Purushottama Bilimoria, Joseph Prabhu and Renuka Sharma (eds.), Indian Ethics: Classical Traditions and Contemporary Challenges, vol. 1. Ashgate, Hampshire and Burlington, 2007, pp. x + 431, ISBN 978-0-7546-3301-3 (Hbk). Review doi: 10.1558/arsr.v24i1.103

2011 ◽  
Vol 24 (1) ◽  
Author(s):  
Andrew McGarrity
Keyword(s):  
Indian Ethics ◽  
Classical Traditions

Ancient Revolutions in the Literature of Polish Romanticism

2018 ◽  
Vol 15 (2) ◽  
pp. 207-226
Author(s):  
Maciej Junkiert
Keyword(s):  
Comparative Study ◽  
Classical Tradition ◽  
French Revolution ◽  
European Context ◽  
History Of ◽  
Classical Traditions ◽  
The French Revolution ◽  
Literary Reception

This article aims to examine the Polish literary reception of the French Revolution during the period of Romanticism. Its main focus is on how Polish writers displaced their more immediate experiences of revolutionary events onto a backdrop of ‘ancient revolutions’, in which revolution was described indirectly by drawing on classical traditions, particularly the history of ancient Greeks and Romans. As this classical tradition was mediated by key works of German and French thinkers, this European context is crucial for understanding the literary strategies adopted by Polish authors. Three main approaches are visible in the Polish reception, and I will illustrate them using the works of Zygmunt Krasiński (1812–1859), Juliusz Słowacki (1809–1849) and Cyprian Norwid (1821–1883). My comparative study will be restricted to four works: Krasiński's Irydion and Przedświt (Predawn), Słowacki's Agezylausz (Agesilaus) and Norwid's Quidam.

“Little Trio” for clarinet, bassoon and piano

2018 ◽  
pp. 75-79
Author(s):  
N. Yakovchuk
Keyword(s):  
Chamber Music ◽  
Instrumental Music ◽  
Instrumental Ensemble ◽  
Interesting Phenomenon ◽  
Theoretical Understanding ◽  
Classical Traditions ◽  
And Performance ◽  
Instrumental Ensembles ◽  
Written Compositions ◽  
First Time

The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

Diversifying Musical Experiences in Schools and Music Teacher Preparation Programs

2019 ◽  
pp. 891-901
Author(s):  
Robert H. Woody ◽  
Mark C. Adams
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
The United States ◽  
Music Teacher ◽  
Education Programs ◽  
Preparation Programs ◽  
Music Making ◽  
Large Ensembles ◽  
Classical Traditions

This chapter discusses the innate differences between vernacular music-making cultures and those oriented in Western classical traditions, and suggests students in traditional school music education programs in the United States are not typically afforded opportunities to learn skills used in vernacular and popular music-making cultures. The chapter emphasizes a need to diversify music-making experiences in schools and describes how vernacular musicianship may benefit students’ musical development. It suggests that, in order for substantive change to occur in music education in the United States, teachers will need to advance beyond simply considering how to integrate popular music into their traditional large ensembles—and how preservice music teacher education programs may be the key to help better prepare teachers to be more versatile and philosophically open to teaching a more musically diverse experience in their future classrooms.

APPLICATION OF AZERBAIJANI FOLK DANCE IN KHOREOGRAPHICAL COMPOSITION

2021 ◽  
Vol 6 (12) ◽  
pp. 218-226
Author(s):  
Terane MURADOVA
Keyword(s):  
Modern Dance ◽  
Stage Structure ◽  
Musical Instrument ◽  
Folk Dance ◽  
Main Condition ◽  
Successful Work ◽  
Professional Dance ◽  
Classical Traditions ◽  
Dance Groups ◽  
Different Parts

Login: The article is dedicated to the embodiment of Azerbaijani folk dances on the professional stage. The main condition for the stage embodiment of folk dances is to take into account the laws of composition and stage criteria. When talking about the stage structure of folk dance, a number of important factors need to be clarified. The composition consists of several parts. These parts consist of dance combinations. For this, dance must express the parts of the composition as exposition, binding, development and complementary. Development: Angle factor is very important in stage arrangement of folk dances. The choreographer must take into account that the audience can see the artist from ane direction. Therefore, this fact should not be ignored during the making of the composition. One of the lyrical compositions of Azerbaijani folk dances is based on the “Uzundere” dance. The character of the dance,its lyrical and melodic melody make it possible to perform it as a bridal dance. “Uzundere” dance is ona of the solo dances. However,duet performances are also observed. It should not be forgotten that this danse is performed not only by women but also by men, and each performance has its own dance elements. The most common and professional version of the dance “Uzundere” is a also composition by a female dancer. One of the dances we have analyzed is the “Gaval dance”. The place of this musical instrument in national art is also reflected in dance. The musical content of the “Gaval dance” consists of two different parts. It includes both a slow-paced lyrics and a fast-paced section. These parts change during the dance. This sequence may be repeated several times, depending on the structural properties of the composition. The choreographic content of the dance has been preserved both as a solo and as a collective expression. Result: Based on our analysis and research, the main features of modern dance art can be characterized by the following provisions. As a result of the establishment and successful work of professional dance groups, the development of national dances has reached a new stage, and this process has been reflected in both folk dances and compositions based on the composer’s music. She based the stage arrangement criteria of folk dances on the professional synthesis of world classical traditions and Azerbaijani traditions with Azerbaijani choreography and national dance traditions.

Scientific achievements of Antoni Andrzejowski (on the 235th anniversary)

Geo&Bio ◽  
2021 ◽  
Vol 2021 (20) ◽  
pp. 160-171
Author(s):  
Liudmyla Zavialova ◽  
◽  
Antonina Ilyinska ◽  
Ilona Mykhalyuk ◽  
Мyroslav Shevera ◽  
...  
Keyword(s):  
Integrated Approach ◽  
The Black Sea ◽  
Scientific School ◽  
Scientific Heritage ◽  
Landscape Art ◽  
Research Activities ◽  
Classical Traditions ◽  
Herbarium Collections ◽  
The Right ◽  
Geological Sciences

The article presents an analysis of scientific heritage of the biologist Antoni Andrzejowski (1785–1869), whose name is well known in Ukraine and abroad as a naturalist and a scientist. Antoni Andrzejowski had been cooperating with V. Besser for many years and accompanied him in his trips, he was the first botanist in Kremenets that was born in Volyn, and, at the same time, the first who graduated from the Kremenets Lyceum. His contribution to botanical, zoological, palaeontological, and geological sciences is also recognised, in particular he authored the first geological map of Podillia. The scientist is known primarily for pioneering research on plant diversity: together with W. Besser, he initiated the floristic study of Volyno-Podillia and the Right-Bank Ukraine. He was a traveller, a researcher of the flora, fauna (both modern and fossil) and geology of Podillia, Polissia, the Dnieper, and the Black Sea, as well as the author of a number of original scientific works. During his numerous trips, he collected a variety of scientific materials, including a herbarium, most of which is stored at M. G. Kholodny Institute of Botany NAS of Ukraine. As a taxonomist, he described more than 250 new taxa of vascular plants from 37 families (Brassicaceae, Asteraceae, Boraginaceae Rosaceae, Chenopodiaceae, Lamiaceae, etc.). As an expert of flora and landscape art, A. Andrzejowski took part in the creation of parks (primarily within estates in Podillia), some of which have survived (e.g., in Stavyshche, Kyiv Oblast), but most of them have been lost. A. Andrzejowski almost constantly combined his research activities with pedagogical work: he taught pupils and students of the Volynian Gymnasium (Kremenets Lyceum), St Volodymyr Imperial University of Kyiv, and the Prince Bezborodko Physical and Mathematical Lyceum of Nizhyn. He belonged to the Vilna-Kremenets Scientific School with the classical traditions of an integrated approach to the study of nature. Most of the biography and various aspects of A. Andrzejowski’s activity are discussed in numerous studies, including some of our previous publications. His preserved scientific heritage, in particular botanical works and herbarium collections, also have not escaped the attention of scientists.

The Natural Law in Catholic Ethics

2015 ◽  
pp. 387-402
Author(s):  
Kevin L. Flannery
Keyword(s):  
Natural Law ◽  
Vatican Ii ◽  
Final Section ◽  
Thomas Aquinas ◽  
Second Vatican Council ◽  
Vatican Council ◽  
Biblical Texts ◽  
Classical Traditions ◽  
John Finnis

This chapter presents Catholic teaching on the natural law as the product of a conversation over millennia. After offering some basic conceptual distinctions, the chapter begins by considering ancient non-Christian sources for Christian reflection on the natural law, especially Plato, Aristotle, and the Stoics. The chapter then considers relevant biblical texts and the teachings of Augustine and Thomas Aquinas. Attention is particularly played to Thomas’s adaptation of Classical traditions, and his argument concerning the unchangeablness of natural law. The final section of the chapter focuses on discussion of natural law after the Second Vatican Council (Vatican II) in the work of Germain Grisez and John Finnis.

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