scholarly journals MUSICALISATION OF J. BUNYAN’S AND H. SKOVORODA’S LITERARY DISCOURSE

2019 ◽  
pp. 372-384
Author(s):  
O. Shykyrynska
Keyword(s):  
Significant Influence ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Common Features ◽  
Musical Space ◽  
The Bible ◽  
Musical Theme ◽  
The World ◽  
Musical Sounds ◽  
Artistic Heritage

The article deals with the musical space of the artistic heritage of J. Bunyan and H. Skovoroda that has many common features. The general place in the heritage of both writers is reference to solemn church or angelic singing, accompanying the scenes of triumph of the heroes. There are numerous quotations from the Bible psalms, that both writers mastered perfectly. Outplaying of the mythologemes “a man as a musical instrument” and “a world as a musical instrument” became common for both authors. Musical code is expressed in comparison with man’s features and musical sounds; assimilation of the world with a musical instrument, desire to hear “the music of spheres”. The comparison of a man’s emotional impulse with the sounds of musical instruments reveals willingness of the man of the Baroque age for the search of correspondence and for the synthesis of arts in a broad sense. Music as an art differs in the ability to reveal symbols by means of a sound, having a significant influence on the recipient. The analysis of musical component of H. Skovoroda and J. Bunyan’s work demonstrates its precise orientation on musicalisation of writers’ discourse. In the meantime musical theme is represented much wider in Skovoroda’s work than in the work of the English writer. The article introduces J. Bunyan and H. Skovoroda as bright representatives of national variants of baroque aesthetics.

scholarly journals The role of musical instruments in the globalization of music

Comunicar ◽  
2010 ◽  
Vol 17 (34) ◽  
pp. 83-89
Author(s):  
Kazadi wa-Mukuma
Keyword(s):  
Cultural Values ◽  
Computer Games ◽  
Musical Instruments ◽  
Cultural Interaction ◽  
Global Community ◽  
Language And Culture ◽  
The World ◽  
The Creation ◽  
Musical Sounds ◽  
Different Cultures

In recent years, the term «globalization» has become a catchword in many languages. It is an open-ended process that implies different levels of unification. In music, attempts have been made by individual and collectively by artists from different cultures in the world. In each case, the process has been focused on the unification of musical sounds that can be identified within the global community. Technology is successful with the duplication of sounds of musical instruments for computer games, but the creation of zones of cultural interaction as defined by actual musical instruments is presenting challenges with the unification of cultural values into one global community. In music, globalization implies «world music» that is articulated as a hybrid product. The process of globalization is readily realized electronically, with sounds of musical instruments, but the creation of zones of cultural interaction, with the same musical instruments, will require a mixture of configuration of factors ranging from ecology to language and cultural manifestation. The objective of zones of cultural interaction is not to unify style of music, but through globalization is the sharing of actual musical instruments. To accomplish this objective, geographic spaces will have to surmount the globalization of the world ecology, language, and culture. En los últimos años, el término «globalización» se ha convertido en una palabra clave para muchas lenguas. Con él se hace referencia a un proceso abierto que implica diferentes niveles de unificación. En el campo de la música, han participado en él, tanto de forma individual como colectiva, artistas de diferentes culturas del mundo. En todos los casos, el proceso se ha centrado en la unificación de sonidos musicales que puedan identificarse por una comunidad global. En este sentido, la tecnología ha conseguido con éxito duplicar los sonidos de los instrumentos musicales para los videojuegos, pero la creación de zonas de interacción cultural, como las definidas por los instrumentos musicales actuales, se enfrenta a una serie de retos derivados de la unificación de los valores culturales en una comunidad global. El proceso de globalización se puede desarrollar fácilmente de manera electrónica con sonidos de instrumentos musicales, la creación de las zonas de interacción cultural con los mismos instrumentos musicales necesitará que se den además una serie de factores, que van desde lo ecológico hasta lo lingüístico y cultural. El principal objetivo de las zonas de interacción cultural no es el de unificar el estilo de música, sino el de compartir los instrumentos musicales actuales a través de la globalización. Para cumplir este objetivo, los territorios en los que se produzca esa interacción tendrán que completar este proceso globalizador atendiendo a criterios ecológicos, lingüísticos y culturales.

scholarly journals “DAVID PSALMS” BY TARAS SHEVCHENKO AND LINA KOSTENKO IN THE ASPECT OF INTERTEXTUALITY

2019 ◽  
pp. 37-44
Author(s):  
L. A. Cherednуk
Keyword(s):  
Old Testament ◽  
Scientific Intelligence ◽  
Biblical Text ◽  
World Culture ◽  
Main Text ◽  
Common Features ◽  
The Bible ◽  
The World ◽  
The Difference ◽  
Different Levels

The article discusses intertextuality as a specific feature of fiction of the XIX-XXI centuries, is a peculiar communication code of the author with the reader, helps him to understand not only himself, but also the world in which he lives. Intertext appears in works of literature in the form of citations, allusions, reminiscences, parodies and imitations of other people's stylistic properties. Scientific intelligence analyzes the features of the structure of the Book of Psalms, which is one of the books of the Old Testament of the Bible, addresses the problem of authorship of a monument to world culture. The article analyzes separate poems from the cycle David of Psalms, which both artists have. Of course, each of the poets can trace the interpretation of the biblical text of an outstanding literary and cultural attraction. In the process of analysis, it was found that T. Shevchenko’s works are characterized by deep connections with ancient culture, Slavic mythology, and many European literatures. The “David Psalms” cycle of modern Ukrainian poetess Lina Kostenko is full of modern realities, acute social conflicts, which is a feature of the poetess’s creative manner. It is defined as the original features of the biblical text copying by each writer, and the presence of common features. It is established that in the works of both poets, despite the difference in time, metaphysical ideas take place, reflecting universal moral and ethical principles, opposing the concepts of “good – evil”, “truth – untruth”, “glory – hula”, are widely used Church Slavonic dictionary, there are elements of introspection. The works of Taras Shevchenko and Lina Kostenko are full of deep feelings about contemporary being, creating a unique image of a literary hero, which is a reflection of the author's position. Entering into the main text the motives of intertextuality allows you to create a unique idiostyle of both artists at different levels of literary reception.

Voiceness in Musical Instruments

2019 ◽  
pp. 236-268
Author(s):  
Cornelia Fales
Keyword(s):  
Pilot Study ◽  
Musical Instruments ◽  
Primary Language ◽  
Acoustic Features ◽  
Musical Sound ◽  
The World ◽  
Per Se ◽  
The Difference ◽  
Musical Sounds ◽  
The Voice

This chapter presents the results of a pilot study of “voiceness” in instrumental musical sound across cultures. This study grew from the proposition that not only is the voice of primal importance in music, but “voiceness” in nonvocal musical sounds is a quality that seems to exert a particular fascination to music cultures around the world. The objective is to look at the use of voiceness in music across cultures in order to discover something about the constituents of voiceness. Since it is normally not the case that voice-like instruments, either alone or in combination, sound like voices per se, it must be the case that the quality they convey as voiceness consists of some distillation of acoustic features, presumably proper to “real” vocal sound. A primary question addressed in the chapter is whether the voiceness in music of specific cultures varies in a way consistent with that culture’s primary language, or whether there are features that convey voiceness across cultures independent of language. Unlike many other instruments, the voice is capable of immense timbral variation, and the magnitude of difference across individual voices can be as great as the difference between instrument classes. The author has taken the results of the study as a preliminary indication of an abstract auditory category of voiceness consisting of perceived commonalities across several levels of vocal variation. The chapter focuses on sounds from just three cultures that are particularly illuminating in regard to these issues.

scholarly journals Hybrid Feature Based Classifier Performance Evaluation of Monophonic and Polyphonic Indian Classical Instruments Recognition

2021 ◽  
Vol 23 (11) ◽  
pp. 879-890
Author(s):  
Abhijit V. Chitre ◽  
◽  
Ketan J. Raut ◽  
Tushar Jadhav ◽  
Minal S. Deshmukh ◽  
...  
Keyword(s):  
Critical Role ◽  
Musical Instrument ◽  
Research Area ◽  
Musical Instruments ◽  
Training Data ◽  
Hybrid Features ◽  
Spectral Parameters ◽  
Data Set ◽  
Important Research Area ◽  
Musical Sounds

Instrument recognition in computer music is an important research area that deals with sound modelling. Musical sounds comprises of five prominent constituents which are Pitch, timber, loudness, duration, and spatialization. The tonal sound is function of all these components playing critical role in deciding quality. The first four parameters can be modified, but timbre remains a challenge [6]. Then, inevitably, timbre became the focus of this piece. It is a sound quality that distinguishes one musical instrument from another, regardless of pitch or volume, and it is critical. Monophonic and polyphonic recordings of musical instruments can be identified using this method. To evaluate the proposed approach, three Indian instruments were experimented to generate training data set. Flutes, harmoniums, and sitars are among the instruments used. Indian musical instruments classify sounds using statistical and spectral parameters. The hybrid features from different domains extracting important characteristics from musical sounds are extracted. An Indian Musical Instrument SVM and GMM classifier demonstrate their ability to classify accurately. Using monophonic sounds, SVM and Polyphonic produce an average accuracy of 89.88% and 91.10%, respectively. According to the results of the experiments, GMM outperforms SVM in monophonic recordings by a factor of 96.33 and polyphonic recordings by a factor of 93.33.

scholarly journals The Architectonics of Musical Sound

ICONI ◽  
2019 ◽  
pp. 112-128
Author(s):  
Irina B. Gorbunova ◽  
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Composition ◽  
Basic Principles ◽  
Musical Sound ◽  
Music Making ◽  
Wide Range ◽  
Fast Development ◽  
Musical Sounds ◽  
Computer Generation

At the turn of the 20th and 21st centuries there appeared a new trend in musical composition and musical pedagogy conditioned by the fast development of electronic musical instruments: from the simplest synthesizers to powerful musical computers. In the wide range contemporary electronic musical instrument the accumulated informational technologies in music and the art of music making have manifested themselves in the fullest and most perfect manner. The current and the subsequent issues of the journal shall provide a consecutive presentation of four lectures, compiling the basis of the discipline “Informational Technologies in Music” and a set of programs of advanced training, which include “Informational Technologies in Music,” “Informational Technologies in Musical Education,” “Computer Musical Composition,” etc. The first lecture, “The Architectonics of Musical Sound” shall disclose themes connected with the study of the physical characteristics of musical sounds, the means of their recording and reproduction; explanation is given to the aural perception of sound by the human being, and the basic principles of computer generation of musical sound are examined. The material elucidated in the lection possesses a theoretical and practical directedness and contains information in which the technological aspects of contemporary perceptions of music, about the musical instrument range (including computer musical instruments); without knowledge of these aspects a competent interpretation of musical instruments is impossible.

scholarly journals Public Sound Objects: a shared environment for networked music practice on the Web

2005 ◽  
Vol 10 (3) ◽  
pp. 233-242 ◽  
Author(s):  
ALVARO BARBOSA
Keyword(s):  
User Interface ◽  
Musical Instrument ◽  
Shared Environment ◽  
Musical Space ◽  
Music Practice ◽  
The World ◽  
Online Music ◽  
Sound Objects ◽  
Musical Tempo ◽  
Networked Music

The Public Sound Objects (PSOs) project consists of the development of a networked musical system, which is an experimental framework to implement and test new concepts for online music communication. The PSOs project approaches the idea of collaborative musical performances over the Internet by aiming to go beyond the concept of using computer networks as a channel to connect performing spaces. This is achieved by exploring the internet's shared nature in order to provide a public musical space where anonymous users can meet and be found performing in collective sonic art pieces.The system itself is an interface-decoupled musical instrument, in which a remote user interface and a sound processing engine reside with different hosts in an extreme scenario where a user can access the synthesizer from any place in the world using the World Wide Web. Specific software features were implemented in order to reduce the disruptive effects of network latency, such as dynamic adaptation of the musical tempo to communication latency measured in real time and consistent sound panning with the object's behaviour at the graphical user interface.

scholarly journals Nilai Organologi Akustik Polopalo

SELONDING ◽  
2019 ◽  
Vol 15 (1) ◽  
Author(s):  
Rahmawati Ohi
Keyword(s):  
Research Method ◽  
Value Function ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Material Objects ◽  
Interesting Aspect ◽  
Acoustic Response ◽  
Community Activities ◽  
The World ◽  
Percussion Instrument

Values are meanings, messages either implicitly-exemplified in the form of ideas or theories that work in community activities, one of the material objects that describe the phenomenon is a traditional musical instrument. Speaking of traditional musical instruments, there is one that is valuable, namely Polopalo. Polopalo is a percussion instrument, a Gorontalo icon with a unique organology that is similar to a crocodile's mouth and produces a distinctive acoustic sound character. The unique and interesting aspect of Polopalo's acoustic organology makes its value function continue to experience development and transformation in the activities of society and the world of science.Nattiez about the meaning process at three levels: decomposition of acoustic components, historical or cultural background and physio-acoustic response and supported by the Alperson-Bordieu theory so that the research method uses quantitative-qualitative.The results showed that the value of Polopalo's acoustic organology is the embodiment of the character and philosophy of the Gorontalo people in everyday life where the existence of the sign is represented by the unique sound frequency and interval

Moment's Monument

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Art World ◽  
Self And Other ◽  
Single Culture ◽  
Modern Sculpture ◽  
The World ◽  
History Of ◽  
Critical Account ◽  
Modern Experience ◽  
Artistic Heritage

Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.

Languages from the world of the Bible, by Holger Gzella (ed.)

2018 ◽  
Vol 26 (2) ◽  
Author(s):  
Christoph Stenschke
Keyword(s):  
The Bible ◽  
The World

Book review

Epidemias y Religión

2020 ◽  
pp. 49-81
Author(s):  
Bruno Van der Maat
Keyword(s):  
Pastoral Care ◽  
Key Words ◽  
Adverse Reactions ◽  
Religious Groups ◽  
Government Regulations ◽  
The Third ◽  
The Bible ◽  
The World ◽  
Ethical Reflections

The current pandemic has seen some adverse reactions from the most diverse religious groups all over the world to government regulations. After having described some of their manifestations, this contribution analyzes what the Bible and some post biblical (patristic and Talmudic) traditions say about illness and pandemics. As it is ascertained that these sources contain very limited material on these subjects, the third part of this article proposes some ethical reflections regarding the official response to the pandemic as well as some pastoral implications. Key Words: Pandemic, Religion, Bible, Talmud, Pastoral Care.

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