Buddhist collection of The National Museum of Ust-Orda Buryat Autonomous Okrug: study and cataloging

2019 ◽  
Author(s):  
Екатерина Владимировна Асалханова
Keyword(s):  
Comparative Analysis ◽  
Cultural Studies ◽  
Art History ◽  
History Education ◽  
Musical Instruments ◽  
National Museum ◽  
Interdisciplinary Study

В статье исследуется буддийская коллекция Национального музея Усть-Ордынского Бурятского округа, включающую иконы-танка, скульптуру, ритуальные предметы, музыкальные инструменты. Целью исследования является изучение экспонатов и составление каталога этой коллекции. С помощью метода сравнительного анализа отечественных и зарубежных коллекций проводится атрибуция экспонатов. Автор представил междисциплинарное исследование с применением методов музееведения, истории, искусствоведения, этнологии, культурологии. Результатом проведенной работы стал аннотированный и иллюстрированный каталог буддийской коллекции Национального музея Усть-Ордынского Бурятского округа. Область применения результатов: музееведение, искусствоведение, образование. The article is about the buddhist collection of The National Museum of Ust-Orda Buryat Autonomous Okrug (included Thangka, sculpture, ritual objects, musical instruments). The aim of the research is to study the exhibits and compile a catalog of this collection. Using the method of comparative analysis of domestic and foreign collections, the author carries out the attribution of exhibits. The author presented an interdisciplinary study using the methods of museology, history, art history, ethnology, cultural studies. The result of the work was an annotated and illustrated catalog of the Buddhist collection of The National Museum of Ust-Orda Buryat Autonomous Okrug. The scope of the results: museology, art history, education.

The history of the keyboard instrument MNP I 49 from the Museum of Musical Instruments in Poznań. the state of research

2021 ◽  
Vol 2 (16) ◽  
pp. 137-148
Author(s):  
Małgorzata Wróblewska
Keyword(s):  
20Th Century ◽  
National Archive ◽  
Musical Instruments ◽  
National Museum ◽  
Previous Knowledge ◽  
History Of ◽  
Baroque Era ◽  
State Of Research ◽  
Source Materials ◽  
Keyboard Instrument

The keyboard instrument MNP I 49 from the Museum of Musical Instruments in Poznań has not been a subject of detailed academic studies yet, but there have been mentions of it in various types of publications throughout the years. The item is currently placed in the exhibition hall devoted to the art of the Baroque era in the Museum of Applied Arts in Poznań. It is a unique historical item in the Polish collection due to a very scarce number of harpsichords preserved in Poland. This situation is mainly a result of two world wars in the 20th century. Due to not enough available sources, the exact time of the creation of the instrument and the name of its builder were impossible to determine. The aim of the present article was to compile and arrange previous knowledge about the historical item MNP I 49. The work lists source materials and publications in which the instrument was mentioned, such as documents from the National Archive in Poznań, Raczyński Library in Poznań and National Museum Archive in Poznań. Based on the available source materials, the author was able to determine that the harpsichord appeared at the Skórzewski family’s palace in Czerniejewo before 1855.

The Smithsonian's National Museum of the American Indian: An International Institution of Living Cultures

2006 ◽  
Vol 28 (2) ◽  
pp. 51-56 ◽  
Author(s):  
DOUGLAS E. EVELYN
Keyword(s):  
American Indian ◽  
Art History ◽  
Western Hemisphere ◽  
National Museum ◽  
International Institution ◽  
Contemporary Culture ◽  
Native Communities ◽  
Native Culture ◽  
Public Programming ◽  
Special Responsibility

The mission of the Smithsonian Institution's National Museum of the American Indian is to affirm to Native communities and the non-Native public the historical and contemporary culture and cultural achievements of the Natives of the Western Hemisphere by advancing, in consultations, collaboration and cooperation with them, a knowledge and understanding of their cultures, including art, history and language, and by recognizing the Museum's special responsibility, through innovative public programming, research and collections, to protect, support and enhance the development, maintenance and perpetuation of Native culture and community. Adopted 1990.

‘ROCK SPECTRALE’: THE CULTURAL IDENTITY OF THE ELECTRIC GUITAR IN TRISTAN MURAIL'S vampyr!

Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 22-32
Author(s):  
Ben Jameson
Keyword(s):  
Popular Culture ◽  
Cultural Studies ◽  
Cultural Identity ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Electric Guitar ◽  
Concert Music ◽  
Analytical Approaches

AbstractThe electric guitar is one of the most iconic musical instruments of the twentieth and twenty-first centuries and, due to its ubiquitous use in much rock and popular music, it has developed a strong cultural identity. In recent years, as the electric guitar has become increasingly common in contemporary concert music, its cultural associations have inevitably shaped how composers, performers and listeners understand music performed on the instrument. This article investigates various issues relating to the electric guitar's cultural identity in the context of Tristan Murail's Vampyr! (1984), in the hope of demonstrating perspectives that will be useful in considering new music for the electric guitar more generally. The article draws both on established analytical approaches to Murail's spectral oeuvre and on concepts from popular music and cultural studies, in order to analyse the influence that the electric guitar's associations from popular culture have in new music.

scholarly journals Folk musical instruments in the childhood subculture

2020 ◽  
pp. 88-93
Author(s):  
D. A. Rytov ◽  
Keyword(s):  
Comparative Analysis ◽  
Musical Instruments ◽  
Resource Analysis ◽  
Positive Effects ◽  
Musical Activity

The article is concerned with the problematics of resource analysis of folk musical instruments in childhood subculture. The features and main characteristics of the childhood subculture are revealed. The sociocultural experience acquired by a child is classified, the options of musical activity and folk instruments as well as the mechanisms of their application in the childhood subculture are distinguished. The attributes of childhood lifesustaining activity are considered, folk musical instruments as the attributes of childhood life-sustaining activity and the features of their functioning are analyzed. The main diff erences and positive effects of folk musical instruments and playing them within the childhood subculture are distinguished and presented, a comparative analysis of their use in the typology of cultures is carried out. The subcultural forms of children’s interaction when playing folk instruments are presented. The key potentials that actively infl uence the formation and development of the modern childhood subculture with the use of folk instruments are identifi ed and substantiated.

scholarly journals Designing Reenacted Chatbots to Enhance Museum Experience

2021 ◽  
Vol 11 (16) ◽  
pp. 7420
Author(s):  
Yeo-Gyeong Noh ◽  
Jin-Hyuk Hong
Keyword(s):  
Learning Styles ◽  
History Education ◽  
Individual Learning ◽  
National Museum ◽  
Language Style ◽  
Museum Experience ◽  
Depth Interviews

The increased availability of chatbots has drawn attention and interest to the study of what answers they provide and how they provide them. Chatbots have become a common sight in museums but are limited to answering only simple and basic questions. Based on the observed potential of chatbots for history education in museums, we investigate how chatbots impact history education and improve the overall experience according to their appearance and language style. For this, we built three models, designed by factors on embodiment and reflection, and 60 sets of answer–questions, designed for the National Museum of Korea. We conducted a study with a total of 34 participants and carried out a variety of analyses covering individual learning styles, museum experience scales, gaze data, in-depth interviews and observations from researchers. We present various results and lessons regarding the effect of embodiment and reflection on the museum experience. Our findings show how people with different learning styles connect with chatbot models and how visitors’ behavior in the museum changes depending on the chatbot model. Specifically, the chatbot model equipped with embodiment and reflection shows its superiority in enhancing the museum experience, in general.

Anton Grigoryevich Rubinstein and his Russian Publishers

2021 ◽  
Vol 18 (3) ◽  
pp. 284-298
Author(s):  
Elena M. Shabshaevich
Keyword(s):  
Comparative Analysis ◽  
Creative Process ◽  
Historical Research ◽  
National Museum ◽  
Archival Documents ◽  
History Of ◽  
Publishing Houses ◽  
The 19Th Century ◽  
First Time ◽  
Extensive List

The article presents a focused look at the professional relations of the composer and pianist Anton Grigoryevich Rubinstein (1829—1894) with his main Russian publishers — V.V. Bessel and P.I. Jurgenson. The article is based on musical and historical research concerning the history of the Bessel and Jurgenson publishing houses, works on copyright, A.G. Rubinstein’s epistolary, and archival documents from the Russian National Museum of Music. For the first time in music science, there are revealed some pages of the history of personal and business contacts of the three named persons, primarily the conflicts related to the rights to publish the composer’s works in Russia. The first documented contract for the publications of A.G. Rubinstein was received by P.I. Jurgenson (for op. 82, 1868). However, the contract of A.G. Rubinstein with the trading house “Bessel and Co.”, concluded in 1871 (though Rubinstein’s first work had been published by Bessel two years earlier), was much more extensive and significant. Under this contract, it was supposed to publish more than fifty A.G. Rubinstein’s works of various genres, so in the 1870s, V.V. Bessel became the main Russian publisher of the composer. However, in 1879, A.G. Rubinstein unexpectedly changed his main publisher in Russia. This position was taken by P.I. Jurgenson, whose trading house also published an extensive list of Rubinstein’s compositions, as well as his literary works. This is evidenced by several notarized contracts, stored in the Russian National Museum of Music, between Rubinstein and “P.I. Jurgenson” company. Thus, the two leading Russian publishers of A.G. Rubinstein legally formalized their relations with the composer, which allows us to follow, in a reasoned and substantive way, the process of maturation of the institution of copyright for music publications in Russia in the last third of the 19th century.Using the example of A.G. Rubinstein, in comparison with the position of M.A. Balakirev, the article also raises the issue of granting copyright to a publisher not only in Russia, but also “forever and for all countries”. The comparative analysis of publications of the same composer by different publishing companies is also new to Russian musicology, this helps identify certain accents that publishers put in popularizing A.G. Rubinstein’s works. The publication of the composer’s works by various publishers also highlights new aspects in his creative process, in the history of the creation, receipt of the opus number, and the titles of some of his works.

scholarly journals LatinX studies: Variations and velocities

2019 ◽  
Vol 31 (1-2) ◽  
pp. 3-15
Author(s):  
Claudia Milian
Keyword(s):  
Cultural Studies ◽  
Cultural Production ◽  
Art History ◽  
Cultural Anthropology ◽  
First Century ◽  
Cultural Dynamics ◽  
Special Issue ◽  
The Core ◽  
Research Communities ◽  
Twenty First Century

At the core of this Cultural Dynamics special issue on “LatinX Studies: Variations and Velocities” are new conceptual approaches, epistemological workings, “keywords,” and modes of inquiry that enable us to theorize LatinX Studies and global LatinXness for the twenty-first century. Bringing together different research communities from art, art history, cultural anthropology, cultural studies, geography, history, journalism, and literature, this exploratory undertaking offers a working language on present-day LatinX preoccupations to seize what is happening contemporaneously in light of the field’s “X” and to disseminate it in a usable format like this journal. The volume’s contributors—Jill Anderson, Gloria Elizabeth Chacón, Nicholas De Genova, María DeGuzmán, Rene Galvan, Hilda Lloréns and Maritza Stanchich, Mark Overmyer-Velázquez, and Fredo Rivera—put forward new formulations and models for Latino/a Studies in considering LatinX geographies beyond the Americas; indigenous migrations and cultural production; Miami’s oceanic borderlands; environmental planetary problems and environmental knowledges; LatinX medical subjects; and deported exiles. The breadth of foci herein invites further problematization and dialogue with implications and relevance to other fields.

COMPARATIVE ANALYSIS OF THE CONTENT OF THE TARAS SHEVCHENKO NATIONAL UNIVERSITY OF KYIV’S LINGUISTIC EDUCATIONAL MUSEUM EXPOSITION WITH SIMILAR INSTITUTIONS IN THE WORLD

2019 ◽  
pp. 26-32
Author(s):  
A. М. Bocharnikova
Keyword(s):  
Comparative Analysis ◽  
The Netherlands ◽  
General Purpose ◽  
The Internet ◽  
National Museum ◽  
Structural Elements ◽  
The Past ◽  
The Us ◽  
The World ◽  
National University

The article contains information on all general-purpose linguistic museums that are currently functioning in the world, functioned in the past, or are at the project stage. In cases where this is possible, the structure of museum’s exposition is examined. Criteria that have played a key role in the division of museums’ content into structural elements are defined. The accuracy of exposition authors’ compliance of their approaches has also been analyzed. The first linguistic museum in the world that opened its doors to visitors was Taras Shevchenko university of Kyiv’s Linguistic Educational Museum founded in 1992 by the order of the university’s rector. During next sixteen years it was world’s only linguistic museum till the year 2008 when National Museum of Language in the US was opened. In 2013 a new linguistic museum named Mundolingua was established in Paris. After 2014 when the museum in USA was closed and till now it continues to be the only linguistic museum in the world except Linguistic Educational Museum in Ukraine that is functioning. At present times there are several big projects of establishing a comprehensive linguistic museum in different countries. Among them is Planet Word in Washington, Museum der Sprachen der Welt in Berlin, Museum of Language in London. The work upon these projects is in progress and hasn’t reached the stage of completeness. There are also two websites available on the Internet that have the name of museum but does not contain any traces of the exposition content. These are the website of the above mentioned National Museum of Language and Taalmuseum in the Netherlands. Both of these websites are portals for announcements concerning exhibitions, lectures and meetings in different places that are somehow referred to language topics. In this article the structure of the museums content has also been analyzed. Linguistic Educational Museum in Kyiv was established for academic purposes therefore its content has the same structure as the Introductory Linguistics course. At the same time it reveals the principles of the museum exposition author’s Doctor of Science thesis named the Metatheory of Linguisics.

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