Contemporary Music in Students-Cellists Training Courses: Learning Problems

2020 ◽  
Vol 19 (3) ◽  
pp. 129-136
Author(s):  
S.N. Mikhaylov ◽  
Keyword(s):  
Teacher Development ◽  
Professional Training ◽  
Contemporary Music ◽  
Careful Analysis ◽  
Point Of View ◽  
Learning Problems ◽  
Joint Analysis ◽  
Avant Garde ◽  
Video Recordings ◽  
Practical Development

the article deals with various aspects of mastering the compositions written by avant-garde composers by cellist students. The cello repertoire, created in the XX–XXI centuries, is based on avant-garde writing techniques and non-traditional performing techniques, which are rarely included in the content of the disciplines of professional training programs for cellists, not only in music colleges, but also in universities. The methods of composition used by avant-gardists in works for cello, as well as the artistic concepts embodied by them, are considered in the article from the point of view of the problems of mastering the repertoire by students of higher educational institutions. The most effective methods of practical development of avantgarde works, which use modern writing techniques, are proposed. Among them: a demonstration method, in which the teacher shows the work in his own performance and the ways of performing the most difficult parts in the score; listening to the work performed by the master in audio or video recordings, as well as comparing the interpretations of different performers; careful analysis of the score and the means of artistic expression of the studied work, including independent and joint analysis with the teacher; development of your own interpretation concept with comments on each section of the composition and explanations of the means of expression.

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

Das Jahr 1913 in Geschichte und Gegenwart

2013 ◽  
Vol 38 (1) ◽  
Author(s):  
Gangolf Hübinger
Keyword(s):  
Human Experience ◽  
Point Of View ◽  
Avant Garde

AbstractWhile the year 1913, seen from a modern point of view, is considered a monument to the literary and artistic avant-garde, it was in fact primarily a year when knowledge of the human experience was reordered and was considered by intellectual contemporaries as the ‘Age of Compilations’. In this introduction to the topic both perspectives on the year 1913 are compared. At the same time, ‘Syncronoptic Historiography’s’ claim of establishing a new link between literature and history is scrutinized.

Reflective backward analysis to assess the operational performance and eco-efficiency of two industrial districts

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Andrea Appolloni ◽  
Idiano D'Adamo ◽  
Massimo Gastaldi ◽  
Morteza Yazdani ◽  
Davide Settembre-Blundo
Keyword(s):  
Economic Trend ◽  
Careful Analysis ◽  
Point Of View ◽  
Industrial Districts ◽  
Management Approach ◽  
Ceramic Tiles ◽  
Data Set ◽  
Content Type ◽  
Sectorial Analysis ◽  
Backward Analysis

PurposeThe best strategy to apply for the future cannot disregard a careful analysis of the past and is the one capable of seizing opportunities from outside. Manufacturing sectors are characterized by sudden changes, and in this work, we analyze the ceramic tiles sector characterized by a mature technology in which innovation has played a key role.Design/methodology/approachThis study aims to provide a sectorial analysis based on a historical data set (2004–2019) to highlight how an industry is performing both operationally and in terms of eco-efficiency. For this purpose, from a methodological point of view, the data envelopment analysis (DEA) was used.FindingsThe results of the analysis show that the Spanish ceramics industry shows a growing economic trend by taking advantage of lower industrial costs, while the Italian industry is characterized by a modest decline partially mitigated by exports. The industrial districts are an aggregation of companies that in the ceramic sector has allowed to combine innovation, sustainability and digitalization and is a model toward the maximization of sustainable efficiency because it is a place of aggregation of resources and ideas.Originality/valueThis study experiments with an innovative way of addressing traditional industry analysis, namely, integrating the reflective management approach with DEA-based backward analysis. This provides decision makers with the basis for new interpretations of variable trends.

S. YAKOVENKO AND HIS SKILLS IN THE CONTEXT OF THE INTERPETATION OF Y. BOUTSKO’S MONO-OPERA "DIARY OF A MADMAN"

2020 ◽  
Vol 1 (2) ◽  
pp. 140-145
Author(s):  
O. A. Podguzova ◽  
Keyword(s):  
Art History ◽  
Xxth Century ◽  
Avant Garde ◽  
Great Demand ◽  
Video Recordings ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
Vocal Art

Sergey Borisovich Yakovenko is the People's Artist of Russia, a famous musician, vocal teacher and Doctor of Art History. He entered a bright page in the history of Russian vocal art of the XXth century. Starting from the 1950s, as a vocalist, he was in great demand for chamber vocal performances, with some of them being composed by modern musicians. Yakovenko was able to operate freely with a whole stock of expressive means, inherent for avant-garde music, allowing him to take part in the most difficult performances of the latest vocal and vocal-instrumental compositions, which manifested his inclination to the theater, to the disclosure of the dramaturgy of works. S. B. Yakovenko’s stage talent declared itself in its fullness during the performance of mono- operas, among them "Diary of a Madman" by Yuriy Butsko (1968), which received a great resonance in the theatrical life of Russia. The general content of this article is the analysis of S. B. Yakovenko’s performing skill, which gave birth to a wide range of character images, generated by the protagonist’s imagination. After the analysis of audio and video recordings of the vocalist’s performances, as well as his numerous scientific works and conversations, the author discovers several important features typical for the performing interpretation by S. B. Yakovenko. These are his vocal-dramaturgical principles and vocal-theatrical direction. In Y. Boutsko’s opera "Diary of a Madman" the unique performance palette of S. B. Yakovenko allows the singer to create eight various, rapidly interchanging images, using exclusively the resources of his voice, while being on an empty stage without props and with little or no gesture or mime.

scholarly journals A jó, a rossz és a csúf

2018 ◽  
Vol 57 (1-2) ◽  
Author(s):  
Sándor Bazsányi
Keyword(s):  
Point Of View ◽  
The Other ◽  
Avant Garde ◽  
The Third

The essay tries to examine the influence of dezső Kosztolányi with the help of three contemporary poets, György Somlyó, ottó tolnai and Szilárd Borbély. One of them looks at Kosztolányi’s poetry from a classical modern, the other from an avant-garde modern, and the third one from a postmodern point of view.

CAREER CAPITAL. CONCEPTUAL APPROACHES

2021 ◽  
pp. 78-88
Author(s):  
Irina P. Popova ◽  
Keyword(s):  
Professional Training ◽  
Management Practices ◽  
Theory Development ◽  
Point Of View ◽  
Organizational Strategies ◽  
Social And Cultural Capital ◽  
Career Capital ◽  
Principal Directions ◽  
Interdisciplinary Interaction ◽  
Career Research

This article considers approaches to studying the career capital in the interdisciplinary career studies from the point of view of the creating conditions issues for professional development of employees. The concept was formed within the framework of the interdisciplinary career research, based on the concepts of the human, social and cultural capital, as one of the tools for understanding new processes in the field of labor. The content of those processes determines, among other things, the growing variety of career models and the need to adapt them to organizational strategies. Attention is focused on studying those concepts in two principal directions: considering it as a tool for management practices in modern organizations and considering it in the perspective of the career theory development. Conclusions are drawn that approaches to considering career capital are based on interdisciplinary interaction and understanding of the multilevel context of a career in the organizations research. Groups of environmental infrastructure factors are identified for the development of professional promotion opportunities; professional training of employees; individual career success.

Is Medieval Music the New Avant-Garde? The Wilful, the Wayward and the Playful

2017 ◽  
Author(s):  
Graham Coatman
Keyword(s):  
Nineteenth Century ◽  
Case Studies ◽  
Creative Process ◽  
Point Of View ◽  
Early Music ◽  
Avant Garde ◽  
Medieval Music ◽  
Starting Point ◽  
New Research

In his masterful exposé, The Modern Invention of Medieval Music, Daniel Leech-Wilkinson deliciously debunks much traditional thinking about medieval music, arguing that changing perspectives on this increasingly re-discovered and available body of work may be more dependent on the personality of the scholars and performers involved in its dissemination than the findings of new research. In this chapter, writing from the point of view of a composer and musician equally involved in the performance of both new and early music, Graham Coatman examines the work of contemporary composers who have chosen medieval models as their starting point. Is their use of medieval material a means to establish identity and authenticity, or a reaction against the harmonic and formal legacy of the nineteenth century? How is the use of pre-existent material integrated into the contemporary creative process? With reference to selective case studies, Coatman finds parallels with their medieval counterparts that make their work all the more compelling.

Denby, Edwin (1903–1983)

2018 ◽  
Author(s):  
Harris Feinsod
Keyword(s):  
New York ◽  
Practical Experience ◽  
Point Of View ◽  
New York School ◽  
John Ashbery ◽  
Visual Artists ◽  
Frank O'hara ◽  
Avant Garde ◽  
Downtown Scene ◽  
James Schuyler

Edwin Denby is best remembered as one of the preeminent critics of dance modernism, yet he was also an accomplished poet and an experienced dancer, choreographer, and librettist. Both his poetic gifts and his practical experience in the theater informed his dance criticism, first collected in Looking at the Dance (1949) and amplified in Dancers, Buildingsand People in the Streets (1965). As the title of his 1965 volume suggests, Denby placed primacy on the pleasures of perception, recording what he saw rather than advocating for a distinct point of view, as did his contemporaries Lincoln Kirstein and John Martin. Denby’s sensibility was widely admired in New York’s postwar avant-garde milieus, and he became an important friend, muse, mentor, and tutelary spirit to visual artists—including Rudy Burckhardt, Willem and Elaine de Kooning, and Alex Katz—and to New York School poets—especially Frank O’Hara, James Schuyler, John Ashbery, Ted Berrigan, Ron Padgett, and Anne Waldman. In the last several decades of his life, Denby continued to be a key figure in the downtown scene across several performance genres.

Paz, Juan Carlos (1897–1972)

2018 ◽  
Author(s):  
Violeta Nigro-Giunta
Keyword(s):  
Twentieth Century ◽  
Latin America ◽  
Chamber Music ◽  
Contemporary Music ◽  
New Music ◽  
Film Scores ◽  
Twelve Tone ◽  
Avant Garde ◽  
The Press ◽  
Traditional Institutions

Juan Carlos Paz (1897–1972) was an Argentine composer, critic, writer, and self-described "compositional guide" who played a key role in twentieth-century Argentine contemporary music. Known for his rebellious attitude towards traditional institutions and academia, and as an advocate of avant-garde music throughout his life, Paz was a pioneer in the use of the twelve-tone technique in Latin America. Paz founded such groups as Grupo Renovación [Renovation Group] and Asociación Nueva Música [New Music Association], both devoted to promoting and performing new music. Paz wrote music for solo instruments, chamber music, orchestra, and theatre, as well as film scores. He published three important books dedicated to new music and three volumes containing his memoirs, and collaborated intensively with the press and magazines (Crítica, Reconquista, Acción de Arte, La Protesta, La Campana de Palo, Argentina Libre, among others).

Seaweed Consumption in the Americas

2019 ◽  
Vol 19 (4) ◽  
pp. 49-59 ◽  
Author(s):  
José Lucas Pérez-Lloréns
Keyword(s):  
Coastal Areas ◽  
Point Of View ◽  
Western World ◽  
Staple Food ◽  
Asian Countries ◽  
Seaweed Species ◽  
Avant Garde ◽  
High Side

For centuries and from Greenland to Chile, several seaweed species have been staple food for tribes inhabiting coastal areas. However, the current culinary use of seaweeds in the Americas, as well as in the Western world, is still rather anecdotal compared to that in Eastern countries. Most species are completely unexplored from the point of view of their gastronomic and nutritional potentials, since only about 150–200 species out of approximately 10,000 are commonly used in the cuisine of those Asian countries even with the longest tradition, and estimating on the high side this figure drops to just over a dozen in the Western world. In the Americas, very recently, seaweeds are being considered as part of avant-garde culinary activities or innovative gastronomy where so-called phycogastronomy is on the rise. Such culinary tendency eventually will permeate to other casual or midrange restaurants and also to home cuisine, as has already happened in Europe, contributing to the “popularization” of this wonderful and healthy marine produce.

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