scholarly journals ОСВОЕНИЕ ЭТНОКУЛЬТУРНЫХ И ЭТНОМУЗЫКАЛЬНЫХ ЗНАНИЙ МЛАДШИМИ ШКОЛЬНИКАМИ В ПРОЦЕССЕ ЗАНЯТИЙ ФОЛЬКЛОРНОГО АНСАМБЛЯ

2020 ◽  
Author(s):  
Yuliya Velichko ◽  
Olga Militsina ◽  
Yuliya Kalashnikova
Keyword(s):  
Music Education ◽  
Folk Song ◽  
Local History ◽  
Musical Culture ◽  
Dance Culture ◽  
Moral Content ◽  
Stage Of Development ◽  
Musical Traditions ◽  
Space Material ◽  
Selection Of

Введение. Проведен анализ применения этнокультурного подхода к музыкальному образованию младших школьников как фактору социализации обучающихся, их этнической идентификации и самоопределению в многонациональном культурном пространстве. Материал и методы. В процессе работы исследовался песенный материал в стиле местной народно-певческой традиции Никольского района Пензенской области, подголоски, напевы в народном стиле, которые составляют содержание этнокультурных и этномузыкальных знаний, осваиваемых младшими школьниками в фольклорном ансамбле. Их использование позволяет спроектировать процесс формирования этнокультурных и этномузыкальных знаний как личностный интеллектуальный опыт, основанный на внутреннем принятии информации и реализующий эти знания в практических действиях. Результаты и обсуждение. Успешность формирования этнокультурных и этномузыкальных знаний младших школьников зависит от нескольких факторов: согласованности содержания музыкального репертуара специфике, формам и видам музыкально-творческой деятельности учащихся (фольклорной интерпретации, театрализации народной песни, пластическому интонированию и других); соответствия принципам наглядности, учета возрастного развития подрастающего поколения; возможности реализации принципа взаимодействия традиционных видов искусства в процессе его освоения в фольклорном ансамбле. В качестве элементов отбора музыкально-краеведческого материала актуализируется его духовно-нравственное содержание, наличие музыкально-художественных традиций, способствующих реализации права ребенка на собственную национальную художественную культуру и язык в процессе его развития и эстетического воспитания. Никольский район Пензенской области богат своими музыкальными традициями, что представляет особый музыкально-краеведческий интерес. Музыкальные традиции сохраняются благодаря культуросозидающим персоналиям, историческим и архитектурным символам, музыкально-краеведческому и фольклорному материалу края. Все это позволяет младшим школьникам быстрее и легче ориентироваться в этнокультурном наследии своего народа, нередко воплощенного в синтезе музыкальных традиций национальностей, проживающих на территории данной области. Педагогический потенциал этнокультурного музыкального материала заключается в том, что обеспечивает простоту и яркость художественно-образного восприятия произведений данной направленности. Заключение. Целенаправленные, систематические занятия с детьми в фольклорном ансамбле способствуют сохранению духовно-нравственных ценностей музыкальной культуры этноса. Младшие школьники демонстрируют не только знание песенной и танцевальной культуры этносов, проживающих в Пензенской области, но и патриотические гражданские качества, актуальные для современного этапа развития общества.Introduction. The article analyzes the application of ethno-cultural approach to music education of younger students as a factor of socialization of students, their ethnic identification and self-determination in the multinational cultural space. Material and methods. In the course of work the song material was studied in the style of local folk song tradition of the Nikolsky district of the Penza region,the echoes, folk tunes which make up the content of ethno-cultural and ethnomusical knowledge mastered by younger schoolchildren in folklore ensemble. Their use makes it possible to design the process of formation of ethno-cultural and ethnomusical knowledge as a personal intellectual experience based on internal acceptance of information and implementing this knowledge in practical actions. Results and discussion. The success of the formation of ethno-cultural and ethnomusical knowledge of younger students depends on several factors, for example, the wealth of emotional and moral content of musical works or compliance with the specifics of children’s musical and creative activity. As elements of the selection of local history material, its spiritual and moral content, the presence of musical and artistic traditions that contribute to the realization of the child’s right to their own national art culture and language in the process of its development and aesthetic education are updated. Nikolsky district of the Penza region is rich in its musical traditions, has a historical, cultural and spiritual heritage, which includes valuable historical and architectural monuments associated with historical events, the lives of outstanding figures of culture and art of Russia. All this allows younger students to quickly and easily navigate the world of ethnomusical values of the native musical culture and the culture of other peoples. The pedagogical potential of ethnocultural musical material lies in the fact that it provides simplicity and brightness of the artistic-figurative perception of works of this orientation. Conclusion. Purposeful, systematic lessons with children in the folklore ensemble contribute to the preservation of spiritual and moral values of the musical culture of the ethnic group. Younger students demonstrate not only the knowledge of song and dance culture of ethnic groups living in the Penza region, but also Patriotic civic qualities relevant to the modern stage of development of society.

scholarly journals Ways of Choirmaster Art Development in Azerbaijan

2021 ◽  
Vol 4 (1) ◽  
pp. 21-33
Author(s):  
Leila Zaliieva
Keyword(s):  
Professional Development ◽  
Music Education ◽  
Choral Music ◽  
Choral Conducting ◽  
Creative Activity ◽  
Musical Culture ◽  
Stage Of Development ◽  
History Of ◽  
High Level ◽  
First Time

The article is devoted to the history of the choral music development in Azerbaijan and to highlighting the ways of choirmaster art formation. The development of choral art in Azerbaijan began, firstly, with the formation of the composer creative activity. The introduction of classical choral samples with the emergence of the first opera and the formation of an ensemble for performing it are considered to be the first step in this area. Later, the emergence of professional choral collectives, the development of the opera genre, as well as the activity of music education institutions included a new stage of development. Therefore, the formation of choral music genres allowed the development of the art of conducting, especially the areas such as an opera choirmaster who leads a choir collective, a chapel choirmaster. The purpose of the research is to highlight the formation of choral conducting in Azerbaijan, to study the ways of high-level development of choirmaster art and to explore the creative path of professional opera choirmasters. The research methodology is based on historical and theoretical principles, with the help of which the position of choral art in the musical culture of Azerbaijan, the history of the formation of choral art is considered. The theoretical and methodological basis of the study was the existing works of Russian and Azerbaijani musicologists in this field. The scientific novelty of the research is connected with the fact that for the first time in Azerbaijan the ways of development of choir art are comprehensively covered. Conclusions. The involvement of Azerbaijani choral art in the research and the study of the issue mainly in terms of the conducting and choirmaster art formation have shown that the development of this art was primarily connected with composer creativity. Since the emergence of classical samples of choral music is associated with the opera genre, the art of conducting and choirmaster has entered its stage of formation, in parallel. The professional development of choirmaster art took place in parallel and mutually with the art of conducting and it was associated with the high-level organization of music education in the country. Consequently, such professional choirmasters as L. V. Frolova, A. A. Yurlov, N. Malikov, L. Atakishiyeva, E. B. Novruzov, B. Vakilova, S. Agayeva, N. Mardanov, N. Nabiyev, Z. Ismayilova, Y. Adigozalov, G. Imanova and L. Mammadova have been trained in Azerbaijan. Besides, areas such as a chapel and opera choirmaster have also developed within choirmaster art.

scholarly journals Cultural Approach to Periodization Development of Syrian Music Culture as a Scientific Instrument of Its Development Future Musician-Teachers of Russia

2019 ◽  
Vol 7 (3) ◽  
pp. 138-150 ◽  
Author(s):  
Lyudmila A. Rapatskaya ◽  
Rasha Harfush
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Educational Institutions ◽  
Scientific Instrument ◽  
Higher Educational Institutions ◽  
Musical Culture ◽  
Theoretical Justification ◽  
Musical Tradition ◽  
Higher Educational ◽  
Musical Traditions

The article is devoted to the little-studied problem of pedagogy of music education-the definition of scientific grounds for the content and process of studying the Syrian musical culture by future musicians-teachers in higher educational institutions of Russia. According to the author’s concept, the necessary scientific prerequisite for solving this problem is the theoretical justification of the main periods of the historical formation and development of musical culture of Syria as a way of learning the art of music in the context of the evolution of culture. The article reflects the views of musicologists (Arab and Russian) on the periodization of the history of musical culture of Syria, the authors’ position on the need to develop a new – culturological – approach to periodization, pedagogically focused on the application in practice of Russian pedagogical universities. Its theoretical justification and implementation in relation to the study of Syrian musical culture allowed to summarize the main trends in the formation of musical culture of Syria on the basis of the concept of its openness and the ability to conduct a fruitful dialogue with the musical traditions of the Arab and European world. The proposed periodization is considered by the authors as a scientific tool for mastering the fundamental laws of Syrian musical culture by future musicians-teachers studying in higher educational institutions of Russia. In accordance with the identified historical periods, the article reveals the process of formation and development of mentally significant features of Syrian music. Exploring the content features of each of the selected periods, the importance of typological characteristics of the Syrian musical tradition in the ratio of its ancient origins and imported influences of both Eastern (Arab) and European is emphasized. The analysis of Syrian music from culturological positions allowed to reveal the dominant trend of its development, expressed in the desire to preserve national traditional values throughout the centuries-old history up to the present day, to characterize the ratio of vocal and instrumental music, especially its genres and modal originality.

Concerto for Orchestra “The Yellow Stars” by Isaac Schwartz: In the Mirror of Ashkenazi’s Musical Culture

2021 ◽  
pp. 19-37
Author(s):  
И.Ф. Двужильная
Keyword(s):  
Jewish Identity ◽  
Folk Song ◽  
Huge Number ◽  
Musical Culture ◽  
Entire Life ◽  
The Holocaust

В статье предпринят анализ последнего произведения выдающегося петербургского композитора Исаака Шварца (1923–2009) — мемориального опуса памяти жертв Холокоста. Аргументированно доказывается, что ашкеназская культура, в том числе и музыкальная, была органичной частью всей жизни композитора. Об этом свидетельствуют сформировавшийся в детские годы этнослух И. Шварца, огромное количество песен на идиш, которые он мог играть наизусть часами и, безусловно, тематизм инструментального концерта «Желтые звезды», в котором наряду с цитатным материалом выявляются и многочисленные авторские темы, отмеченные знаком еврейской идентичности. В них прослеживаются традиции синагогальной молитвы, клезмерского музицирования, идишской народной песни. Вместе с тем в работе с тематическим материалом, с формой, с оркестровкой обнаруживается прочная связь И. Шварца с ленинградской-петербургской композиторской школой. The article analyzes the last work of the well-known Petersburg composer Isaac Schwartz (1923–2009) which is a memorial opus in memory of the victims of the Holocaust. It is argued that the Ashkenazi musical culture was a natural part of the composer’s entire life. This is evidenced by the ethnic rumor of Schwartz formed in his childhood, a huge number of songs in Yiddish that he could play by heart for hours and, of course, the themes of the instrumental concerto “The Yellow Stars”, which demonstrates, along with quotation material, numerous author’s themes, marked by Jewish identity. They trace the traditions of synagogue prayer, klezmer music, Yiddish folk song. At the same time, the work with thematic material, with form, and with orchestration, reveals Schwartz’s tight relationship with the Leningrad-Petersburg school of composition.

MA SICONG AND HIS ROLE IN THE DEVELOPMENT OF CHINESE MUSICAL CULTURE

2021 ◽  
Vol 1 (4) ◽  
pp. 79-84
Author(s):  
Luo Yuanyuan ◽  
Keyword(s):  
Cultural Revolution ◽  
Performing Arts ◽  
Historical Period ◽  
Social Activities ◽  
Musical Culture ◽  
Xxth Century ◽  
Artistic Life ◽  
Musical Traditions ◽  
Creative Life ◽  
The Cultural Revolution

This article focuses on the life and creative activities of Ma Sicong, one of the most significant Chinese musicians of the mid-XXth century, a multi-talented and outstanding violinist who showed his prowess in various spheres of artistic life: performing, teaching, composing, musical and social activities. Ma Sicong contributed to each of these fields as a virtuoso soloist whose example was followed by his contemporaries, young musicians and as a teacher who trained numerous students retaining the most enthusiastic memories of their professor. The highly professional violin school he established, which continued Chinese and European musical traditions, became a fruitful source for the development of modern performing arts. Ma Sicong's creative life was not an easy one; periods of brilliant achievements and growth alternated with dramatic peripeteia, which led to his departure from China in the most difficult historical period for the country — the period of the "Cultural Revolution" (late 1950s — early 1970s ).

Improvement of oil recovery factor from geological perspectives

2021 ◽  
pp. 17-25
Author(s):  
D.Yu. Chudinova ◽  
◽  
D.S. Urakov ◽  
Sh.Kh. Sultanov ◽  
Yu.A. Kotenev ◽  
...  
Keyword(s):  
Oil Recovery ◽  
Late Stage ◽  
Field Data ◽  
Recovery Factor ◽  
Wettability Alteration ◽  
Stage Of Development ◽  
Number Of Factors ◽  
Enhance Oil Recovery ◽  
The Given ◽  
Selection Of

At a late stage of development of any oilfield, there are big number of factors that affect recovery factor. One of them is related to presence of isolated zones, that were caused by combination of poor reservoir and oil properties of a rock. To solve the given problem variety of workover operations and enhance oil recovery (EOR) methods can be appled for the complex reservoirs such as Tevlinsko-Russinskoe oilfield. The number of particular studies were presented by reviewing of field data, construction of heterogeneity zones, revision of workover operations and selection of EOR methods. It has obtained that the reservoir has the lenticular structure, consists from 9 different facies and presented by 4 classes of heterogeneity. The immiscible gas injections of Nitrogen were selected as the most suitable EOR method for the given oilfield. Application of different composition of brine water was reccomended for wettability alteration.

The Phenomenon of ‘Translation’ in Russian Musical Culture of the 1920s and Early 1930s: The Quest for a Soviet Musical Identity

2017 ◽  
Author(s):  
Marina Raku
Keyword(s):  
Verbal Communication ◽  
Musical Culture ◽  
Musical Identity ◽  
Musical Rhetoric ◽  
Musical Traditions

This chapter examines the problematic attempts to evolve a new Soviet musical culture on the basis of extant musical traditions, and the debates concerning how musical material of earlier periods could be transformed in a way that would render it suitable for use by Soviet composers. Musical ‘speech’ was regarded as an analogue of verbal communication and subjected to philological ‘decoding’ in quest for a new kind of musical rhetoric. The chapter concludes by examining Soviet debates about the possibility of ‘translating’ between musical words into words, and what this reveals about the constructs of Soviet identity that were in the process of formation at the period.

The Application of a Critical Sociology to Music Education

1984 ◽  
Vol 1 (3) ◽  
pp. 247-266 ◽  
Author(s):  
Graham Vulliamy ◽  
John Shepherd
Keyword(s):  
Music Education ◽  
Popular Music ◽  
Music Educators ◽  
Music Teaching ◽  
Critical Sociology ◽  
Cambridge University ◽  
Sociology Of Music ◽  
Musical Notation ◽  
Musical Traditions

The aim of this article is to explore some important issues which music educators have raised concerning our work on the use of popular music in teaching and concerning the sociology of music thesis that underpins this work. Following a brief résumé of our perspective, we shall address four criticisms that have been made fairly generally by a number of reviewers of Whose Music? (Shepherd et al. 1977), and of the Cambridge University Press books (Vulliamy & Lee, 1976, 1982a) and the Routledge Popular Music Series (Vulliamy & Lee, 1982b). These criticisms are, first, that we hold an over-socially determined view of music; secondly that we have overstressed the qualitative differences between various musical traditions, especially in their differing relationships to analytic musical notation; third, that the culturally relative view of music which we espouse is both suspect theoretically and potentially anti-educational in practice; and, finally, that many of our suggestions for a reform of music teaching are impractical. Our hope is that we can dispel some ambiguities in our earlier work concerning these important but complex issues and thus leave music educators in a better position to appraise the relevance of our thesis.

CLINICAL OBSERVATION OF A PATIENT WITH THERAPY-RESISTANT OSTEOPOROSIS

2020 ◽  
Vol 6 (3) ◽  
pp. 37-40
Author(s):  
Elena Panina ◽  
Elena Belyaeva
Keyword(s):  
Metabolic Disease ◽  
Medical Care ◽  
Clinical Observation ◽  
Low Energy ◽  
Active Therapy ◽  
Stage Of Development ◽  
Selection Of

Systemic osteoporosis is a progressive multifactorial metabolic disease of the skeleton that requires active therapy to prevent low-energy fractures. When patients with comorbidity seek medical care at the stage of development of complications, the selection of therapy can be difficult. In case of ineffectiveness and / or contraindications to the use of drugs of certain pharmacological groups, treatment may be prescribed using not only antiresorptive and bone-metabolic drugs in monotherapy, but also their combination.

““Di una pretesa scuola napoletana””: Sowing the Seeds of the Ars nova at the Court of Robert of Anjou

2007 ◽  
Vol 24 (2) ◽  
pp. 272-296 ◽  
Author(s):  
CARLA VIVARELLI
Keyword(s):  
Sacred Music ◽  
Second World War ◽  
Local History ◽  
Literary Texts ◽  
Musical Culture ◽  
Avant Garde ◽  
The Arts ◽  
Ars Nova ◽  
Important Center ◽  
Second World

The presence of two famous exponents of the French and Italian ars nova in Naples in 1318––respectively Petrus de Sancto Dionysio and Marchetto da Padova––substantiates Nino Pirrotta's hypothesis that the Angevin capital was an important center of musical culture in the early Trecento and a setting for avant-garde debates. It also aids in reconstructing the elusive biography of the Paduan musician and clarifies the much debated dating of his Pomerium. Pirrotta ultimately abandoned his Neapolitan hypothesis for lack of evidence, a difficulty caused and aggravated by the thorough destruction of Angevin chancery documents during the Second World War. Evidence has been found, however, in indirect sources, such as literary texts, works of local history, and documentary transcriptions and summaries that predate the archival losses. In addition to placing the two prominent musicians at the Angevin court in Naples, these sources confirm the presence there of minstrels (evidence for secular music within the court's recreational sphere), vouch for the continuity of the institution of the royal chapel (evidence for sacred music at court, clearly connected to the liturgy), and testify to Robert of Anjou's catalytic patronage of the arts and his passion for music in general. Thus Naples regains its status as a capital on the map of 14th-century music.

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