Art of Contemporary Composer Jia Daqun in Context of Chinese Culture

2021 ◽  
pp. 114-126
Author(s):  
А.И. Полосина
Keyword(s):  
Chinese Culture ◽  
Musical Theater ◽  
Main Idea ◽  
Special Role ◽  
Musical Culture ◽  
Chinese Music ◽  
Stage Of Development ◽  
Musical Cultures ◽  
Life Path ◽  
Music Theorist

На современном этапе развития китайской профессиональной музыкальной культуры композитору и музыкальному теоретику Цзя Дацюню принадлежит особая роль. В статье рассматриваются его жизненный путь, композиторское творчество и музыкально-теоретические работы. Цель исследования — определить роль композитора в  развитии современной китайской академической музыки; создать панораму его творчества; выявить в  произведениях специфические формы претворения китайских национальных традиций, сочетающихся с элементами композиторских техник XX–XXI веков. Многие аспекты китайской музыки до сих пор не изучены и представляют исследовательский интерес; в результате получают характеристику яркие черты стиля Цзя Дацюня, как основная идея его творчества выделяется органичный синтез китайской народной музыкальной культуры и европейских универсалий. Цзя следует современным музыкальным тенденциям: он применяет в сочинениях такие композиционные техники, как серийность, сериализм, пуантилизм, минимализм, микрополифония, алеаторика, пространственная музыка, а  также активно работает в  области музыкального театра. Во  всех его музыкальных произведениях присутствуют национальные китайские элементы, которые представлены музыкальными инструментами, народными темами и звукорядом пентатоники, воплощая образы китайской культуры в их неповторимом своеобразии. The article examines life path of a contemporary Chinese composer Jia Daqun and his art as a composer and music theorist. The purpose of research is to determine the role of the composer in the development of modern Chinese musical culture; to create a panorama of his art; to identify the main features of his style; to designate in his compositions specific forms of implementation of Chinese national traditions, combined with characteristic tendencies of musical compositions of the XX–XXI centuries. The scientific novelty of the article lies in fact that many aspects of Chinese music have not yet been studied and are of a research interest. At the present stage of development of the Chinese professional musical culture, special role belongs to the composer and musical theorist Jia Daqun. The research highlights bright features of the composer’s style and the main idea of his art, namely the idea of organic synthesis of Chinese folk and European musical cultures. In his compositions Jia follows modern musical trends, uses such compositional techniques as seriality, serialism, pointillism, minimalism, micropolyphony, aleatorics, spatial music. He also actively works in the field of musical theater. All his musical works contain national Chinese elements, which are represented by musical instruments, folk musical themes and pentatonic scale, and images of Chinese culture.

IMPLEMENTATION OF NATIONAL HERITAGE IN PIANO MUSIC BY MODERN CHINESE COMPOSERS

2021 ◽  
Vol 1 (4) ◽  
pp. 141-149
Author(s):  
Rong Yan ◽  
Keyword(s):  
National Culture ◽  
Chinese Culture ◽  
Main Idea ◽  
Piano Music ◽  
Musical Culture ◽  
Piano Works ◽  
Modern Chinese ◽  
National Tradition ◽  
National Heritage ◽  
Cultural Origins

The purpose of the study is to identify and scientifically substantiate the extent to which traditional national culture has influenced the creation of modern Chinese piano music. Exploring the principles of modern Chinese composers' work with folklore, the author reveals the main trends in Chinese piano music at the present time. The scientific novelty lies in the consideration of various ways of integrating traditional Chinese musical culture into the piano works of the XXth – XXIst centuries. It was found that Chinese composers show a strong orientation towards the national tradition. The main idea of developing this trend is to turn to the roots as well as the cultural origins. This enables contemporary authors to successfully combine traditional musical means with innovative creative pursuits. The works of Li Yinghai, San Tong, He Lutin, Zhao Xiaosheng and Zhu Wanhua showed that the manifestations of national colour in piano works are as diverse as entire Chinese culture. The study also established a profound relationship between the figurative, genre and compositional uniqueness of the piano music of Chinese composers with the national cultural heritage.

EVGENY GOLUBEV AND NATIONAL MUSICAL CULTURES

2021 ◽  
Vol 1 (4) ◽  
pp. 187-194
Author(s):  
A. K. Sanko ◽  
Keyword(s):  
Folk Art ◽  
Musical Culture ◽  
National Cultures ◽  
Musical Cultures ◽  
Russian Composers ◽  
First Time

The article is devoted to the pedagogical activity of Evgeny Kirillovich Golubev (1910– 1988) — composer, professor of the Moscow State Conservatory, whose 110th birthday was celebrated in 2020. The relevance of the study lies in the fact that for the first time Golubev's contribution to the education of not only Russian composers, but also representatives of different national cultures — Hrant Grigoryan, Kapan Musin, Todor Popov, Andrey Eshpai and others is considered. The questions of the master's compositional pedagogy, which were little studied until now, are touched. The object of the research is Golubev's diary "Alogisms", as well as the memories of his students. The author highlights activities of Golubev's students who connected their creativity with other national cultures. Among them were Valentin Konchakov (1933–1993) who worked in Karelia and contributed greatly to the development of folk art in this republic, and the composer Aida Isakova (1940–2012) who participated in the formation of Kazakh musical culture in Alma-Ata and wrote essays on national themes.

scholarly journals Tactical Competition Model Application in Restaurant Services Industry at Different Lifecycle Stages of Organization

2021 ◽  
Vol 15 (3) ◽  
pp. 5-16
Author(s):  
Rimma R. Akhmedova ◽  
◽  
Mikhail V. Lednev ◽  
◽  
Keyword(s):  
Life Cycle ◽  
Successful Implementation ◽  
Special Role ◽  
Model Application ◽  
Development Tactics ◽  
Services Sector ◽  
Stage Of Development ◽  
Competitive Activity ◽  
Competitive Actions ◽  
First Time

In this article, for the first time, the distribution of well-known strategies and tactics of competitive actions by stages of the lifecycle according to the model of D. Miller and P. Friesen is carried out, which allows to provide a more accurate description of the competitive activity of an organization at different stages of its development. Tactics and strategy are closely related, and there is a need for their gradation in the context of the characteristics of the stages of the organization’s life cycle. This study is especially relevant in the period of the COVID-19 pandemic, where tactical models of competition play a special role in accordance with the selected strategies in the field of restaurant services. During the analysis of the activities of restaurant service establishments at different stages of the life cycle, certain patterns in the competitive actions of the organization were identified, which can be compared with the strategies and tactics of competition. The criteria for determining the stage of development of the organization, which determine the conduct of competitive processes, are given. Each stage of the organization’s life cycle is characterized: birth, development, maturity, flourishing, decline on the example of the restaurant services sector. It shows how organizations apply different strategies and tactics of competitive actions within each stage of the life cycle, as well as during the transition from one stage to another. The use of this article can help restaurant businesses by applying the developed matrix of tactical models of competition at various stages of the organization’s life cycle within the framework of a competitive strategy in the practical activities of the organization. Thus, the result of successful implementation of the strategy and tactical models is an increase in the number of potential guests, including permanent ones, and an increase in investment, production, sales and other opportunities.

scholarly journals Digital Guqin Museum from a Virtual World to the Real World : Conception and design of an ongoing cultural sim

2010 ◽  
Vol 2 (5) ◽  
Author(s):  
Shuen-git Chow
Keyword(s):  
Second Life ◽  
Virtual World ◽  
Chinese Culture ◽  
Mixed Reality ◽  
Real Life ◽  
Musical Instrument ◽  
Good Match ◽  
Chinese Music ◽  
Place Holder ◽  
Informal Settings

This paper provides an overview of the Digital Guqin Museum built in Second Life that provides the user an opportunity to experience and interact with different facets of Chinese culture. The user will find examples of Guquin culture, considered by some to be a place holder for Chinese culture , such as the guqin, a rarely seen musical instrument sometimes confused with the guzheng, a more common popular instrument. Users can see the making of a guqin instrument and listen to guqin music being played, which represents both Chinese music, and more specifically, the guqin music genre - an elegant and quiet music – that might be considered a good match for a virtual world. The Digital Guqin Museam enables participants to play guqin music both in-world and via mixed-reality session, such as the recreation of an online “yaji” – elegant gatherings . This paper questions which groups of Guqin players would be interested and which group would not, and what types of uses might be most engaging . The Digital Guqin Museum in Second Life enables meetings possible only in a virtual world. Real life people could meet in virtual places, visit cities, venues as an end in itself. DGM has been shown to professional guqin players, in informal settings and at a specialists conference.

H. COLLINS'S PROJECT FOR DEVELOPING A RELATIVISTIC EMPIRICAL PROGRAMME IN SOCIOLOGY OF SCIENCE

2020 ◽  
pp. 40-44
Author(s):  
Nadezhda Nikolina
Keyword(s):  
Scientific Knowledge ◽  
Natural Science ◽  
Sociology Of Science ◽  
Main Idea ◽  
Special Role ◽  
Special Issue ◽  
Modern Natural ◽  
Modern Natural Science ◽  
Experimental Process ◽  
Issue Knowledge

The main idea of the project discussed in the article is that the production of scientific knowledge is not only an experimental process. Convention among scientists is played a special role in the acceptance of theory. To demon-strate this idea, H. Collins and co-authors of the relativistic empirical programme in the sociology of science publish a special issue “Knowledge and Controversy: Studies of Modern Natural Science”. The results obtained by the authors are discussed in this article.

scholarly journals Influence of Long-Term Communist Confrontation on Inducing Changes in Society and Musical Culture of Hmong Ethnic Group in Thailand

2019 ◽  
Vol 12 (1) ◽  
pp. 1
Author(s):  
Komphorn Prachumwan ◽  
Chalermpol Ataso
Keyword(s):  
Ethnic Group ◽  
Social Contexts ◽  
Social Changes ◽  
Contributing Factors ◽  
Musical Culture ◽  
The Social ◽  
Musical Cultures ◽  
Original Musical ◽  
Culture Tradition

The ethnic group ‘Hmong’, the descendants of Chinese ‘Miao’ group who migrated south to reside in Northern Thailand, is known to possess their own unique arts, culture, tradition, and music. However, the influence of social change seemed to largely affect the musical culture of Hmong ethnic, Khao Kho District, Phetchabun Province, in a multifactorial manner. Through different phases of a series of communist wars, the original musical cultures were subjected to the cumulative changes of social contexts, evolving toward modernization, at a great extent. In addition, not only the social changes have had a large impact on the Hmong ethnic’s musical cultures, but also on their ritual performances that require music as its core. This study aimed to elucidate the effect of social changes on musical culture by identifying the key contributing factors that determined Hmong’s musical performances and appreciation based on their historical features.

scholarly journals Musical culture of China in the first half of the XX century a dialogue with European and national

2021 ◽  
pp. 63-78
Author(s):  
Natalia Bragina ◽  
Wang Jie
Keyword(s):  
Comparative Analysis ◽  
New Music ◽  
Musical Culture ◽  
Common Trends ◽  
Music Schools ◽  
Chinese Music ◽  
The Arts ◽  
Time Distance ◽  
The Aesthetic ◽  
Xix Century

The article attempts to systematize the processes taking place in Chinese musical culture in the first half of the XX century. The main direction of European art, manifested in this period in China – Romanticism. Using the example of the development of chamber vocal gen-res, it is shown how the aesthetic attitudes of Romanticism-the reliance on national traditions and the desire to synthesize the arts – were manifested in the works of Chinese composers. The methods of musical and poetic analysis, as well as the method of comparative analysis, are used to identify common trends between the formation of new music in China and the pro-cesses of formation of «young» European music schools in the first half of the XIX century. The reasons for the lag in the development of some na-tional cultures and the regularities of their accelerated development and overcoming the time distance are revealed. The most typical works of chamber-vocal genres of Chinese music of the specified period are used as the material for analysis.

scholarly journals First Chinese concerto for violin and orchestra Ma Siсong as an example of synthesis of the European and national style paradigm

2019 ◽  
pp. 256-278
Author(s):  
Li Yan Long
Keyword(s):  
Chinese Culture ◽  
Solo Performance ◽  
Temporal Perspective ◽  
String Instruments ◽  
Violin Concerto ◽  
Chinese Music ◽  
Violin Music ◽  
Harmonic Language ◽  
Solo Violin

Turning of Ma Siсong to the concerto genre was not determined exclusively by the historical cultural circumstances, because in the first half of the 20th century the Chinese violin music only started to master the European genres. Thus, the violin and orchestra concerto written in 1943-1944 became the first Chinese work in this genre.Ma Siсong created an exceptionally interesting and remarkable canvas that combined seamlessly the Chinese national thematic nature and principles of the European violin concerto, classical genre paradigmatics aligned with the new mental conditions of creation. Using the wealth of the style parameters and the genre varieties of the wide temporal perspective, the composer represents an authentic vision of the solo violin concerto proper as an expression of the distinctive Chinese culture which has been shown essentially on the intonational-melodic, tonal-harmonic levels, manifested in the sphere of the form creation. The concerto concept solved in the neoromantic key gravitates toward the type of the lyrical-patriotic poem about the beauty of the homeland. Thus, the most innovative for the concerto genre became the means of the form creation that originate from the nature of the Chinese music (alternation of the concentrated brief tunes that to some extent play the role of the leitmotifs with more spatial melodic sections), that render the dramaturgic model a suite-poem type; using compositional and performing principles of the Chinese folk orchestras and solo performance on the bowed string instruments (enhance improvisational opening, specific performing techniques – typical flageolets, sliding play with one finger, traditional bourdon two-part texture, typical for the folk violin erhu, etc.). Especially innovatory is the harmonic language of the concerto (whose characteristic feature is the refined play between anhemitonics, pentatonics and chromatics) that gives not only a specific flair, but produces also an essential effect on the general tonal plan of the whole demonstrating the new modal-tonal relationships. Ma Siсong, preserving in the ternary construction of the concerto for violin and orchestra the features and certain typological European principles of this genre fills it up not only with the new content, but tries to give a new meaning to the basic form creating principles from the standpoint of the Chinese music mentality.

"EPIGRAPH BY COUNT TOLSTOY TO HIS NOVEL "ANNA KARENINA" BY R. SHCHEDRIN: PARADIGM OF POLYPHONIC THINKING

2021 ◽  
Vol 1 (2) ◽  
pp. 61-67
Author(s):  
N. V. Koshkareva ◽  
Keyword(s):  
Main Idea ◽  
Compositional Style ◽  
Musical Composition ◽  
A Cappella ◽  
Musical Form ◽  
Musical Language ◽  
Musical Culture ◽  
Anna Karenina ◽  
Literary Source ◽  
Mixed Choir

Rodion Shchedrin's choral work represents the most interesting area of modern musical culture. The object of the analysis is the composition "Epigraph by Count Tolstoy to His Novel "Anna Karenina" for mixed choir a cappella as a demonstration of the key feature of Rodion Shchedrin's compositional style — polyphonic thinking. This aspect becomes an argument for the relevance of the topic. Through the synthesis of research methods, the parameters of musical composition are studied: literary source, musical form, texture, and melody. In addition, the author reveals the "Russian theme" in the choral work of R. Shchedrin, identifies the specifics of the composer's individual choral style, and defines the aspects of polyphonization of the means of musical language. The "Epigraph" explains the main idea of L. Tolstoy's novel and concentrates on the most important contextual continuum development of all the events that take place. A wide semantic field of textual basis becomes an impulse for polyphonization of all musical expressive means. Polyphony as an idiom of R. Shchedrin's composer's handwriting is born, among other things, in the fusion of artistic trends and styles. In conclusion, it is emphasized that the literary basis of the "Epigraph", woven from historical, theological, philosophical, artistic and poetic layers, required a synthesis of traditional and innovative musical expressive means — "a new polyphonic word" in the author's expression of the main paradigms of the Russian theme by R. Shchedrin.

ROCK OPERA GENRE AND ITS OUTSTANDING EXAMPLES IN THE MUSICAL CULTURE OF THE LAST THIRD OF THE XXTH CENTURY

2020 ◽  
Vol 1 (3) ◽  
pp. 168-172
Author(s):  
Xia Tsihan ◽  
Keyword(s):  
Musical Theater ◽  
Life Forms ◽  
Musical Culture ◽  
Xxth Century ◽  
Organic Part ◽  
Poetic Text ◽  
History Of ◽  
The Media ◽  
Modern Mass ◽  
Rock Opera

The article reveals the features of rock opera as a genre of mass musical culture in the last third of the XXth century. On the example of two outstanding genre samples — "Jesus Christ Superstar" by E. Lloyd-Webber and T. Rice and "The Star and Death of Joaquin Murieta" by A. Rybnikov and M. Zakharov — the specifics of the plot interpretation, dramaturge organization, musical and expressive means and life forms of the work are considered. At the same time the author presents the background content of the two rock operas, the characteristics of their creators and the history of the first performance. The conclusion is drawn about their significance in modern mass musical culture. The media side of a rock opera is also emphasized, which tunes it to comparison with the art of cinema, establishing a connection between rock opera and musical, as one of the most popular and communicative genres of modern musical theater. The conclusions highlight the liveliness and innovation of the two works, which are an organic part of rock aesthetics. Both works introduce into the musical and poetic text "lexemes" the spoken language of youth as markers of the genre and attributes of belonging to rock culture. Until now, they are undisputed masterpieces of world popular music and stage culture.

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