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Целью данной статьи является рассмотрение камерно-вокального творчества Н. К. Метнера с точки зрения живописности и звукоизобразительности. Автор вступает в полемику с критиками начала XX века, которые воспринимали метнеровскую музыку как бескрасочную и лишенную колорита. Опираясь на высказывания самого композитора в его книге «Муза и мода», проводя исполнительский анализ как фортепианной, так и вокальной партий романсов, автор статьи высвечивает звуковой образ метнеровского творчества с позиции звукописи: раскрывает звукоизобразительные элементы в фактуре таких романсов, как «Арион» op. 36 № 6, «Песнь ночи» op. 45 № 3; демонстрирует неистощимость композиторской фантазии в ритмической организации нотного текста в романсах «Телега жизни» op. 45 № 2 и «Священное место» op. 46 № 2, в повторяющихся ритмоформулах («Тишь на море» op. 15 № 7), в создании такта высшего порядка - сложного образования из тактов разного размера, расположенных друг за другом в определенной последовательности («Сумерки» op. 24 № 4), в реализации поэтического образа через лейтфактуру («Бессонница» ор. 37 № 1). В заключение статьи автор дает примеры тонкого использования как правой, так и левой педали, помогающих воплощать в музыке образы, связанные с колористической задачей. The aim of the paper is to consider vocal chamber music by N. Medtner in relation to picturesqueness and tone-painting. The author enters the debate with music critics of the beginning of the 20th century, who perceive Medtner’s music as lacking colours, i. e. non-coloristic. To confute this opinion the author refers to the composer’s statements given in his book “Muse and Fashion” and also undertakes the analyses of Medtner’s pieces from the standpoint of tone-painting. Such analyses allows to highlight pictorial elements in the texture of “Arion” (Op. 36 No. 6) and “Night Song” (Op. 45 No. 3) and to demonstrate the inexhaustibleness of the composer’s fantasy in rhythmic organization of “The Cart of Life” (Op. 45 No. 2) and “Sacred Place” (Op. 46 No. 2), in inventing iterative rhythmic formulas in “Calm Sea” (Op. 15 No. 7), in forming of “higher-order bar” — a complex unity of bars with different time-signatures placed one after another in definite succession (“Twilight” Op. 24 No. 4), in realization of poetical image by means of leit-texture (“Vigilance” Op. 37 No. 1). In conclusion the author gives examples of exquisite coloristic use of both pedals by Medtner.
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Szabó, Eszter. "Friendship of Well-known and Undeservedly Forgotten Masters in Late 19th and Early 20th Century Russian Piano Music. The Life and Work of Medtner, Rachmaninoff, and Scriabin". Studia Universitatis Babeş-Bolyai Musica 66, nr 2 (grudzień 2021): 123–32. http://dx.doi.org/10.24193/subbmusica.2021.2.09.
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"In this study, I explore the life and work of three outstanding pianists and composers in the late 19th and early 20th century: Medtner, Rachmaninoff, and Scriabin, who were not only contemporaries and colleagues but also supportive friends to each other. All three were largely influenced by their years at the Moscow Conservatory, where they became prominent pianists and first showed promise as composers. They received similar impulses and could learn from the same teachers. As a defining common element in their lives, they explored and strived to combine Russian musical traditions and Western classical music. At the same time, their different personalities are apparent from their music, so despite their common roots, their individual musical language is unmistakable. Even at the beginning of their careers, it was clear that despite the commonalities, their lives and careers took a different direction. All three tried their luck abroad, but only Scriabin returned home for the rest of his short life. In addition to their distinct life paths and musical language, their recognition is quite different. Scriabin’s name sounds familiar to many, but he does not belong to the most popular composers of our time. Rachmaninoff’s widespread popularity can be observed among professional musicians as well as the public. In contrast, it is not impossible to meet a professional for whom Medtner’s music is unknown. This is not necessarily explained by disparities in talent and abilities but rather by differences in circumstances, opportunities, and personalities. In this study, I attempt to shed light on the reasons for the three composers’ contrasting popularity from the perspective of their life and work. Keywords: Russian composers, Russian music, Late 19th, and early 20th century, Rachmaninoff, Scriabin, Medtner "
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Долинская, Е. Б. "Commemorative Word for Sergei Slonimsky To the Anniversary of Medtner". Музыкальная академия, nr 1(769) (29.03.2020): 10–11. http://dx.doi.org/10.34690/30.
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نبیل بکر الباز, دعاء. "أسلوب أداء بعض مؤلفات آلة البیانو عند نیکولای مدتنر Nikolai Medtner". مجلة علوم وفنون الموسیقى 41, nr 1 (1.06.2019): 341–94. http://dx.doi.org/10.21608/jfma.2019.86816.
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Predvechnova, Ekaterina. "N.K. Medtner and I.A. Ilyin: Dialogues on Musical Art, “Muse and Fashion”". Ideas and Ideals 2, nr 4 (24.12.2014): 123–31. http://dx.doi.org/10.17212/2075-0862-2014-4.2-123-131.
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Rancour-Laferriere, Daniel, Magnus Ljunggren i Emilii Medtner. "The Russian Mephisto: A Study of the Life and Work of Emilii Medtner". Russian Review 55, nr 3 (lipiec 1996): 504. http://dx.doi.org/10.2307/131803.
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Rudova, Larissa, Magnus Ljunggren i Emilii Medtner. "The Russian Mephisto: A Study of the Life and Work of Emilii Medtner". Slavic and East European Journal 40, nr 4 (1996): 757. http://dx.doi.org/10.2307/310117.
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Predvechnova, Ekaterina O. "THE SEMANTICS OF THE IMAGE-SYMBOL TIME IN «TRAGIC SONATA» OP. 39 CMOLL BY N.K. MEDTNER". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, nr 26 (1.06.2017): 101–10. http://dx.doi.org/10.17223/22220836/26/11.
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عبد الصبور محمد, أسماء. "دراسة مقارنة لأسلوب أداء دراسات البیانو عند کلا من نیکولای مدتینر Nikolai Medtner ورینالدو هاهن Reynaldo Hahn". مجلة علوم وفنون الموسیقى 41, nr 1 (1.06.2019): 71–122. http://dx.doi.org/10.21608/jfma.2019.86800.
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Chzhen, Lisha. "S. Feinberg — composer-thinker of the Silver Age". Человек и культура, nr 3 (marzec 2022): 47–60. http://dx.doi.org/10.25136/2409-8744.2022.3.38208.
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The purpose of this article is to identify cultural, musical and pedagogical aspects of the life and work of one of the leading representatives of the Moscow piano school in performance and pedagogy S. Feinberg. The formation of S. Feinberg's compositional and performing style was influenced by many composers of the Silver Age, the leading of whom were A. Scriabin and N. Medtner. The subject of the study is the circle of interests of S. Feinberg. S. Fenberg was one of the best performers of J.S. Bach, L. Beethoven, R. Schumann, P. Tchaikovsky, S. Rachmaninov, N. Medtner, A. Scriabin. S. Feinberg's interpretations of A. Scriabin's works were considered the closest to the author's. S. Feinberg's performance was distinguished by its rigor, precise adherence to the author's text, intellectual interpretation. S. Feinberg summarized his views in musicological works: "Beethoven's 32 Sonatas", "Pianism as Art", "The Fate of Musical Form" and others. The object of the study is the consideration of the individual composer style of S. Feiberg. From the first opuses of S. Feinberg's work, he was interested in the genre of piano sonata. Through the synthesis of research methods, some features of sonatas No. 1, No. 2, No. 6 and No. 12 are presented. The author examines in detail compositional techniques, in particular the attraction to poetry and monothematism inherent in romantic composers, the widespread use of polyphony. A significant event for the musicians was the release of the CD "Feinberg plays Feinberg", released by the Moscow Conservatory in 2021, which included recordings of his twelve sonatas. The main conclusion of the conducted research is that S. Feiberg's style is absolutely individual, which is revealed in the nature of thematism, the ways of its development, and the methods of piano presentation. In addition, a fine connoisseur of the piano, S. Feinberg creates new types of virtuoso technique. The novelty of the research lies in the fact that for the first time the study of S. Feinberg's style is based on the memoirs and theoretical studies of S. Feinberg.
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Рубцова, В. В., i П. А. Шатский. "“Not only to pay tribute…”". Журнал Общества теории музыки, nr 4(36) (16.05.2022): 34–39. http://dx.doi.org/10.26176/otmroo.2022.36.4.002.
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Настоящая публикация является рецензией на книгу «Николай Метнер. Незабытые мотивы» (отв. ред. Е. Б. Долинская; ред.-сост. Е. Б. Долинская, М. Г. Валитова; М.: Московская консерватория, 2021), посвященную 140-летию со дня рождения композитора. Авторы предлагают ознакомиться с подробным обзором содержания сборника, основной тематикой его разделов и проблематикой его материалов. Издание позволяет составить многогранный облик изумительного музыканта, бесконечно преданного высоким идеалам искусства. The present publication is a review of the book “Nikolai Medtner. Unforgotten Melodies” (ed.-in-chief — E. B. Dolinskaya; ed. by E. B. Dolinskaya, M. G. Valitova; Moscow: Moscow Conservatory, 2021), dedicated to the 140th anniversary of the composer’s birth. The authors propose to get acquainted with a detailed overview of the content of the issue, the main topics of its sections and the problematics of its materials. The publication allows us to create a multifaceted image of an amazing musician, infinitely devoted to the high ideals of art.
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Rumiantseva, A. Yu. "Lucas Debargue’s performing interpretation as a new horizon for understanding the artistic space of N. Medtner’s Sonata fmoll, op. 5". Culture of Ukraine, nr 75 (21.03.2022): 103–8. http://dx.doi.org/10.31516/2410-5325.075.13.
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The relevance. The development of piano performance is the result of the interaction of two alternatives — tradition and innovation. Innovations emerge and are affirmed, overcoming the conservative resistance of traditional performance stamps. Each new stage of this evolutionary process is marked by the appearance on the musical horizon of bright names of pianists, who, stunning the audience with their unexpected performance decisions, break established traditions and form new landmarks for performing and perceiving musical works. In the modern space of world piano performance, such a unique musician is the French pianist Luc Debarg. In his extraordinary interpretations, the pianist convincingly demonstrates the new organics of performance and reflects the latest pianistic trends, which deserves special attention and determines the relevance of the study.
The purpose of the article consists in realizing the performing conception of Lucas Debargue regarding the N. Medtner’s Sonata f-moll, op. 5 through identification of performing stylistics features of the French pianist.
The topicality of the article. The research material was: the musical text of the Sonata f-moll, op. 5 M. Medtner; videorecording of the performance of the Sonata by Luc Debargue and Boris Berezovsky.
The methodology. The study used a historical approach, the method of comparative analysis, musicological and performing analysis
The result. In musical performance and musicology, N. Medtner’s Sonata f-moll, Op. 5 is grasped as retrospective in the nature of imagery. It is characterized usually by a deep but restrained melancholy, nobility, perfection of form, density and graphic texture, lack of colorism.
Lucas Debargue sees the Sonata as a symbol of cultural memory. The texture becomes transparent and differentiated, each of the texture layers seems to be visually filled with color and acquires semantic meaning. Comparing textured layers during performance forms an idea of “traveling” through different time spaces. Strengthening the texture and semantic allusions of M. Medtner’s text, L. Debargue, using well-established, historically characteristic types of articulation, corresponds to the style of J. S. Bach, D. Scarlatti, R. Schumann, F. Chopin, S. Rachmaninoff, A. Scriabin.
Through a carefully constructed system of interaction between microagogics, microdynamics, and texture density, the pianist forms a through image — memories that are revived by the memory but do not lose their brightness.
So, the leading principle of L. Debargue’s performing style is the modernization of texts of past eras. The pianist offers a post-romantic concept of reading N. Medtner’s Sonata, which actualizes the polylogue of musical and historical eras.
The scientific novelty. For the first time in musicology, the features of L. Debargue’s performing style are studied.
The practical significance. The results of the work can be applied in the training courses «Piano», «History of piano performance», in further scientific researches.
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Сидір, Наталія. "Ballade for Piano and Orchestra in the First Half of the 20th Century: Stylistic and Form-building elements". Edukacja Muzyczna 16 (2021): 149–60. http://dx.doi.org/10.16926/em.2021.16.09.
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This article presents a comparative analysis of creative solutions within the genre of ballades for piano and orchestra in works created by local and foreign composers in the first half of the 20th century, such as L. Różycki, G. Tailleferre, B. Britten, N. Medtner, and I. Shamo. It has been determined that most works are characterised by purposeful inspiration which influenced their style. The basis of the genre lies in the synthesis of various features of the folk ballad and the poetic piano concerto. The first component combines epic song features, parts of folk songs or their arrangements, and declamatory melodies. The second one can be noticed in the different types of cooperation between the soloist (or soloists) and the orchestra, in the combination of features characteristic for single-part and cyclic forms (suite, rhapsody or different types of cyclic sonatas), and in the logic behind juxtaposing contrasting genre features or the figurative transformation of monothematic variants.
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Carruthers, Glen. "Barrie Martyn. Nicolas Medtner: His Life and Music. Aldershot, England: Scolar Press, 1995. 274 pp. ISBN 0-85967-959-4 (hardcover)". Canadian University Music Review 17, nr 2 (1997): 86. http://dx.doi.org/10.7202/1014789ar.
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Dolinskaya, E. B. "INTERNATIONAL SCIENTIFIC AND PRACTICAL YOUTH FORUM". Arts education and science 1, nr 3 (2020): 156–60. http://dx.doi.org/10.36871/hon.202003018.
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The article analyzes the results of two international conferences of young musicologists held at the RGSAI online. The first conference "Creativity and Performance: Young Scientists' View of the Art World" was attended by students and postgraduates of higher educational institutions of Russia and Hungary. Within this conference special attention was paid to the period of Russian music of the turn of the XIXth – XXth centuries, namely to the works of S. Rachmaninoff, N. Medtner, R. Gliere and S. Taneyev. Postgraduate students from China took part in the conference "Russian- Chinese Dialogue in Musical Art". As a result of cultural exchange between Russia and China, Chinese students get an opportunity to study at conservatories, academies and institutes in various cities of the Russian Federation. Like other universities in the capital, the Academy trains representatives of various specialties, including performers, as well as musicologists, who improve their qualifications in the field of musical science. During the second conference, presentations were made on the history of Chinese and Russian theater. A series of reports combined works dedicated to prominent figures of Chinese culture who have gained wide international fame.
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Gorshkova, A. M. "PIANO PIECES OF A. S. ARENSKY ON THE EXAMPLE OF THE CYCLE OP. 36". Arts education and science 1, nr 3 (2020): 75–80. http://dx.doi.org/10.36871/hon.202003009.
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The article is dedicated to the piano works of Anton S. Arensky (1861–1906), one of the most famous Russian composers of the late XIXth – early XXth centuries. Throughout his career, the composer turned to various genres (he created three operas, a ballet, a lot of symphonic and chamber pieces), but compositions for piano solo were among his favorites. This genre in many ways corresponded to the specifics of the composer's talent, his inclination towards chamberness and lyricism, and became a kind of "creative laboratory", where many tendencies, later used in other genres, were worked out. It was in piano pieces that the most attractive qualities of his music were revealed — an amazing melodic gift, finesse and detailed elaboration of all aspects of composition. The author pays particular attention to the cycle of 24 piano pieces Op. 36. Due to embodiment of many melodic, texture, and harmony features typical for Arensky, it became a kind of quintessence of his piano style. It is also important that many features of the composer’s style influenced musicians of the next generation, including Sergey Rachmaninoff and Nikolay Medtner.
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Kuznetsova, Alina, Olga Kurganskaya, Sergey Kurganskiy i Etery Kaishaury. "Basic Conditions of Performing Freedom in Teaching Methods by F. Liszt and N. K. Medtner in the Aspect of Romantic View of the World". Journal of History Culture and Art Research 7, nr 4 (30.11.2018): 393. http://dx.doi.org/10.7596/taksad.v7i4.1862.
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Kirsch, Thomas B. "Jung's Russian Translator Magnus Ljunggren .The Russian Mephisto; A Study of the Life and Work of Emilii Medtner. Stockholm, Almqvist and Wiksell International, 1994." San Francisco Jung Institute Library Journal 16, nr 1 (marzec 1997): 27–33. http://dx.doi.org/10.1525/jung.1.1997.16.1.27.
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Wachtel, Michael. "Magnus Ljunggren. The Russian Mephisto: A Study in the Life and Work of Emilil Medtner. Stockholm: AWI Thternational AB, 1994. Stockholm Studies in Russian Literature, No. 27. 240 pp. Swk 188. Paper." Canadian-American Slavic Studies 31, nr 1 (1997): 95–96. http://dx.doi.org/10.1163/221023997x00221.
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Shishkin, Andrei B. "The Plan for a Soviet Academy in Rome (1924): Viacheslav Ivanov, Anatoly Lunacharsky, Petr Kogan and Others". Literary Fact, nr 23 (2022): 55–99. http://dx.doi.org/10.22455/2541-8297-2022-23-55-99.
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In spring of 1924 Viacheslav Ivanov was invited to Moscow to participate in the June celebrations of the 125th anniversary of Aleksandr Pushkin’s birth. The months he spent in the capital reflect an unusually active social schedule. As his address book of the summer of 1924 indicates, he met with a wide range of people: composers and performers (Reinhold Glière, Mikhail Gnesin, Aleksandr Grechaninov, Aleksandr Goldenweiser, Nikolai Miaskovsky, Nikolai Medtner, Leonid Sabaneev), poets and prose writers (Valery Briusov, Iurgis Baltrushaitis, Andrei Globa, Vasily Kazin, Vladimir Lidin, Isaiah Lezhnev, Vladimir Nilender, Ivan Novikov, Sergei Poliakov, Ivan Rukavishnikov, Sergei Shervinsky, Anastasia Tsvetaeva), theater directors (Vsevolod Meyerhold, Aleksandr Tairov), literary scholars (Mikhail Gershenzon, Leonid Grossman, Viktor Zhirmunsky, Boris Eichenbaum), artists (Anatoly Arapov, Nikolai Ulianov, Nikolai Vysheslavtsev, Konstantin Yuon), priests and theologians (Sergei Sidorov, Pavel Florensky), art historians and museum curators (Count Valentin Zubov, Nikolai Mashkovtsev, Boris Ternovets, Abram Efros) and others. Many of these people were in one way or another connected to the activity of the State Academy for the Study of the Arts (GAKhN). It was in fact for GAKhN that Ivanov gave a series of well-received lectures. After receiving his passport to travel to Italy on 4 July 1924, Ivanov decided to postpone his departure for an entire month. It would seem that this delay was connected to the need to draw up a project for the creation in Rome of a Soviet State Institute for History, Archeology and Art History. The project was supported by Petr Kogan, the president of GAKhN, and by Anatoly Lunacharsky, the head of the People’s Commissariat of Enlightenment. The Institute was envisioned as an organization that would serve both researchers and students, following the models of the corresponding academies in Rome — the French Academy, the French School of Archeology, the German Archeological Institute, etc. As Ivanov formulated it in the first plan that he gave to Lunacharsky on 24 August 1924: “The absence of Russia in the arena where cultured peoples are jointly and competitively pursuing scholarly work and cooperating in advanced scholarly colloquy is a kind of voluntary exclusion from contemporary civilization and an indirect affirmation of false rumors about the decline of our culture.”
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Kalinina, A. S. "Peculiarities of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov". Aspects of Historical Musicology 13, nr 13 (15.09.2018): 74–87. http://dx.doi.org/10.34064/khnum2-13.06.
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Statement of the problem. There are a lot of works in the national musicology focusing on the study of vocal chamber music for voice and piano by Ukrainian composers of the 20th century. Researchers cover quite a wide range of issues regarding vocal pieces and touch upon the problems of cyclocreation, dramaturgy, features of musical and linguistic means, etc. However, they rarely pay attention to translation, though there are many vocal opuses, in which composers use foreign poetry. In this case, the specifi c choice of the translated sample helps to determine the principles of the composer’s approach to the embodiment of the poetic text, especially in comparison with other works based on the same sources. Hence separate songs from D. Klebanov’s vocal cycle on the poems of H. Heine did not become an exception, thereby confi rming the relevance of the proposed topic. The purpose of the article is to determine specifi c features of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov on the basis of two romances – “In a grove, on a wild path”, “My love, lay your hand on my heart”, as compared to the works of other composers of the twentieth century . To achieve the research objectives the following methods were used: historical, structural-functional, genre-style and comparative. Results. Under consideration are peculiarities of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov, one of the founders of Kharkiv composition school. For this work the author took eight verses from the fi rst two cycles of the “Book of Songs” by the German poet. They were based on the motives of love poems with vivid images of nature; sometimes the poems are full of sadness, a sense of loneliness. When D. Klebanov was choosing certain samples from different poetic cycles, he tried to stick to the plot of the “Book of Songs”, since he ordered the poems in the same way they were written in the collection. Another indicator of the composer’s relation to Heiner’s texts is the choice of poetic works which are given in the cycle in Ukrainian and Russian languages. The composer’s individual vision of Heine’s lyric poetry is clearly seen when compared to the vocal works of other composers of the twentieth century, M. Medtner and E. Denisov, written on the same poetic texts. In cross-romances, similar musical-linguistic means are used, including the metrical principle of vocalization of the poetic text, homophonic-harmonic structure, harmony of classical-romantic type. However, each of the composers renders the fi gurative and semantic implications of the poems in their own way. M. Medtner builds his romance “My love, lay your hand on my heart” according to the crescendo principle. Beginning with a quieter dynamics, the composer gradually increases the volume of the sound, which at the end leads to a general climax that moves from the point of the golden section. D. Klebanov chose a different way – to reinforce the dramatism of the poem. This was possible thanks to various musical and linguistic means: a strict, intense melody in the bass doubled in the sixth with a chromatic motion and semiquavers at the end of each bar in the last line of the fi rst stanza, designation Meno mosso, chromaticized vocal melody. The composers’ choice of poetic translations depends on the place and role of the romance in the general structure of the cycle. The eight-part composition of D. Klebanov is based on the wave principle of the plot development. The original four romances pave the way to the fi rst climax – unrequited love in the fi rst romance (“Every morning I awake and ask”), painful memories in the second one (“In a grove, on a wild path”), a tragic image in the third one (“My love, lay your hand on my heart “), and an attempt to overcome the pain in the fourth romance (“First I was afraid of darkness”). Further on, the development is based on contrast: the image of death in the fi fth romance (“Your lovely face, so fair and dear”), a subtle feeling of love in the sixth one (“Oh, let me plunge my heart”), worries because of the marriage of a loved one to another guy in the seventh romance (“I hear the fl ute and the fi ddle”) and disappointment in her spiritual values in the last one (“The violets blue”). Such a location of the third romance justifi es the choice of translation, where the colours are thickening and the content becomes even darker. Such kind of a fi gurative and semantic plot resembles the tradition of a romantic vocal cycle, in which the emotional state of the lyrical character, his emotional collisions сome to the fore. In this perspective, “ 3 Poems of H. Heine” by D. Medtner demonstrate another relationship between the romances of the cycle. All of them have feelings of sorrow, despair circle, a no-go. At the same time, distancing from the immediate events is felt, as if it is a look at someone else’s life, which is evidenced by the storytelling from the third person in the second and third romances. Therefore, the fi rst romance, based on the poem “My love, lay your hand on my heart”, is a kind of “preface” to the cycle, which involves some personal detachment. This leads to the selection of softened content in the translated version of the poem. The second romance, “In a grove, on a wild path”, has a similar function in the vocal cycle of D. Klebanov as it became the preparation for the climax of the third one. The semantic line of his poem is based on two storylines: the external one is the “theme of the journey” that is refl ected in the image of nature, and the internal one is the “theme of sadness”, which focuses on the feelings of the lyrical hero. The composer here, like Анна in the third romance, deepens the line of inner experiences. This became possible thanks to the Tranquillo tempo, fl at minor tonality, massive discordant accompaniment chords, variable measure, melody of the recitative-oratorial type. H. Heine’s poem, presented in the work of D. Klebanov, became the basis of the fi fth romance of E. Denisov’s vocal opus. Like the Ukrainian master, E. Denisov builds his cycle in the spirit of the romantic tradition, but in revealing the fi gurative structure of the poem he goes a different way. He makes a clear distinction between two fi gurativesemantic lines. This is refl ected in the form of a romance that has the features of binarity and variability, the embodiment of the metro-rhythmic structure of the verse based on two opposing principles - metric and cantilena, as well as other means of musical expression. Thus, choosing the same poem by H. Heine, D. Klebanov and E. Denisov represent their own vision of its content. Conclusions The comparative analysis of the embodiment of Heine’s texts by D. Klebanov and other composers of the twentieth century helps to highlight the individual approach of the Ukrainian artist. Despite the fact that the composer chooses similar means of musical expression, he fi nds his own way of refl ecting the semantics of the poetic source. In the above mentioned romances – “In a grove, on a wild path” and “My love, lay your hand on my heart” – the author focuses on the inner confl icts of the lyrical hero, his experiences. Attention paid to the sensory side of the poems also determined the selected translations, since the rejection of translators from the original results in a certain deformation of its meaning and fi gurative structure, which infl uences the musical embodiment of the poetic source.
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Пономарева, Елена Ивановна. "Chronicles of Sviatoslav Richter as Accompanist: In the Duet with Galina Pisarenko". Научный вестник Московской консерватории, nr 2(49) (29.06.2022): 404–17. http://dx.doi.org/10.26176/mosconsv.2022.49.2.07.
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В статье освещается одна из ярких страниц исполнительской деятельности С. Т. Рихтера в качестве концертмейстера - сотрудничество с певицей Г. А. Писаренко, охватывающее продолжительный период (1980-1993 годы) и ознаменовавшееся крупными творческими достижениями. Первый из камерно-вокальных проектов, успешно реализованных этим артистическим дуэтом, - монографическая программа из сочинений К. Шимановского (циклы «Песни безумного муэдзина» на стихи Я. Ивашкевича, «Семь песен на стихи Дж. Джойса», а также избранные «Курпёвские песни»). Интерпретация названных произведений, исполнявшихся на протяжении 1980-1985 годов, по сути, явилась откровением не только для отечественной аудитории, но и для почитателей выдающегося польского композитора за рубежом (в том числе на родине К. Шимановского). Столь же плодотворной оказалась совместная работа Г. А. Писаренко и С. Т. Рихтера над пушкинскими романсами Н. К. Метнера (1981-1982), чье камерно-вокальное наследие вплоть до конца 1970-х годов пребывало на периферии репертуара отечественных певцов и пианистов-концертмейстеров. Монографическая программа из романсов и песен Э. Грига (1993) привлекла внимание многочисленных ценителей музыки норвежского классика своим оригинальным подходом к истолкованию «нордических» истоков григовского художественного мышления в целом и вокального стиля в частности. Как отмечает автор статьи, рассмотрение концептуальных основ каждого из вышеперечисленных проектов, последовательно соотносимое с «хронографом» их концертно-сценической реализации, позволяет выявить ряд существенных черт исполнительской деятельности С. Т. Рихтера-концертмейстера в 1970-х - начале 1990-х годов. The article deals one of the brilliant pages of S. Richter’s performing activities as accompanist. It is implied his collaboration with the singer Galina Pisarenko for a long time (1980-1993) to be marked by the famous creative achievements. The first of the chamber vocal projects successfully realized by this artistic duet was a monographic program of the works by K. Szymanowski (the cycles “Songs of the Infatuated Muezzin” on J. Iwaszkiewicz’s words, and “Seven Songs on Poems by J. Joyce”, and selected “Kurpie Songs”). The interpretation of these works which were performed during the period of 1980-85 was in fact the true revelation not only for Soviet audience but also for admirers of the outstanding Polish composer abroad (including K. Szymanowski’s fatherland). The team-work of Galina Pisarenko and Sviatoslav Richter at Pushkin romances by N. Medtner (1981-1982) was equally fruitful. (The chamber vocal heritage of this master up to the end of the 1970s stayed on the periphery of the repertoire of the Russian singers and accompanists.) The monographic program devoted to romances and songs by E. Grieg (1993) drew the attention of numerous connoisseurs of music by the Norwegian classic owing to its original interpretation of “Nordic” sources of the composer’s artistic thinking in the whole and of his vocal style in particular. As the author of this article notes, the examining of conceptual bases of each of the above-named projects in correlation with the chronology of their concert-stage realization allows revealing some essential features of S. Richter’s performing activities as accompanist for a period from the 1970s to the beginning of the 1990s.
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Smutney, Chad C., Emil M. Friedman, John M. Polidoro i Nikhil Amin. "Inspiratory Efforts Achieved in Use of the Technosphere® Insulin Inhalation System". Journal of Diabetes Science and Technology 3, nr 5 (wrzesień 2009): 1175–82. http://dx.doi.org/10.1177/193229680900300524.
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Objective: The Technosphere® Insulin (IT) inhalation system comprises TI powder premetered into unit dose cartridges and the patient-friendly, reusable, breath-powered MedTone® inhaler. This high-resistance system uses a patient's inspiratory effort to effect TI powder de-agglomeration and promote subsequent deep-lung delivery. This study reports on flow and pressure data achieved by patients with diabetes using the MedTone system. Method: MedTone inhalers containing empty cartridges were adapted with pneumotach measuring devices to capture inhalation profiles. The measuring apparatuses had negligible impact on the nominal MedTone system resistance level of 0.117 kPa0.5/liters/min. Each of 56 subjects inhaled twice to mimic TI clinical study dosing instructions. Achieved inhalation profiles were characterized by peak inspiratory flow (PIF), peak inspiratory pressure (PIP), and average pressure drop from the time of PIP to 4 s ( Pavg) Results: The achieved mean PIF (± standard deviation [SD]) in all subjects was 26.74 (±6.06) liters/min after the first inhalation and was similar to the mean PIF of 26.25 (±6.23) liters/min achieved after the second inhalation. Mean PIP (±SD) achieved by subjects was 8.49 (±2.86) and 8.1 (±2.99) kPa, and mean Pavg drop (±SD) in all subjects was 6.53 (±2.24) and 6.09 (±2.08) kPa after the respective inhalations. Conclusion: Patients with diabetes demonstrated consistent inhalation efforts over two inhalations using the MedTone system. The achieved PIFs and PIPs demonstrate the capacity of this population to obtain sufficient inspiratory effort necessary for delivery of TI using the MedTone inhaler. Adequate postpeak pressures were also revealed, further supporting reliable and sustained inhalation efforts.
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Flamm, Christoph. "Life and art: N. Medtner’s musicand its meaning". Музичне мистецтво і культура 2, nr 29 (2019): 5–24. http://dx.doi.org/10.31723/2524-0447-2019-29-2-1.
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Martin, David S., Zo Ramamonjiarivelo i Warren S. Martin. "MEDTOUR: a scale for measuring medical tourism intentions". Tourism Review 66, nr 1/2 (10.05.2011): 45–56. http://dx.doi.org/10.1108/16605371111127233.
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Misaki, Yohji, Hiroyuki Nishikawa, Tokio Yamabe, Takehiko Mori, Hiroo Inokuchi, Hatsumi Mori i Shoji Tanaka. "Structure and Electrical Properties of MeDTET Salts". Chemistry Letters 22, nr 8 (sierpień 1993): 1341–44. http://dx.doi.org/10.1246/cl.1993.1341.
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Budnikov, Vladimir V. "Coloristic Properties of Piano Music Texture in Nikolai Medtner’s Works". Journal of Siberian Federal University. Humanities & Social Sciences 9, nr 6 (czerwiec 2016): 1443–50. http://dx.doi.org/10.17516/1997-1370-2016-9-6-1443-1450.
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Budnikov, Vladimir Viktorovich. "Archetypes Projections in the Texture of N. Medtner’s Piano Compositions". Manuscript, nr 1 (styczeń 2020): 188–93. http://dx.doi.org/10.30853/manuscript.2020.1.39.
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Sunčič, Maja. "Simulacrum ljubezni". Keria: Studia Latina et Graeca 5, nr 2 (6.12.2003): 85. http://dx.doi.org/10.4312/keria.5.2.85-96.
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Žalovanje zaradi odsotnosti ljubljene osebe pri Admetu in Laodameji povzroči postopno razpadanje, zato si izmislita figurico izgubljene osebe. Nadomestek nudi hladno ugodje, hkrati pa Admeta in Laodamejo ogroža, saj sta soočena z dejstvom, da je figurica ljubljene(ga) zgolj utvara. Spol pomembno določa razplet, saj je Alkestidin simulacrum obenem talisman, medtem ko Laodamejo spoznanje utvare prisili v samomor, ker ji kot ženski nadomestek ne zadostuje. Spolna delitev vpliva tudi na funkcijo figurice kot fetiša oziroma kot dobrega objekta, saj družba moškemu nadomestku ne odreka, medtem ko ga ženski vzamejo in uničijo. Figurica predstavlja materializacijo nevidne ljubljene osebe, ki začasno omogoči, da se Laodameja in Admet z ljubeznijo ubranita pred smrtjo.
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Cunder, Tomaž. "Strukturne spremembe v slovenskem kmetijstvu in razvoj podeželja". Dela, nr 17 (1.12.2002): 123–37. http://dx.doi.org/10.4312/dela.17.123-137.
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Temeljna značilnost slovenskega kmetijstva je, da se je dolgo časa razvija-lo v povsem drugačni smeri kot kmetijstvo v EU, kar še posebej velja zaagrarno strukturo. Medtem ko se je v državah z razvitim kmetijstvomrazmeroma hitro povečevala velikost obratov in vzporedno z izboljševanjemkmetijske tehnologije specializacija pridelave, pa se je vse do začetkadevetdesetih let 20. stoletja (predvsem v zasebnem sektorju slovenskegakmetijstva) odvijal ravno obraten proces. Evidentno je bilo nenehnoslabšanje zemljiške in posestne strukture, nizka delovna intenzivnost in vnekaterih območjih tudi opuščanje pridelave. Trdimo lahko, da se je vslovenskem kmetijstvu nenehno poglabljala protislovnost med družbeno-ekonomsko strukturo kmečkega prebivalstva in agrarno strukturo.Posledice se kažejo v tem, da imamo z vidika deleža kmečkega prebivalstvav Sloveniji že socialno in demografsko strukturo razvite družbe, medtem koagrarna struktura še vedno izkazuje značilnosti klasične agrarne družbe.
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GUNTER, Tugce, i Dilek KARAMAN. "The Effect of a Card Game upon Achievements within Medical Terms Topic: MedTerm Game". Journal of Education in Science Environment and Health 8 (1.07.2022): 229–41. http://dx.doi.org/10.55549/jeseh.1158502.
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SERNELJ, Téa. "Analiza in kritično ovrednotenje Xu Fuguanove interpretacije koncepta qiyun shengdong 气韵生动". Asian Studies 5, nr 2 (30.06.2017): 227–49. http://dx.doi.org/10.4312/as.2017.5.2.227-249.
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Članek obravnava Xu Fuguanovo analizo in interpretacijo koncepta qiyun shengdong 气韵 生动, ki velja za enega od najpomembnejših, najbolj temeljnih in hkrati najtežje dojemljivih konceptov v kitajski estetiki in umetnosti. Nastal je v obdobju Wei Jin (220–420 n. št.), ki je eno od najbolj ustvarjalnih in prelomnih obdobij na področju kitajske estetike in umetnosti. Njegova kompleksnost se izraža tako v literarnih delih, slikarstvu, kaligrafiji in glasbi, kot tudi v literarni teoriji ter teoriji slikarstva, pri čemer se qi nanaša na zunanje značilnosti umetniškega dela, medtem ko izraža yun notranje značilnosti, ki so del človeške notranjosti oziroma človeškega duha, medtem ko shengdong pomeni manifestacijo, delovanje in zlitje obeh konceptov v umetniškem delu.Avtorica najprej predstavi Xu Fuguanovo interpretacijo in jo prikaže v kontekstu sodobnih debat o kitajski estetiki. V nadaljevanju se osredotoči na njegovo filološko in historično analizo semantičnega ter filozofskega razvoja obravnavanega koncepta in na koncu poda kritično evalvacijo njegove študije v kontekstu ponovnega ovrednotenja osnov klasične kitajske estetike.
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Goropečnik, Luka, Rafael Šenk, Matej Jošt, Katarina Čufar i Jože Kropivšek. "Motivacija za izobraževanje in usposabljanje generacij Y in Z v lesarstvu". Les/Wood 70, nr 2 (23.12.2021): 87–98. http://dx.doi.org/10.26614/les-wood.2021.v70n02a07.
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Z industrijo 4.0 vstopamo v digitalno dobo, kjer se bodo tudi v lesnopredelovalnih podjetjih bistveno spremenile zahteve po znanjih in kompetencah zaposlenih. To vpliva tudi na izobraževanje na področju lesarstva. Cilj raziskave je bil ugotoviti, kateri načini poučevanja in učenja najbolj motivirajo predstavnike generacij Y in Z, na različnih nivojih izobraževanja (od poklicnega izobraževanja do magistrskega študijskega programa) v lesarstvu, kakšen način izvedbe izobraževanja je zanje najprimernejši in kaj menijo o študiju na daljavo. V ta namen smo izvedli anketiranje s pomočjo družabnih omrežij in e-učilnice. Rezultati so pokazali, da anketirane najbolj motivira okolje, naravnano k razvoju, je varno in stabilno ter delo v delovni skupini, medtem ko si ne želijo tekmovalnega okolja. Med skupinami na različnih ravneh in načinih izobraževanja (redno, vseživljenjsko) nismo opazili večjih razlik v motivacijskih dejavnikih. Sicer pa glavno motivacijo učečih se v lesarstvu ne glede na generacijo predstavljajo notranje spodbude posameznika, medtem ko se zunanje spodbude med generacijami bolj razlikujejo.
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Washington, A. Eugene, Anna Nápoles-Springer, Deirdra A. Forté, Mark Alexander i Eliseo J. Pérez-Stable. "Establishing Centers to Address Treatment Effectiveness in Diverse Ethnic Groups: The MEDTEP Experience". Ethnicity & Health 7, nr 4 (listopad 2002): 231–42. http://dx.doi.org/10.1080/1355785022000060691.
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Pak, Mirko. "Urbana geografija in etnologija". Dela, nr 3 (1.12.1986): 65–68. http://dx.doi.org/10.4312/dela.3.65-68.
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Z mestom in mestnim prostorom v celoti se poleg številnih ved intenzivno ukvarjata tudi geografija in etnologija. Medtem ko urbana geografija proučuje nastanek, položaj, obstoj, funkcije in fizlognomijo mest in mestnih naselij ter urbanizacije, je v ospredju etnološkega proučevanja način življenja in kulture, ali kot pravi Slavko Kremenšek, problematika življenjskega stila v mestu. (Kremenšek, 1980)
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Kozina, Jani. "Pomen prometa za oblikovanje prostora in regije". Dela, nr 33 (1.12.2010): 37–49. http://dx.doi.org/10.4312/dela.33.37-49.
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V prispevku je predstavljen pomen prometa za oblikovanje prostora in regije kot ene najbolj značilnih prostorskih struktur na zemeljskem površju. Medtem ko smo po teoretičnem konceptualiziranju prometa kot dejavnika oblikovanja prostora preverili njegov pomen za oblikovanje prostorskega razvoja Slovenije, smo s teoretičnega vidika enako naredili tudi za regijo in s praktičnega vidika za osrednjeslovensko regijo.
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Grošelj, Nada. "Mark Tulij Ciceron: Lelij – o prijateljstvu (prev., spremno besedo napisala in z opombami opremila Barbara Zlobec Del Vecchio; Maribor 2004) (recenzija)". Keria: Studia Latina et Graeca 7, nr 2 (6.12.2005): 104. http://dx.doi.org/10.4312/keria.7.2.104-107.
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Zdi se, da so za Cicerona, največjega rimskega prozaista in nenazadnje pomembnega posredovalca grške filozofske misli, po dolgih letih zanemarjanja na Slovenskem napočili boljši časi. Medtem ko je bilo do nedavnega od njegovih del v slovenščini na voljo le Največje dobro in največje zlo, so v zadnjih štirih letih izšli kar trije novi prevodi.
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Ovid i Polonca Zupančič. "Ovidij". Keria: Studia Latina et Graeca 23, nr 2 (29.12.2021): 167–96. http://dx.doi.org/10.4312/keria.23.2.167-196.
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Pismo v verzih, ki ga piše Paris Heleni, spada v drugo skupino Ovidijevih Pisem junakinj in je verjetno nastalo med letoma 4 in 8: medtem ko je za prvo serijo pisem značilno, da gre za enostranska pisma razočaranih in večinoma zapuščenih ženskih likov iz mitologije, slednjo sestavljajo pisma treh zaljubljencev, ki izpovedujejo svojo ljubezen, sledijo pa odgovori izbrank.
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Jürgensen, Knud Arne. "Herman Bangs teaterkritik, -journalistik, -essayistik, -poesier, -aforismer og sceniske arbejder (1878-1912)". Fund og Forskning i Det Kongelige Biblioteks Samlinger 46 (29.10.2009): 1–178. http://dx.doi.org/10.7146/fof.v46i2.132978.
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Dette er et online særnummer. Fortegnelsen er kronologisk efter udgivelsesåret/udgivelsesmåne-den/årgangsbindet og medtager Herman Bangs både udgivne og utrykte skribentvirksomhed i Danmark, Norge, Sverige og Tyskland, der omhandler emnet scenisk kunst i bredeste betydning: drama (herunder Bangs egne sceniske arbejder og hans utrykte oversættelser af fremmede dramatikeres værker), opera, operette, ballet, musik, visesang, koncerter, cirkus, varieté, tryllekunst etc.1 Posthume førsteudgaver (1914-2004) er placeret samlet og til slut i kronologien. Denne udgave er en ændret udgave fra 2009.
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Movrin, David. "Pravica in maščevanje v Evripidovi Hekabi". Keria: Studia Latina et Graeca 13, nr 2 (24.12.2011): 45. http://dx.doi.org/10.4312/keria.13.2.45-55.
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Evripidova Hekaba je zaradi neusmiljenih sodb romantičnih kritikov, ki so ji med drugim zamerili dvodelno strukturo, pristala na obrobju literarne pozornosti. V ospredje se je znova prebila šele v dvajsetem stoletju; raziskovalci danes ugotavljajo, da dejanje povezuje predvsem junakinjino iskanje pravice, medtem ko svet okrog nje zanemarja temeljne postulate grške etike, urejene po načelu recipročnosti – pojme, kot so ξενία, αἰδώς, χάρις in ἱκετεία.