Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe

2021 ◽  
Vol 66 (1) ◽  
pp. 329-343
Author(s):  
Liudmyla Shapovalova ◽  
Іryna Romaniuk ◽  
Marianna Chernyavska ◽  
Svitlana Shchelkanova
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Accurate Identification ◽  
Philosophy Of Music ◽  
Philosophical Concept ◽  
Avant Garde ◽  
The Third ◽  
Ninth Symphony ◽  
Human Ontology ◽  
First Time

"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "

scholarly journals Avantgarde Suomessa

2021 ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Women Artists ◽  
Early 20Th Century ◽  
Avant Garde ◽  
The Social ◽  
Role Of Women ◽  
First Time

Avant-garde in Finland is the first book to provide an overarching introduction to avant-garde art by Finnish artists. The articles in the book discuss the application and development of the cultural ideas of the avant-garde in Finnish art from the early 20th century till the present day. The book focusses on the social, political, and artistic characteristics of avant-garde art and their manifestation in Finnish avant-garde literature, visual arts, architecture, fashion, and music. The book shows the remarkable role of women artists in the development of the Finnish avant-garde. Many artists and groups are presented in the book for the first time. At the same time, the articles highlight connections between well-known Finnish artists and international avant-garde movements that have not been recognized in earlier research. A key theme of the book is the tension between the internationality of avant-garde and the nationalist elements of Finnish culture. The book is peer-reviewed, and its authors are eminent senior scholars and younger researchers.

The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century

2019 ◽  
Vol 2 (12) ◽  
pp. 199-216
Author(s):  
Maryla Renat
Keyword(s):  
20Th Century ◽  
Sound Production ◽  
Final Conclusion ◽  
Formal Concept ◽  
Avant Garde ◽  
The Third ◽  
Individual Concept ◽  
The Past ◽  
The Subject ◽  
Composition Technique

The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.

scholarly journals Tuwim’s Dialogues with Banality

2017 ◽  
Vol 36 (6) ◽  
pp. 219-231
Author(s):  
Tomasz Bocheński
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Avant Garde ◽  
Colloquial Language ◽  
Creative Person ◽  
Original Speech ◽  
In The Beginning ◽  
20Th Century Art ◽  
Mass Form

The article examines the relation between Tuwim’s poetry and modern colloquial language. The avant-garde artists for whom in the beginning of the 20th-century art was an elite occupation, treated every-day speech as a mass form of communication. Tuwim’s poetry was frequently criticised for banality. Matywiecki presents the poet as a hero fighting with the demon of commonness. The crucial thesis of the article is that banality which is modified in a creative way says more about the epoch than elitist visions. In his poetry, satire and cabaret work Tuwim transformed triviality into dialog and a common human being into a creative person. Transition of the street talk into original speech is the defence against reducing individual being to cliché which means the fear of 20th-century killing ideologies.

scholarly journals RELIGIOUSNESS AS A FACTOR OF MODERN TRANSFORMATION OF UKRAINIAN PEASANTRY IN THE FIRST THIRD OF THE 20th CENTURY

2018 ◽  
pp. 57-61
Author(s):  
R. Oryshchenko
Keyword(s):  
20Th Century ◽  
Psychological Stress ◽  
Historical Period ◽  
Traditional Society ◽  
Human Being ◽  
Human Consciousness ◽  
Traditional Beliefs ◽  
Social Modernization ◽  
Inner World ◽  
First Time

Author of the paper argues that in the age of revolutionary shakes of the first third of the XX century, Ukrainian peasantry lost its traditional religiousness under the influence of general social modernization. The background of research is an analysis of modern research practices, widespread in Ukrainian and partially, foreign historiography. One of the perspectives is their optimization, depending upon possibilities and certain tasks, that lies before historian. And the task is the ascertainment of religiousness as a factor of complex evolutionary processes, that seems to went “beyond the boundaries “of traditional beliefs. Thorough analysis of the problem attests that modern transformation (modernization) of society had for the first time in history seriously challenged the religiousness, established for centuries and millennia. That wasn’t an accidental, as in this historical period, human consciousness experienced the destruction of itself, to clarify – the consciousness of agrarian (traditional) society. Suffering certain psychological stress, it has been forcefully changing its inner world by adapting it to new reality. At the same time, religiousness did not abandoned human completely, but influenced noticeably the transformation itself. The result of such cooperation was an emerging of a “new human being” – collective farmer (kolgosp/kolhoz farmer) which had modified religiousness with noticeable inclusions of atheistic beliefs with the background of “Forgetting God”

William of Auvergne on the Various States of Our Nature

Traditio ◽  
2003 ◽  
Vol 58 ◽  
pp. 201-218 ◽  
Author(s):  
Roland J. Teske
Keyword(s):  
Human Nature ◽  
The State ◽  
Human Being ◽  
Human Soul ◽  
De Anima ◽  
Human Race ◽  
Philosophical Concept ◽  
Original State ◽  
The Third ◽  
Adam And Eve

Although William of Auvergne, bishop of Paris from 1228 to his death in 1249, criticized Avicenna severely, he also adopted many philosophical positions of Avicenna. In a recently published article, I emphasized William's considerable debt to the philosophy of Avicenna, and in a still-to-be-published article I pointed out how William was indebted to Avicenna for his view of what it is to be a human being, and especially for his view of the spirituality of the human soul. For much of his lengthy work, De anima, William follows Avicenna's philosophy as he found it in the great Islamic thinker's Liber de anima, seu sextus de naturalibus; not, of course, without serious criticism on many points. In chapter 5, however, of his De anima, William rather abruptly introduces a historical concept of human nature, which is closer to that of Augustine than of Avicenna or Aristotle, in place of the philosophical concept of human nature, which he derived largely from Avicenna, whom he often confused with the real Aristotle. In introducing such a historical concept of human nature or of the nature of the human soul, William raises several rather intriguing problems, which I want to discuss in this paper. First, he raises a question about how the various historical states of human nature are to be conceived and how they are to be combined with the philosophical concept of nature that he derives from Avicenna. Second, he raises a question about how he can, while claiming to proceed exclusively by means of philosophical proofs, introduce such topics as the original state in which Adam and Eve were created, the original sin by which they fell and which they passed on to the rest of the human race, and Christian baptism by which the harm stemming from their sin can be undone. Finally, William speaks about the soul's state of natural happiness as opposed to the state of glory, and though his treatment of these states is rather brief, it raises a further question about how William envisaged these states and their relationship to each other. Hence, the paper will have three parts: the first on the present and past states of human nature of which William speaks and on their relationship to the philosophical concept of human nature, the second on how William introduces into what he claimed was strictly philosophical such apparently theological topics, and the third on how William understands the relation between the soul's state of natural happiness and the state of glory.

POETRY OF VELIMIR KHLEBNIKOV IN THE WORKS OF THE BAND “AUKTYON”. ON THE EXAMPLE OF THE ALBUM “ZHILETS VERSHIN”

2021 ◽  
pp. 75-85
Author(s):  
Viktoria A. Vatueva ◽  
Keyword(s):  
20Th Century ◽  
Point Of View ◽  
Avant Garde ◽  
Rock Band ◽  
Chronological Sequence ◽  
Major Figure ◽  
Musical Creativity ◽  
Rock Musicians ◽  
Relationship Of ◽  
First Time

The article establishes and for the first time describes in detail the dialogue relationship of the Leningrad rock band “Auktyon” and the avantgarde poet Aleksei Khvostenko (1940–2004) with the poetic heritage of Velimir Khlebnikov (1885–1922). The author notes the closeness of the poetry of a major figure of the Russian avant-garde of the turn of the 19th and 20th centuries with the poets and musicians of the underground of the second half of the 20th century. The research is based on the analysis of the reception of Velimir Khlebnikov’s poetry in the album “Zhilets vershin” (The summits dweller) (1995). The author defines the levels of the poetic dialogue of rock musicians with the work of the futurist and describes the structural and informative changes that the original texts have undergone in comparison with their existence in the musical creativity of the band “Auktyon”. The formation of the album in rock culture determines the specifics of the dialogue, mainly it is the correlation of the texts of other poets in the album and their transformation. The group of Khlebnikov’s lyrical works, which were selected and reworked by Khvostenko for the album, are considered from the point of view of their chronological sequence and the deployment of the lyrical plot. The author identifies the changes that the original texts have undergone and analyzed such cycle-forming connections of the album “Zhilets vershin” as the composition, title and chronotope.

A Short Modern History of Studying Sacrobosco’s De sphaera

2020 ◽  
Vol 65 (Special Issue) ◽  
pp. 23-33
Author(s):  
Alin Constantin Corfu
Keyword(s):  
20Th Century ◽  
Modern History ◽  
13Th Century ◽  
The Third ◽  
History Of ◽  
University Of Paris ◽  
The University

"A Short Modern History of Studying Sacrobosco’s De sphaera. The treatise generally known as De sphaera offered at the beginning of the 13th century a general image of the structure of the cosmos. In this paper I’m first trying to present a triple stake with which this treaty of Johannes de Sacrobosco (c. 1195 - c. 1256). This effort is intended to draw a context upon the treaty on which I will present in the second part of this paper namely, a short modern history of studying this treaty starting from the beginning of the 20th century up to this day. The first stake consists in the well-known episode of translation of the XI-XII centuries in the Latin milieu of the Greek and Arabic treaties. The treatise De sphaera taking over, assimilating and comparing some of the new translations of the texts dedicated to astronomy. The second Consists in the fact that Sacrobosco`s work can be considered a response to a need of renewal of the curriculum dedicated to astronomy at the University of Paris. And the third consists in the novelty and the need to use the De sphaera treatise in the Parisian University’s curriculum of the 13th century. Keywords: astronomy, translation, university, 13th Century, Sacrobosco, Paris, curriculum"

National Institute of Art and Design named after Kamoliddin Behzod

2019 ◽  
Vol 5 (4) ◽  
pp. 104-108
Author(s):  
Dilzoda Alimkulova
Keyword(s):  
20Th Century ◽  
Art And Design ◽  
Avant Garde ◽  
History Of ◽  
20Th Century Art

The art of Uzbekistan of the first decade of 20th century (1920-30s) is worthily recognized as the brightest period in history of Uzbek national art. We may observe big interest among the artwork which was created during the years of Independence of Uzbekistan towards the art of 20th century and mainly it may be seen in form, style, idea and semantics. Despite the significant gap between the 20th century art tendencies and Independence period, there is very big influence of avant-garde style in works of such artists as Javlon Umarbekov, Akmal Ikramjanov, Alisher Mirzaev, Tokhir Karimov, Daima Rakhmanbekova and others.

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

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