Specifics of the Interpretation of the Canon in the Works of Luigi Dallapiccola in the 1940s and 1950s

2020 ◽  
pp. 141-158
Author(s):  
И.В. Копосова
Keyword(s):  
Important Place ◽  
Retrograde Motion ◽  
Luigi Dallapiccola ◽  
Quaderno Musicale Di Annalibera

В творчестве Луиджи Даллапикколы канон как форма и прием изложения занимает важнейшее место. Трактовка канона композитором рассматривается в статье на примере одного из ключевых этапов творчества, который связан с установлением собственного типа серийного письма, — десятилетия от начала 1940-х до начала 1950-х годов. Объектом анализа стали две сходных по своему составу пары сочинений Даллапикколы, возникшие в начале и в конце обозначенного этапа: «Каноническая сонатина» (1942–1945) и «Шесть песен Алкея» (1943), а также «Музыкальная тетрадь Анналиберы» (1952–1953) и «Песни на стихи Гёте» (1953). Их сравнение показало целый ряд отличий в подходе композитора к канону. В более ранних циклах каноническое изложение охватывает все части, а виды используемых канонов необычайно разнообразны; в более поздних на каноническое письмо опирается только часть номеров, сам канон представлен теми формами, структура которых связана с идеей полипараметровости (ракоходный, в увеличении, в обращении). Эти, а также другие особенности циклов начала 1950-х (изменение концепции вертикали в сторону диссонантности; появление канонических закономерностей в виртуальном слое фактуры, на уровне серийной диспозиции), демонстрируют овладение Даллапикколы серийным мышлением и типом письма. Canon as a form and principle occupied an important place in Luigi Dallapiccola’s creativity. In this paper the composer's interpretation of the canon is shown on the example of a pivotal moment of his creativity, which is related to establishment of his own type of 12-tone writing and spanned a decade from the early 1940s to the early 1950s. The object of the analysis is two similar pairs of works by Dallapiccola, which appeared at the beginning and at the end of the indicated stage: “Sonatina canonica” (1942–1945) and “Sex carmina Alcaei” (1943), “Quaderno musicale di Annalibera” (1952–1953) and “Goethe-Lieder” (1953). А comparison of these opuses showed a number of differences in the composer’s approach to the canon. The canonical exposition is present in all the movements; the types of canons are unusually diverse in the earlier cycles. In later works only a part of the movements is based on the canonical writing, the canon itself being represented by the forms, whose structure is associated with the idea of total serialism (in retrograde motion, in augmentation, in inversion). These and other features of the cycles of the early 1950s (for example, the change in the vertical towards the dissonance; the appearance of canonical principles in the texture and in serial disposition), show Dallapiccola’s mastery of serial thinking and type of composition.

A Footnote to ‘Dallapiccola and the Organ’

Tempo ◽  
1976 ◽  
pp. 21-23
Author(s):  
Roman Vlad
Keyword(s):  
Luigi Dallapiccola ◽  
Quaderno Musicale Di Annalibera ◽  
The Right

Rudy Shackleford has pointed out that in my (English) monograph Luigi Dallapiccola, published in 1957, I gave two different forms of the series on which Luigi Dallapiccola's Quaderno Musicale di Annalibera is based: a first, ‘erroneous’ form (quoted in Shackleford's Example Ia), and a second one, included in the ‘arc of melody’ in piece No. 6 of the Quaderno, ‘Fregi’. This second form, quoted in Shackelford's Ex. No. Ib (which is obviously the ‘right’ one) differs from the first in the placing of two notes — G and A. Shackleford's remark requires some clarification, not so much for personal reasons as for its bearing on the very nature of the 12-note method and serial writing.

Rhythm in the Works of Luigi Dallapiccola

2020 ◽  
pp. 6-24
Author(s):  
Е.Г. Окунева
Keyword(s):  
Symbolic Meaning ◽  
Luigi Dallapiccola ◽  
Active Experiments ◽  
Quaderno Musicale Di Annalibera ◽  
Rhythmic Structures

Творчество Луиджи Даллапикколы 1950-1960-х годов отмечено активными экспериментами в области метра и ритма. У композитора сложилась концепция так называемого плавающего ритма (schwebender Rhythmus). В статье данное понятие интерпретируется как связанное со свободной метрикой, ритмической нерегулярностью, безакцентностью. К комплексу приемов, способствующих нарушению метроритмического равновесия, автор относит вуалирование сильных долей, использование внутритактовых и межтактовых синкоп, добавочной длительности, полиметрию. Принципы композиторской работы с ритмом демонстрируются на примере отдельных сочинений 1950-1960-х годов: Музыкальной тетради Анналиберы , вокальных циклов Песни на стихи Гёте и Пять песен , концерта для виолончели с оркестром Диалоги , оперы Улисс . Даллапиккола синтезирует достижения старых мастеров полифонии и композиторов новой венской школы. Он автономизирует звуковысотные и ритмические каноны, оперирует длительностями как конструктивными элементами, работает с ритмическими ячейками как синтаксическими единицами, ищет эквивалент звуковысотной инверсии в ритмическом параметре путем обращения долгих длительностей в короткие и наоборот. Автор проводит параллели между ритмическим мышлением Даллапикколы и ритмическими идеями Мессиана, Булеза, других сериальных композиторов. Прослеживается тенденция к усложнению ритмических структур: Даллапиккола обращается к разнообразным способам числовой организации ритма и наделяет его образно-символическим смыслом. The work of Luigi Dallapiccola of the 19501960s is characterized by active experiments in the field of meter and rhythm. The composer has developed the concept of the socalled floating rhythm (schwebender Rhythmus). In the article, this concept is interpreted as associated with a free metric, rhythmic irregularity, and lack of focus. The complex of techniques mentioned by the author as contributing to violation of the metro-rhythmic equilibrium, includes the veiling of accented beats, the use of in-bar and inter-bar syncopes, additional duration, polymetry. The principles of composers work with rhythm are demonstrated by particular compositions of the 19501960s: Quaderno musicale di Annalibera Musical Notebook of Annalibera, the vocal cycles Goethe-Lieder and Cinque canti, Five Songs, the concert for cello and orchestra Dialoghi Dialogues, and the opera Ulisse. Dallapiccola synthesizes the achievements of ancient polyphony and composers of the new Viennese school. It autonomizes pitch and rhythmic rules, operates with du-rations as constructive elements, works with rhythmic cells as syntactic units, searches for the equivalent of pitch inversion in the rhythmic parameter by converting long dura-tions into short ones and vice versa. The author draws parallels between the rhythmic thinking of Dallapiccola and the rhythmic ideas of Messian, Boulez and other compos-ers-serialists. There is a tendency toward complication of rhythmic structures: Dallapiccola re-fers to various methods of numerical organization of rhythm and gives it figurative and symbolic meaning.

Mercure, Pierre (1927–1966)

2018 ◽  
Author(s):  
Paul Bazin
Keyword(s):  
Art Songs ◽  
Early Age ◽  
Darius Milhaud ◽  
Important Place ◽  
Luigi Dallapiccola ◽  
Left Behind

In 1952, Pierre Mercure became the first director of the CBC musical television broadcasts. His long-standing concern with the interaction between the different arts gave dance and movement an important place in his repertoire and has left behind him a series of innovative and often visually experimental productions. He was a student of composers such as Darius Milhaud and Luigi Dallapiccola, and surrounded himself with professionals of artistic fields as varied as theater (Gabriel Charpentier), dance (François Riopelle), and poetry (Fernand Ouellete). At an early age, he composed symphonic pieces evoking those of Milhaud and Honegger (Kaleidoscope, 1948, rev. 1949). Art songs taken from his Dissidence cycle (1955) were later integrated into the Cantate pour une joie (1955), which became one of his most celebrated works. During the last years of his career, Mercure devoted his work to a synthesis of traditional and electronic musical means in a major triptych (Psaume pour abri, 1963; Tétrachromie, 1963; Lignes et points, 1964).

Dallapiccola and the Organ

Tempo ◽  
1974 ◽  
pp. 15-22 ◽  
Author(s):  
Rudy Shackelford
Keyword(s):  
New Hampshire ◽  
The Real ◽  
Luigi Dallapiccola ◽  
The Arts ◽  
Organ Transcription ◽  
Real Value ◽  
Quaderno Musicale Di Annalibera

Early in the Summer of 1969, having just completed an organ transcription of Quaderno Musicale di Annalibera (‘Musical Notebook of Annalibera’) by Luigi Dallapiccola, I wrote to the composer—who was then in residence at the Dartmouth Congregation of the Arts in Hanover, New Hampshire—describing my work and seeking his advice for revisions. His reply, written in English and dated 9 July 1969, stated in part:It is very interesting to know that you saw some possibilities of an organ transcription of the Quaderno Musicale di Annalibera, but since I do not play the organ it would be very difficult for me to judge the real value and importance of your transcription.

The problem of sex in the religions of the Abrahamic tradition

2001 ◽  
pp. 29-36
Author(s):  
N. Nedzelska
Keyword(s):  
Homo Sapiens ◽  
Gender Issues ◽  
First Person ◽  
Important Place ◽  
The World ◽  
Religious Systems

The paradox of the existence of the species Homo sapiens is that we do not even know: Who are we? Why are we? Where did you go from? Why? At all times - from antiquity to our time - the philosophers touched on this topic. It takes an important place in all religions of the world. These eternal questions include gender issues. In the religious systems of the religions of the Abrahamic tradition there is no single answer to the question of which sex was the first person. Recently, British scientists have even tried to prove that Eve is 84 thousand years older Adam

On the retrograde motion of a rolling disk

2017 ◽  
Vol 187 (09) ◽  
pp. 1003-1006 ◽  
Author(s):  
Aleksei V. Borisov ◽  
Aleksandr A. Kilin ◽  
Yurii L. Karavaev
Keyword(s):  
Retrograde Motion

Doctor-Patient Relationship: The Difficult Balance between Patient Psychology and Community Sociology

2019 ◽  
Vol 1 (1) ◽  
pp. 40-50
Author(s):  
Jose Luis Turabian
Keyword(s):  
Social Context ◽  
Interpersonal Relationship ◽  
Real Life ◽  
Community Relations ◽  
Patient Relationship ◽  
Doctor Patient Relationship ◽  
Important Place ◽  
Usual Model ◽  
Individual Personality ◽  
Object Of Study

Psychology and sociology share a common object of study, human behaviour, but from different perspectives. Sociologists have focused on macro variables, such as social structure, education, gender, age, race, etc., while psychology has focused on micro variables such as individual personality and behaviours, beliefs, empathy, listening, etc. Despite the importance of interpersonal relationship skills, they depend on the community or social context in which communication takes place, and by themselves may have little relevance in the consultation. The purely psychological analysis of the doctor-patient relationship often leads to an idyllic vision, with the patient-centred consultation as the greatest exponent, which rarely occurs in real life. The purely sociological or community / social analysis of the doctor-patient relationship leads to a negative view of the consultation, which is always shown as problematic. But, the psychological system in the doctor-patient relationship cannot be neglected, and its study is of importance, at least as an intermediate mechanism that is created through socio-community relations. Although the same social causes are behind the doctor-patient relationship, when acting on psychological factors in the consultation, they act as an optical prism scattering socio-community relations that affect the doctor and the patient, giving rise to a beam of different colors of doctor-patient relationship. In doctor-patient relationship there is a modality of psychotherapy, where attitudes, thoughts and behaviour of the patient, can be change, as well as it can be extended on the way of understanding and therefore changing, his social context. Because of the distance between socio-community relations and the form of doctor-patient relations is growing in complex societies, under these conditions, the sociological factor gives the important place to the psychological factor. Given these difficulties of the doctor-patient relationship one may ask how general medical practice can persist with the usual model of doctor-patient relationship. Pain and the desire to relieve them are the basic reasons for the patient and the doctor, and they do not disappear due to the contradictions of the doctor-patient relationship. In this way, the confrontation between sociological and psychological vision is replaced by an alliance of both currents, and each of them takes on meaning only in the general vision.

Compensated 131I-therapy of solitary autonomous thyroid nodules: effect on thyroid size and early hypothyroidism

1986 ◽  
Vol 113 (2) ◽  
pp. 226-232 ◽  
Author(s):  
Laszlo Hegedüs ◽  
Dagmar Veiergang ◽  
Steen Karstrup ◽  
Jens Mølholm Hansen
Keyword(s):  
Thyroid Gland ◽  
Thyroid Function ◽  
Thyroid Nodules ◽  
Thyroid Volume ◽  
131I Therapy ◽  
Important Place ◽  
Gland Volume ◽  
Thyroid Gland Volume ◽  
One Year ◽  
Hyperthyroid Patients

Abstract. Thyroid function and thyroid gland volume, ultrasonically determined, were investigated in 27 hyperthyroid patients with solitary autonomous thyroid nodules before and during one year after 131I-treatment. Total thyroid volume decreased gradually from 40.9 ± 3.5 ml (mean ± sem) before treatment to 23.9 ± 1.8 ml (P < 0.001) at 3 months after 131I-treatment. No further change was observed. All but two patients received only one dose of 131I, and in spite of a significant decrease also of the non-adenoma side of the gland, none became hypothyroid. We conclude that 131I-therapy has an important place in the treatment of solitary autonomous thyroid nodules since all our patients became euthyroid within 3 months, only 2 of 27 patients needed more than one dose of 131I, no cases of hypothyroidism occurred, and thyroid volume was substantially decreased.

TRADITIONAL OUTBUILDINGS OF THE MORDOVIANS

2019 ◽  
Vol 15 (2) ◽  
pp. 154-165 ◽  
Author(s):  
Elena N. Mokshina ◽  
Mihail I. Svyatkin
Keyword(s):  
Ethnic Group ◽  
Economic Activity ◽  
Building Materials ◽  
Animal Feed ◽  
Economic Activities ◽  
Important Place ◽  
Main Building ◽  
Genetic Problem ◽  
Materials Used ◽  
Functional Purpose

Introduction. The article deals with the main traditional outbuildings of the Mordvinians, reported on their functional purpose in economic activity. The forms and types of outbuildings, as well as the main building materials used by Mordvinians are described in details. Their significance in the religious and ceremonial life of the ethnic group is shown. Materials and Methods. The research is based on traditional methods of ethnographic science, such as field observation, survey and interviews, and a comprehensive approach. Among the methods of historical science comparative-historical, historical-genetic, problem-chronological, structural-system were used. Among the general scientific methods of research logical, descriptive, narrative, generalization, classification and systematization were involved. To achieve the results of the study, the materials collected by the authors in the course of field surveys conducted in the Mordovian villages were mainly used. Results and Discussion. Traditional outbuildings were of great importance in the economic activity of the Mordovian ethnic group. According to their functional purpose, they can be divided into the following groups: for livestock and poultry (stable, chicken coop, stable, kalda), sanitary and hygienic (bath), warehouse buildings for storage of food, utensils, firewood, animal feed (barn, cellar, woodshed, hayloft), for processing of grain (sheep, riga, mill). Depending on the welfare and financial capacity of the family, the number of outbuildings was different. As a rule, the wealthier families had more outbuildings than the less wealthier ones. The main building material for the construction of these buildings was wood. Conclusion. Thus, the traditional outbuildings of the Mordvinians occupied an important place in its economic activities. At the same time, each of them had its own purpose and performed certain functions. Some buildings, such as a bath and a barn, had not only economic purpose, but also were the venue for a number of prayers and ceremonies. It is now ordinarily they have banya (bath-house), outdoor courtyard with standing in different places sheds, barn and cellar.

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