On Gavriil Popov’s Symphony No. 1 (To the First Publication of the Score)

2021 ◽  
pp. 147-170
Author(s):  
Н.А. Мартынов
Keyword(s):  
Musical Work ◽  
History Of ◽  
Lady Macbeth ◽  
Public Executions ◽  
Soviet Music ◽  
Outstanding Work

В статье рассматриваются вопросы, связанные с историей создания, исполнения, запрета и  дискуссий вокруг Первой симфонии выдающегося отечественного композитора, выпускника Ленинградской консерватории Гавриила Николаевича Попова (1904–1972). Судьба сочинения оказалась трагической: исполненная лишь однажды, симфония была запрещена. Так произошла одна из первых «публичных казней» музыкального произведения — еще до  печально известных публикаций об опере «Леди Макбет» и балете «Светлый ручей» Д. Шостаковича, положивших начало борьбе с «антинародным формалистическим направлением» в музыке. Долгие годы замалчивания привели к тому, что яркое достижение отечественной симфонической школы «выпало» из истории советского искусства. Усилиями музыковедов И.  Барсовой, И.  Ромащук, Е.  Власовой, И.  Воробьёва, дирижеров Г. Проваторова и А. Титова Первая симфония Попова была возрождена к жизни. Сейчас готовится к печати первое издание этого незаслуженно забытого произведения. The article discusses issues related to the history of creation, performance, prohibition and discussions which surrounded the First Symphony of the remarkable Russian composer Gavriil Popov. The fate of the composition turned out to be tragic: once performed, the symphony was banned. It was one of the first public “executions” of a musical work — even before the infamous articles of the newspaper Pravda about the opera Lady Macbeth and the ballet Light Stream by Dmitry Shostakovich, which marked the beginning of the struggle against the “anti-national, formalistic trend” in music. Long years of oblivion led to the fact that the Symphony “fell out” of the history of Soviet music. Through the efforts of such musicologists as Inna Barsova, Inna Romashchuk, Yekaterina Vlasova, Igor Vorobyov, conductors Gennady Provatorov and Alexander Titov, Popov’s First Symphony was revitalized. And now the question arises regarding the first publication of this undeservedly forgotten outstanding work of the Soviet music.

The Opera and the Omnibus: Material Culture, Urbanism and Boieldieu's La dame blanche

2020 ◽  
Vol 32 (1) ◽  
pp. 90-114
Author(s):  
Nicole Vilkner
Keyword(s):  
Material Culture ◽  
Business Model ◽  
Public Transportation ◽  
Reception History ◽  
Transportation Systems ◽  
Mass Transportation ◽  
Musical Work ◽  
The World ◽  
History Of

AbstractIn the summer of 1828, the Entreprise générale des Dames Blanches launched a fleet of white omnibuses onto the streets of Paris. These public transportation vehicles were named and fashioned after Boieldieu's opéra comique La dame blanche (1825): their rear doors were decorated with scenes of Scotland, their flanks painted with gesturing opera characters, and their mechanical horns trumpeted fanfares through the streets. The omnibuses offered one of the first mass transportation systems in the world and were an innovation that transformed urban circulation. During their thirty years of circulation, the omnibuses also had a profound effect on the reception history of Boieldieu's opera. When the omnibuses improved the quality of working- and middle-class life, bourgeois Parisians applauded the vehicles’ egalitarian business model, and Boieldieu's opera became unexpectedly entwined in the populist rhetoric surrounding the omnibus. Viewing opera through the lens of the Dames Blanches, Parisians conflated the sounds of opera and street, as demonstrated by Charles Valentin Alkan's piano piece Les omnibus, Op. 2 (1829), which combines operatic idioms and horn calls. Through these examples and others, this study examines the complex ways that material culture affects the dissemination and reception of a musical work.

scholarly journals Шедевры учебной литературы по японскому языку как иностранному (2): Комикс «Мальчуган» (по одноимённой повести Нацумэ Сосэки)

2020 ◽  
Vol 46 (2) ◽  
pp. 110-117
Author(s):  
Александр Сергеевич ДЫБОВСКИЙ
Keyword(s):  
Comic Book ◽  
Japanese Literature ◽  
Educational Process ◽  
Japanese Culture ◽  
Japanese Language ◽  
Comic Strip ◽  
Literature Teaching ◽  
History Of ◽  
Japanese Writer ◽  
Outstanding Work

В статье даётся краткий обзор учебной литературы по японскому языку, составленной в виде комиксов, а также описываются основные параметры учебника, построенного на материале повести выдающегося японского писателя Нацумэ Сосэки «Мальчуган», а именно: его структура, содержание, приложения, особенности введения лексики, иероглифики и грамматики, система упражнений и связанные с учебником интернет-ресурсы. Описываемый учебник представляет уникальный материал для преподавания японского языка на среднем и продвинутом уровнях, он вводит обучаемых в историю японской культуры, стимулирует интерес к изучению японской литературы. преподавание японского языка, шедевры учебной литературы, жанр комикса в преподавании иностранного языка, комикс «Мальчуган» This publication is dedicated to the Japanese language textbook for foreigners published in Tokyo in 2011 and based on the story of the outstanding Japanese writer Soseki Natsume “Botchan”, which is presented in the textbook in the form of a comic strip. The article gives a brief overview of the Japanese language textbooks compiled in the form of comics. The author describes the main parameters of the above-mentioned textbook, its structure, content and applications, as well as vocabulary, hieroglyphics and grammar, the exercise system, and the Internet-related textbook resources. The creation of an educational comic strip on the basis of an outstanding work of Japanese literature seems to us extremely fruitful, since the educational process is enriched with aesthetic elements. Drawings provide important keys for understanding the text, and the content of a literary masterpiece gives us rich topics for various types of communication in the classroom. The described textbook contains wonderful material for teaching Japanese at intermediate and advanced levels. It introduces students to the history of Japanese culture and stimulates interest in the study of Japanese literature. teaching Japanese language, masterpieces of educational literature, comic book genre in teaching a foreign language, comic book “Botchan”

The Adventures of Soviet Music in the West: Historical Highlights

2017 ◽  
Author(s):  
Levon Hakobian
Keyword(s):  
Soviet Union ◽  
Western World ◽  
The West ◽  
Musical Life ◽  
The Soviet Union ◽  
Musical Production ◽  
History Of ◽  
Soviet Music

This chapter deals with the history of Soviet music’s relations with the outside world from the mid-1920s until the end of the millennium. During all these decades the Soviet musical production of any coloration was perceived by the free Western world as something largely strange or alien, often exotic, almost ‘barbarian’. The inevitable spiritual distance between the Soviet world and the ‘non-Soviet’ one resulted in some significant misunderstandings. Though some important recent publications by Western musicologists display a well qualified view on the music and musical life in the Soviet Union, the traces of past naiveties and/or prejudices are still felt quite often even in the writings of major specialists.

scholarly journals Historical Review: Paroxysmal Nocturnal Hemoglobinuria

Blood ◽  
1951 ◽  
Vol 6 (3) ◽  
pp. 270-284 ◽  
Author(s):  
WILLIAM H. CROSBY
Keyword(s):  
19Th Century ◽  
Paroxysmal Nocturnal Hemoglobinuria ◽  
Case Reports ◽  
Historical Review ◽  
Great Accuracy ◽  
The Other ◽  
Disease Entity ◽  
History Of ◽  
The 19Th Century ◽  
Outstanding Work

Abstract 1. The history of paroxysmal nocturnal hemoglobinuria is reviewed, and attention is called to four case reports published in the 19th century. A bibliography of the disease is appended. 2. The outstanding work of Paul Strübing is reviewed. Strübing identified paroxysmal nocturnal hemoglobinuria as a disease entity in 1882 but failed to give it a distinctive name. He described the disease with great accuracy, calling particular attention to the part played by sleep in precipitating the paroxysms. He cited earlier reports of nocturnal hemoglobinuria and by provocative tests differentiated the disease from the other paroxysmal hemoglobinurias. On the basis of his observations he proposed theories regarding the pathogenesis of the disease which have now been shown to be remarkably accurate.

Butterflies of Australia

2000 ◽  
Author(s):  
Michael F Braby
Keyword(s):  
Present State ◽  
The Body ◽  
Food Plants ◽  
Immature Stages ◽  
Larval Food ◽  
Educational Publishing ◽  
Butterfly Fauna ◽  
History Of ◽  
Outstanding Work ◽  
Reference Section

This outstanding work is the ultimate guide for the identification of Australia’s butterflies. Nearly 400 species – all those currently recognised from Australia, plus those from surrounding islands – are represented, with all adults and some immature stages displayed in stunning colour sections. Introductory chapters cover the history of publications, classification, morphology, distribution, conservation and collection, together with a checklist of the butterfly fauna. The body of the text is arranged systematically, providing a wealth of information including description, variation, similar behaviour, distribution and habitat, and major literature references, giving a comprehensive summary of the present state of knowledge of these insects. Appendices provide details of those species recorded from Australian islands outside the Australian faunal subregion, those protected by legislation, the larval food plants, and the attendant ants. Extensive references, a glossary and an index of scientific and common names complete the work. Joint Winner of the 2001 Whitley Medal. Finalist Scholarly Reference section - The Australian Awards for Excellence in Educational Publishing 2001.

Studies in Iranian Metalwork. V: A Sassanian Eagle in the Round

1969 ◽  
Vol 101 (1) ◽  
pp. 2-9 ◽  
Author(s):  
Assadullah Souren Melikian-Chirvani
Keyword(s):  
Good Condition ◽  
Work Of Art ◽  
Major Interest ◽  
History Of ◽  
First Time ◽  
Outstanding Work

The object published in these pages for the first time is of major interest for the history of Iranian metalwork. This eagle in the round is the largest animal bronze of the Sassanian period known to this day. It is of the highest quality and in comparatively good condition in spite of the accident which caused its two wings to be broken at some unknown time. I should therefore like to express my warmest thanks to Dr. von Manteuffel, Director of the Sculpture Department at the Berlin Dahlem Museum, and to Dr. Ursula Schlegel for generously giving me permission to publish this outstanding work of art. My gratitude goes also to Dr. Viktor Elbern, who very kindly encouraged me in this publication.

The Musical Work as Discourse and Text

2000 ◽  
Vol 4 (2) ◽  
pp. 213-225 ◽  
Author(s):  
Célestin Deliège
Keyword(s):  
Reference Point ◽  
Musical Work ◽  
History Of

For a musician, to talk of music as discourse and as text is essentially to talk of his art in terms of process and writing. Might there not, however, be a certain uneasiness in the employment of this notion of language? This question, whilst often mooted, has never received an unanimous response. For the musician, the text is above all a given, which he knows intimately and into which he pours his thoughts; it is the reference point for his craft. He conceives of it as the field in which his art operates and through which it is mediated. Historically, it is the text that reflects the slow tension of invention aimed at attaining coherence, the source of which has been the generation of an invariant. This manifests itself in the form of a thematic nucleus or Crundgestalt, the term used by Schoenberg to refer to the totality of the form's potential. The story of this invariant and its deployment in spawning variation is present throughout the history of polyphony. Having reached its zenith, however, the curve of thematic function plummeted in an instant. As a result, the relation of text to discourse, of writing to process, was hurled into profound disarray.

Isaac's Signature

2011 ◽  
Vol 28 (1) ◽  
pp. 9-33 ◽  
Author(s):  
Rob C. Wegman
Keyword(s):  
Contemporary Music ◽  
Music History ◽  
Musical Work ◽  
Personal Style ◽  
Contractual Obligation ◽  
Commercial Transaction ◽  
Musical Works ◽  
History Of

ABSTRACT The notion of the signature could serve as an appropriate metaphor by which to explore Heinrich Isaac as a man of his time and world. It may be mere coincidence that he has left more documents signed in his own hand than contemporary composers, but some of the documents he authenticated in this way really do attest to a new idea of professional musicianship that Isaac was the earliest and most successful in implementing: that of the professional composer who undertakes to produce new works under contractual obligation. Isaac is the first-known musician who signed a document specifically in this capacity. Yet his signature, or at least the assurance that he personally composed and signed a musical work, is also found in the context of practical musical sources, where they would appear to have no legal significance. Martin Just has shown, however, that the particular folios containing these compositions, in the manuscript Berlin 40021, were originally sent as letters. The implication is that Isaac's signature, in this case, is not an attribution so much as a mark of authentication—something that would have been required only if the musical works in question were sent, and changed hands, as part of a commercial transaction. Taking the metaphor of the signature in a broader figurative sense, one could suggest that Isaac's work also bears his musical signature—namely in the personal style that his contemporaries tried to recognize and in some cases to characterize in words. Two authors who tried to capture the peculiar quality of Isaac's music are Paolo Cortesi and Heinrich Glarean. The latter's attempt is especially significant, since Glarean seems to attest to a new way of hearing and conceptualizing polyphony. Although it is hard to identify specifically which passages in Isaac's music he would have had in mind, the key to his appraisal seems to lie in a different way of conceptualizing the interplay of contrapuntal voices in contemporary music. To the extent that we can associate this with Isaac's musical signature, it would appear, once again, that this composer, more than any other, was at the forefront of some of the most significant developments in the music history of his time.

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