scholarly journals Perceptions of Audience on Soundpainting Performance

2018 ◽  
Vol 6 (10) ◽  
pp. 142
Author(s):  
Sonat Coskuner
Keyword(s):  
Sign Language ◽  
Contemporary Music ◽  
Point Of View ◽  
Visual Artists ◽  
Modern Music ◽  
Laboratory Environment ◽  
First Time

Today, contemporary music emerges as an experimental phenomenon trapped in the laboratory environment rather than an element of skill. Modern music, where principles such as specialism and rationality are determinative, has become difficult to understand not only for performers who carry it on the stage but also for today's audience. One of the works done in recent years is Soundpainting, which is based on improvisation and allows everyone to do this stage art. Soundpainting is the multidisciplinary live composing sign language for Musicians, Dancers, Actors and Visual Artists. Presently the language comprises more than 1750 gestures that are signed by the Soundpainter to indicate the type of material desired of the performers. The Soundpainter (the composer) standing in front (usually) of the group communicates a series of signs using hand and body gestures indicating specific and/or aleatoric material to be performed by the group. The Soundpainter develops the responses of the performers, molding and shaping them into the composition. In this research, it is aimed to determine the perceptions of the audiences who are listeners in a Soundpainting performance and at the same time performers in Soundpainting performance. The specify of this perception is important in terms of determine the attitude of the listeners fort he first time involved in the Soundpainting performance as well as bringing solutions to the problem of music and alienation from a different point of view.

scholarly journals Typical Texture Formulas in Contemporary Music for Button Accordion of Ukrainian Composers: Review and Systematization

2021 ◽  
pp. 65-71
Author(s):  
A. Stashevskyi
Keyword(s):  
System Analysis ◽  
Contemporary Music ◽  
Practical Significance ◽  
Musical Language ◽  
Modern Music ◽  
Urgent Task ◽  
Musical Works ◽  
Work Samples ◽  
First Time ◽  
Instrumental Texture

The relevance of the topic and problem statement. In the process of formation and development of the original style of button accordion music one of the most important roles is played by the factor of texture, which fully embodies the instrumental specificity of the button accordion, and reflects the originality of forms and varieties of musical fabric in button accordion works. The study of the peculiarities of texture organization, as well as highlighting the main trends in texture formation in modern button accordion music, in particular in the works of Ukrainian composers, is seen as an urgent task to understand the essence of the phenomenon of modern button accordion, and in general — to develop domestic musicology in instrumental art. In previous works of the author of this article, an attempt was made to systematize the textured formations of modern button accordion music, which are determined by the specifics of the design of button accordion keyboards (Stashevskyі, 2021). Continuing further study of the textured organization of modern music for button accordion, there is a need to identify and systematize other typical for this work samples of texture and its components, the structure of which is not due to the structural configuration of sound keys on button accordion keyboards. That is, those that are more universal, but, at the same time, are characterized as typical of modern button accordion art. The purpose of the study is to study the most typical textural elements and combinations of modern button accordion music, as well as their systematization based on the analysis of their internal structural organization. The methodology used in this article is based on the use of methods of theoretical musicology (primarily, analysis of elements of musical language and means of expression), as well as methods of structural and system analysis, generalization and classification. The results. The systematization of typical original texture formulas of modern button accordion creativity carried out in this work provides their division into certain groups and kinds (subgroups) in the middle of these groups, in particular: reverberation (chordal and mixed); stereophony (pulsation, transmission, unison); pedalling arpeggio (rhythmic, non­rhythmic); pedal scale (cluster crescendo); monophonic structural­modular constructions (chromatic by broken intervals; gamma­shaped­arpeggio based on a 5­element fingering group); chord transpositions (interval­algorithmic (chromatics; m3; m2­B2; etc.), thematic­melodic); simplified accompaniment (alternation of tessitura­polar sounds); multi­octave duplications (unison, decomposed­arpeggio). The topicality of the work lies in the fact that for the first time in modern musicology the textured elements of modern button accordion music have received analytical discourse and systematization. The practical significance of the work lies in the possibility of its use in theoretical courses on the study of button accordion art, as well as in the practical work of button accordionists. Conclusions. To sum up, we can state that the considered original textural elements and formulas are typical for modern button accordion music, as they occur in works in many cases. The typical button accordion texture formulas considered in this article, which are often found in the artistic plane of musical works, play an important role in the formation of a kind of stylistic handwriting of modern button accordion speech. At the same time, they, in contrast to the group of determinant texture formulas, reflect a certain universalism of their presentation, as they can be transferred to other instrumental texture (keyboard instruments) conditions and implemented in them.

scholarly journals Modal Intonation Features of Crowd Scenes in the Operetta “O olmasyn, bu olsun” (“Not that, so this”) by U. Hajibeyli

2021 ◽  
Vol 4 (1) ◽  
pp. 73-88
Author(s):  
Naiba Shakhmamedova
Keyword(s):  
Folk Music ◽  
Contemporary Music ◽  
Historical Analysis ◽  
Point Of View ◽  
Musical Composition ◽  
The Public ◽  
History Of ◽  
Inner World ◽  
Musical Patterns ◽  
First Time

The article analyses the features of the crowd scenes’ structure in the operetta “O olmasyn, bu olsun” (1910) by the outstanding composer Uzeyir Hajibeyli (1885–1948), who founded the Azerbaijani professional composer school at the beginning of the 20th century. In this operetta rich in comic imagery, the composer’s style is reflected in choral scenes influenced by harmonious recitatives and musical patterns and analyzed as a philosophical sphere of reflection of events in the comical plane. He also interprets the development of the operetta genre as a genre of contemporary music in the professional traditions of Western European music in Azerbaijan, as well as the features of intonation that are relevant in Azerbaijani folk music in terms of its structure and thematic focus. The purpose of the research is to analyze the modal features of the operetta “O olmasyn, bu olsun”. For this, the variety of characters available in the work, the line of development of these characters as an issue to study the compatibility of the inner world of characters, given both emotionally and comically, come to the fore. It is also noteworthy that the comparison of moods and intonations in the events taking place in the crowd scenes is naturally reflected here. The research methodology draws attention to the comparative and historical analysis of music theory and history of music, axiological and cultural approaches. Here, the principle of using texts in musical scenes reflects the originality of the composer’s style. Our analysis made it important to consider the research of various researchers who adhere to the principle of secularism. The scientific novelty of the research lies in the fact that for the first time in U. Hajibeyli's operetta “O olmasyn, bu olsun”, an extensive analysis of fret features in crowd scenes with different editions was carried out. The emergence of these features also serves as an example for musicians and composers working in the field of musical composition. Conclusions. The analysis of the modal intonations’ features of crowd scenes in the operetta by U. Hajibeyli “O olmasyn, boolsun” shows the clarity of the intonation principles in Azerbaijani folk music from the point of view of the  correspondence of images. This aspect also shaped the composer’s intonation concept. Musical materials suitable for the composer’s comedy scene explain the different situations of the protagonist. The article draws attention to the combination of images and choral performance used in public scenes, for example, the combination of mood and intonation. The use of historical, musical theory, composition, modal intonation features on the public stage is more consistent with the fret concept created by the composer U. Hajibeyli.

Thanato-Laboratorien. Theorien von Tod und Sterben und Elias Canettis Buch gegen den Tod

2020 ◽  
Vol 4 (1) ◽  
pp. 67-86
Author(s):  
Elisabeth Heyne
Keyword(s):  
Human Life ◽  
Death And Dying ◽  
Point Of View ◽  
Visual Images ◽  
Elias Canetti ◽  
History Of ◽  
Series Of Experiments ◽  
First Time ◽  
Textual Form ◽  
Or History

AbstractAlthough visual culture of the 21th century increasingly focuses on representation of death and dying, contemporary discourses still lack a language of death adequate to the event shown by pictures and visual images from an outside point of view. Following this observation, this article suggests a re-reading of 20th century author Elias Canetti. His lifelong notes have been edited and published posthumously for the first time in 2014. Thanks to this edition Canetti's short texts and aphorisms can be focused as a textual laboratory in which he tries to model a language of death on experimental practices of natural sciences. The miniature series of experiments address the problem of death, not representable in discourses of cultural studies, system theory or history of knowledge, and in doing so, Canetti creates liminal texts at the margins of western concepts of (human) life, science and established textual form.

A Nabatean port on the Red Sea: note on the pottery finds from al-Qusayr (al-Wajh, Saudi Arabia)

2020 ◽  
Author(s):  
Caroline Durand
Keyword(s):  
Saudi Arabia ◽  
19Th Century ◽  
Red Sea ◽  
Point Of View ◽  
The Other ◽  
Trade Routes ◽  
Other Hand ◽  
Roman Egypt ◽  
Pottery Sherds ◽  
First Time

Al-Qusayr is located 40 km south of modern al-Wajh, roughly 7 km from the eastern Red Sea shore. This site is known since the mid-19th century, when the explorer R. Burton described it for the first time, in particular the remains of a monumental building so-called al-Qasr. In March 2016, a new survey of the site was undertaken by the al-‘Ula–al-Wajh Survey Project. This survey focused not only on al-Qasr but also on the surrounding site corresponding to the ancient settlement. A surface collection of pottery sherds revealed a striking combination of Mediterranean and Egyptian imports on one hand, and of Nabataean productions on the other hand. This material is particularly homogeneous on the chronological point of view, suggesting a rather limited occupation period for the site. Attesting contacts between Mediterranean merchants, Roman Egypt and the Nabataean kingdom, these new data allow a complete reassessment of the importance of this locality in the Red Sea trade routes during antiquity.

Ground state molecular parameters of phosphine, PH3, from the simultaneous analysis of the high-resolution infrared, microwave and submillimeterwave spectra

1985 ◽  
Vol 50 (11) ◽  
pp. 2480-2492 ◽  
Author(s):  
Soňa Přádná ◽  
Dušan Papoušek ◽  
Jyrki Kauppinen ◽  
Sergei P. Belov ◽  
Andrei F. Krupnov ◽  
...  
Keyword(s):  
Fourier Transform ◽  
High Resolution ◽  
Ground State ◽  
Unitary Transformation ◽  
Point Of View ◽  
Acoustic Detection ◽  
Molecular Parameters ◽  
Microwave Spectrometer ◽  
Fourier Transform Spectra ◽  
First Time

Fourier transform spectra of the ν2 band of PH3 have been remeasured with 0.0045 cm-1 resolution. Ground state combination differences from these data have been fitted simultaneously with the microwave and submillimeterwave data to determine the ground state spectroscopical parameters of PH3 including the parameters of the Δk = ± 3n interactions. The correlation between the latter parameters has been discussed from the point of view of the existence of two equivalent effective rotational operators which are related by a unitary transformation. The ΔJ = 0, +1, ΔK = 0 (A1 ↔ A2, E ↔ E) rotational transitions in the ν2 and ν4 states have been measured for the first time by using a microwave spectrometer and a radiofrequency spectrometer with acoustic detection.

scholarly journals An exceptionally preserved conulariid from Ordovician erratics of Northern European Lowlands

PalZ ◽  
2021 ◽  
Author(s):  
Consuelo Sendino ◽  
Martin M. Bochmann
Keyword(s):  
Internal Structure ◽  
Late Pleistocene ◽  
Point Of View ◽  
Three Dimensions ◽  
Northern European ◽  
Current Location ◽  
Transport Direction ◽  
First Time ◽  
Erratic Boulder

AbstractA conulariid preserved in three dimensions from Ordovician fluvioglacial erratics of the Northern European Lowlands (North German Plain) is described under open nomenclature. It is assigned to the genus Conularia with similarities to Baltoscandian conulariids. The lithology of the erratic boulder and fauna contained in it provide important information on the origin and transport direction of the sediment preserved in a kame from the Saalian glaciation. This paper deals with the site of origin of the boulder in Baltoscandia analysing the comprised palaeofauna, from a palaeostratigraphic and palaeogeographic point of view, from its deposition in Ordovician times until its arrival at its current location in the Late Pleistocene. It also reveals for the first time the internal structure of the conulariid aperture.

scholarly journals Fractional isospectral and non-isospectral AKNS hierarchies and their analytic methods for N-fractal solutions with Mittag-Leffler functions

2021 ◽  
Vol 2021 (1) ◽  
Author(s):  
Bo Xu ◽  
Yufeng Zhang ◽  
Sheng Zhang
Keyword(s):  
Spectral Problem ◽  
Fractional Order ◽  
Point Of View ◽  
Adjoint Equations ◽  
Scattering Data ◽  
Bilinear Method ◽  
Soliton Equation ◽  
Scattering Transform ◽  
First Time ◽  
Hirota Bilinear

AbstractAblowitz–Kaup–Newell–Segur (AKNS) linear spectral problem gives birth to many important nonlinear mathematical physics equations including nonlocal ones. This paper derives two fractional order AKNS hierarchies which have not been reported in the literature by equipping the AKNS spectral problem and its adjoint equations with local fractional order partial derivative for the first time. One is the space-time fractional order isospectral AKNS (stfisAKNS) hierarchy, three reductions of which generate the fractional order local and nonlocal nonlinear Schrödinger (flnNLS) and modified Kortweg–de Vries (fmKdV) hierarchies as well as reverse-t NLS (frtNLS) hierarchy, and the other is the time-fractional order non-isospectral AKNS (tfnisAKNS) hierarchy. By transforming the stfisAKNS hierarchy into two fractional bilinear forms and reconstructing the potentials from fractional scattering data corresponding to the tfnisAKNS hierarchy, three pairs of uniform formulas of novel N-fractal solutions with Mittag-Leffler functions are obtained through the Hirota bilinear method (HBM) and the inverse scattering transform (IST). Restricted to the Cantor set, some obtained continuous everywhere but nondifferentiable one- and two-fractal solutions are shown by figures directly. More meaningfully, the problems worth exploring of constructing N-fractal solutions of soliton equation hierarchies by HBM and IST are solved, taking stfisAKNS and tfnisAKNS hierarchies as examples, from the point of view of local fractional order derivatives. Furthermore, this paper shows that HBM and IST can be used to construct some N-fractal solutions of other soliton equation hierarchies.

Information-based decoding of the coupling among human brain activity and movement paths

2021 ◽  
pp. 1-10
Author(s):  
Shahul Mujib Kamal ◽  
Norazryana Mat Dawi ◽  
Hamidreza Namazi
Keyword(s):  
Brain Activity ◽  
Point Of View ◽  
Physiological Signals ◽  
Human Walking ◽  
Eeg Signals ◽  
Rehabilitation Science ◽  
Information Contents ◽  
First Time ◽  
The Brain ◽  
Brain Reaction

BACKGROUND: Walking like many other actions of a human is controlled by the brain through the nervous system. In fact, if a problem occurs in our brain, we cannot walk correctly. Therefore, the analysis of the coupling of brain activity and walking is very important especially in rehabilitation science. The complexity of movement paths is one of the factors that affect human walking. For instance, if we walk on a path that is more complex, our brain activity increases to adjust our movements. OBJECTIVE: This study for the first time analyzed the coupling of walking paths and brain reaction from the information point of view. METHODS: We analyzed the Shannon entropy for electroencephalography (EEG) signals versus the walking paths in order to relate their information contents. RESULTS: According to the results, walking on a path that contains more information causes more information in EEG signals. A strong correlation (p= 0.9999) was observed between the information contents of EEG signals and walking paths. Our method of analysis can also be used to investigate the relation among other physiological signals of a human and walking paths, which has great benefits in rehabilitation science.

“Satisfied with the Ruins of Berlin”: The German Capital’s Image in Soviet Graphics of 1945

2021 ◽  
Vol 17 (6) ◽  
pp. 564-575
Author(s):  
Irina I. Rutsinskaya
Keyword(s):  
Visual Art ◽  
Visual Image ◽  
Point Of View ◽  
The Public ◽  
Historical Justice ◽  
Public Consciousness ◽  
Post War ◽  
The One ◽  
First Time ◽  
The City

An artist who finds themselves in the last days of a war in the enemy’s defeated capital may not just fix its objects dispassionately. Many factors influence the selection and depicturing manner of the objects. One of the factors is satisfaction from the accomplished retribution, awareness of the historical justice triumph. Researchers think such reactions are inevitable. The article offers to consider from this point of view the drawings created by Soviet artists in Berlin in the spring and summer of 1945. Such an analysis of the German capital’s visual image is conducted for the first time. It shows that the above reactions were not the only ones. The graphics of the first post-war days no less clearly and consistently express other feelings and intentions of their authors: the desire to accurately document and fix the image of the city and some of its structures in history, the happiness from the silence of peace, and the simple interest in the monuments of European art.The article examines Berlin scenes as evidences of the transition from front-line graphics focused on the visual recording of the war traces to peacetime graphics; from documentary — to artistry; from the worldview of a person at war — to the one of a person who lived to victory. In this approach, it has been important to consider the graphic images of Berlin in unity with the diary and memoir texts belonging to both artists and ordinary soldiers who participated in the storming of Berlin. The combination of verbal and visual sources helps to present the German capital’s image that existed in the public consciousness, as well as the specificity of its representation by means of visual art.

Memoirs: On a New Genus of Synascidians from Japan

1892 ◽  
Vol s2-33 (130) ◽  
pp. 313-324
Author(s):  
ASAJIRO OKA ◽  
ARTHUR WILLEY
Keyword(s):  
Thin Layer ◽  
New Genus ◽  
Postembryonic Development ◽  
Point Of View ◽  
Canal System ◽  
Near Surface ◽  
New Form ◽  
The Difference ◽  
Bladder Cells ◽  
First Time

Sarcodidemnoides misakiense, Oka and Willey. Generic Characters.--Colony (or cormus) forming very thick lobose masses, laterally compressed; sessile, but not encrusting. Excurrent orifices placed on the tips of the knoll-like prominences. Ascidiozooids very numerous, not arranged in systems; branchial sac with four rows of stigmata; canal system complicated, differentiated into peripheral and central portions. Specific Characters.--Atrial apertures of Ascidiozooids simple pores without teeth or languet; spicules fairly abundant, extremely delicate, confined to a thin layer near surface of test. Test gelatinous, containing numerous bladder-cells, crystals, fusiform cells, and pigment concretions. Stomach of Ascidiozooids vertically placed; surface of attachment of colony narrower than the free portion. Colour, brilliant red. Habitat.--Moroiso, Japan, between the tide-marks. N.B.--Since the above was written I have seen for the first time the exhaustive work of Fernand Lahille, entitled ‘Recherches sur les Tuniciers des côtes de France,' Toulouse, 1890. Lahille devotes considerable attention to what have been spoken of above as tentacle-like processes of the larva, figures them in many larvæ, and gives an excellent figure of the metamorphosing larva of Styela glomerata. He gives an opinion as to their significance which I cannot entirely endorse in the light of my own researches on the "Postembryonic development of Styela," commenced last August at Plymouth. However, I hope to return to this question on a future occasion. Lahille raises an objection to von Drasche's genus Didemnoides on the ground that the thickness of the cormus is not an anatomical character, and that the distinction between thick and thin colonies is a purely subjective one. There is no doubt some truth in this; but the difference between a compound Ascidian which possesses, say, a very few spicules, and one which possesses none at all, would appear to be no more fundamental than that between a colony whose mode of growth resulted in the production of a fleshy mass and one which grew in the form of a thin leathery crust. As stated above, von Drasche intends by Didemnoides a fleshy form of Leptoclinum, the test containing spicules, and the Ascidiozooids having four rows of stigmata in the branchial sac. Lahille, on the contrary,applies the name Didemnoides to those Didemnidse which are characterised by the absence of spicules, and the possession of three rows of stigmata in the branchial sac. The compound Ascidian which we have described above has spicules in the test, and four rows of stigmata in the branchial sac. But as it would be too absurd to call the new form "Sarcoleptoclinum," we shall persist in regarding the genus Didemnoides from the point of view of von Drasche.--A. W.

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