scholarly journals Composer’s interpretation of the Christian ethos in the music art of sovereign Belarus

2020 ◽  
Vol 65 (2) ◽  
pp. 203-208
Author(s):  
T. G. Mdivani
Keyword(s):  
State Sovereignty ◽  
Eastern European ◽  
Musical Culture ◽  
Modern Times ◽  
Liturgical Singing ◽  
First Time ◽  
Church Tradition

For the first time in the Belarusian liturgical musicology analysis of the attitude of domestic composers to Christian sources: themes, images, style, church singing culture in general is carried out. It is proved that the interest of the Belarusian musicians of the period of state sovereignty focuses on two Christian denominations – the Western and Eastern European; that the compositions of composers in their essence are representatives of musical art, and not of liturgical singing practice, and also, that the basis of the composer’s work is the phenomenon of interpretation. Three types of composer interpretation of church tradition are distinguished: «leverage» (transposition, re-establishment), author’s transcription and conventionality. The main conclusion of the work: the spiritual stratum of the national musical culture of modern times, presented by composer creativity, is a peculiar aesthetic euphemism between Eastern and Western Christianity, which manifests itself in various aspects.

Islamic and Jewish Religious Feminists Tackle Islamic and Jewish Oral Law: Maintenance and Rebellion of Wives

2017 ◽  
Vol 11 (1) ◽  
pp. 35-63
Author(s):  
Ruth Roded
Keyword(s):  
State Policy ◽  
Political System ◽  
Daily Life ◽  
The State ◽  
The Political ◽  
Jewish Law ◽  
Modern Times ◽  
Parallel Case ◽  
First Time

Beginning in the early 1970s, Jewish and Muslim feminists, tackled “oral law”—Mishna and Talmud, in Judaism, and the parallel Hadith and Fiqh in Islam, and several analogous methodologies were devised. A parallel case study of maintenance and rebellion of wives —mezonoteha, moredet al ba?ala; nafaqa al-mar?a and nush?z—in classical Jewish and Islamic oral law demonstrates similarities in content and discourse. Differences between the two, however, were found in the application of oral law to daily life, as reflected in “responsa”—piskei halacha and fatwas. In modern times, as the state became more involved in regulating maintenance and disobedience, and Jewish law was backed for the first time in history by a state, state policy and implementation were influenced by the political system and socioeconomic circumstances of the country. Despite their similar origin in oral law, maintenance and rebellion have divergent relevance to modern Jews and Muslims.

EVGENY GOLUBEV AND NATIONAL MUSICAL CULTURES

2021 ◽  
Vol 1 (4) ◽  
pp. 187-194
Author(s):  
A. K. Sanko ◽  
Keyword(s):  
Folk Art ◽  
Musical Culture ◽  
National Cultures ◽  
Musical Cultures ◽  
Russian Composers ◽  
First Time

The article is devoted to the pedagogical activity of Evgeny Kirillovich Golubev (1910– 1988) — composer, professor of the Moscow State Conservatory, whose 110th birthday was celebrated in 2020. The relevance of the study lies in the fact that for the first time Golubev's contribution to the education of not only Russian composers, but also representatives of different national cultures — Hrant Grigoryan, Kapan Musin, Todor Popov, Andrey Eshpai and others is considered. The questions of the master's compositional pedagogy, which were little studied until now, are touched. The object of the research is Golubev's diary "Alogisms", as well as the memories of his students. The author highlights activities of Golubev's students who connected their creativity with other national cultures. Among them were Valentin Konchakov (1933–1993) who worked in Karelia and contributed greatly to the development of folk art in this republic, and the composer Aida Isakova (1940–2012) who participated in the formation of Kazakh musical culture in Alma-Ata and wrote essays on national themes.

Verwendung, Verleugnung, Wiederentdeckung – Ligeti und ethnische Musiken

2016 ◽  
Vol 57 (1-2) ◽  
pp. 35-47
Author(s):  
Márton Kerékfy
Keyword(s):  
Folk Music ◽  
Creative Work ◽  
Eastern European ◽  
Late Period ◽  
Ethnic Music ◽  
East European ◽  
Ambivalent Attitude ◽  
First Time

Regarding György Ligeti’s relation to ethnic music, his oeuvre can be divided into three periods. Until 1956 he used East European folk music in the manner of Hungarian composition of the 1940s and 1950s, but upon leaving Hungary he apparently rejected folkloristic inspiration. In his late period from 1978 on, however, ethnic musics became again central to his creative work, albeit in a basically different way than in his youth. This article provides an overview of Ligeti’s early folkloristic pieces and a brief characterization of his use of elements of Eastern European folklore in Le Grand Macabre, Hungarian Rock, Passacaglia ungherese and the Horn Trio. Finally, it traces back Ligeti’s “lamento melody,” that appears for the first time in the last movement of the Horn Trio, to certain types of the Hungarian folk lament. Ligeti’s references to folklore do not mean an idealization of his past, but are rather signs of an ambivalent attitude toward his own roots, in which nostalgic longing, ironic distancing, and desperate mourning are equally present.

scholarly journals Poa jubata (Poaceae), a rare Balkan species, first record for the Italian flora

2019 ◽  
Vol 78 (2) ◽  
pp. 147-154 ◽  
Author(s):  
Salvatore Brullo ◽  
Cristian Brullo ◽  
Salvatore Cambria ◽  
Gianpietro Giusso del Galdo ◽  
Pietro Minissale ◽  
...  
Keyword(s):  
Balkan Peninsula ◽  
First Record ◽  
Temporary Ponds ◽  
Winter Period ◽  
Eastern European ◽  
European Species ◽  
South Eastern ◽  
Italian Flora ◽  
First Time

Abstract Poa jubata A. Kern., an annual South-eastern European species, is reported for the first time from Italy. It is a therophyte linked to temporary ponds with soils flooded during the winter period. It is a very rare and enigmatic species, currently known only from a few localities of the Balkan Peninsula. Recently, it was surveyed in an Apulian wetland, near Brindisi, where it grows with several other annual hygrophytes. For its taxonomical isolation, it is included in a monospecific section, as P. sect. Jubatae. In addition to a detailed description, the chromo-some complement (2n = 14) of this species is examined for the first time and a new iconography is provided.

scholarly journals Meters of Ukrainian children's choral art: Eleonora Vinogradova (on the occasion of the 90th anniversary)

2021 ◽  
Author(s):  
Svitlana Shcherbiі
Keyword(s):  
Point Of View ◽  
Historical Period ◽  
Creative Activity ◽  
Musical Culture ◽  
Choral Conductor ◽  
Other Information ◽  
Archival Documents ◽  
Biographical Approach ◽  
Basic Ideas ◽  
First Time

The purpose of the article is to analyze the creative activity of the outstanding representative of the national choral culture Eleonora Vinogradova. To substantiate the importance of the choral conductor's personality and its influence on the formation of modern children's choral performance. To outline the multifaceted activity of E. Vinogradova as a choral conductor, teacher, music, and public figure in the context of active universalism. Understand that the biography of a creative person is an expression of the most typical features of the era, its basic ideas, and is a reflection of historical and socio-cultural events. Methodology. Features of the biographical approach allow us to explore the artist's biography as a way of reconstructing the cultural-historical concept. A systematic chronological approach is being implemented. The scientific novelty lies in the expediency of research and replenishment of new facts of E. Vinogradova's biography from the point of view of the development of choral culture. An attempt was made to recreate for the first time, full of selfless work, the creative path of the artist with an awareness of the essential characteristics of a particular historical period, its culture. Conclusions. According to archival documents and other information sources, the process of formation and formation of professional principles, as well as stylistic features of E. Vinogradova's creative activity is analyzed. The leading sphere of creative activity is defined, namely, the activity of the choral conductor. It is emphasized that the outstanding choral conductor and teacher, the representative of the Kyiv conducting and choral school Eleonora Vinogradova is an active participant of the Ukrainian artistic life with high professional potential. The high cultural potential of the universal creative personality of the conductor-teacher in the processes of formation and development of the national musical culture is proved.

scholarly journals Festivals of spiritual songs in socio-cultural space of Ukraine of the end of the XX - the beginning of the XXI centuries

2021 ◽  
Author(s):  
Oleksandr Antonenko ◽  
Margaryta Antonenko
Keyword(s):  
Twentieth Century ◽  
Sacred Music ◽  
Musical Culture ◽  
Systematic Method ◽  
Choral Singing ◽  
Cultural Conditions ◽  
Cultural Method ◽  
Late Twentieth ◽  
First Time ◽  
Cultural Components

The purpose of the article is to study the activities of festivals of spiritual songs in the context of the development of the musical culture of Ukraine in the late twentieth – early twentieth century. The methodology is based on historical and culturological approaches. A systematic method is also used to characterize festivals of the Orthodox music tradition in their connection with other components of culture; socio-cultural method – in the study of socio-cultural components of the artistic phenomenon of the festival. The scientific novelty of the work is that for the first time the activity of festivals of Orthodox sacred music as a new phenomenon in the musical culture of Ukraine is comprehensively analyzed. Conclusions. The emergence and active functioning of festivals of spiritual songs is one of the leading trends in the development of Orthodox musical culture in Ukraine. The ideological direction of the festivals is primarily of religious content, and, in addition to overcoming the negative trends in the field of culture, their leading function is the revival of orthodox traditions. Festivals of sacred music in Ukraine currently perform two main functions: educational and cultural. They contribute to the revival of the traditions of orthodox musical culture; demonstrate the traditions of orthodoxy in modern socio-cultural conditions; revive centuries-old traditions of spiritual choral singing of Ukraine; revive centuries-old traditions of spiritual choral singing of Ukraine.

scholarly journals Early Slavic housing from Belz surroundings

2020 ◽  
Vol 24 ◽  
pp. 224-234
Author(s):  
Taras Mylian
Keyword(s):  
Cultural Heritage ◽  
Key Words ◽  
Middle Ages ◽  
The Other ◽  
Compacted Clay ◽  
Modern Times ◽  
Big City ◽  
Conservation Research ◽  
First Time ◽  
The Middle Ages

Territory of the upper reaches of Western Bug River, especially the annalistic of Belz in Solokiya and its surroundings, is rich in archeological sites. In 2016, as part of the Program «Protection and Preservation of the Cultural Heritage of the Lviv Region for 2016–2018», conservation research was conducted at the settlement Belz 22 (Hora). It is a multi-layered settlement with cultural and chronological horizons from the final Paleolithic to modern times. Information and research on it were conducted with advantages during XX century however, for the first time in the settlement; remains of a Slavic dwelling-semi-dugout (object 20) of the Prague culture were discovered and studied. Research has shown that dwelling had two periods of functioning. Traces of restructuring were confirmed, which led to a reduction of the area and changing of the shape – from rectangular to square. Evidence of the reconstruction was the remains of two clay ovens, the oldest of which was partially cut down by a later wall. Under the remains of this wall above the furnace a Roman denarius of the II century was found. Ovens are built on special sites made of compacted clay. The older oven has a dome lined with special rollers. Discovered material is represented mainly by handmade ceramic pots, some of them are reconstructed. Some of the forms of utensils were common during the late V – early VI centuries, and the other part – during the second half of VI – early VII century. This division corresponded to the periods of housing. An important find was the weights for the loom, which were reused to build the oven. An additional evidence of the development of weaving in the settlement is a bi-conical spinner with flat platforms, which comes from dwelling. The settlement on the outskirts of the annalistic Belz is characterized by permanence and genetic connection throughout the Middle Ages – from individual Slavic settlements in this region to the creation of a separate principality around the big city. Key words: Prague culture, Belz, Solokiya, dwelling, oven, ceramics, denarius.

scholarly journals Analysis of the Opera Kerem by Akhmet Adnan Saygun

2021 ◽  
Vol 4 (1) ◽  
pp. 11-20
Author(s):  
Aysel Asadova
Keyword(s):  
Folk Music ◽  
Structure Characteristic ◽  
Theoretical Problem ◽  
Musical Language ◽  
Musical Drama ◽  
Musical Culture ◽  
National Values ◽  
Characteristic Features ◽  
First Time ◽  
The Way

The article analyzes the musical language of the opera Kerem by A. Adnan Saygun. Ahmet Adnan Saygun was born during the Ottoman period and lived in the newly created Republic of Turkey. Saygun is one of the founders of the Turkish School of Composing, as well as one of the founders of the Turkish Five. The composer paid great attention to folk art and national values. You can always see folk music and folklore in his works. The purpose of the research is to analyze Sufi motives in the scenes of the opera. Mainly, the attention is paid to musical drama and harmonic aspects of the opera, which directly reflect Turkish folklore and musical culture in general. The research methodology lies in solving a scientific and theoretical problem. A number of theoretical and analytical methods have been applied, highlighting the principle of using a literary text in musical scenes that contain phrases that reflect “reunification with the Creator” in Sufism. The use of characteristic rhythmic patterns in mystical scenes, when searching for information, the methods of the axiological concept of culture were used, which made it possible to highlight the characteristic features of Turkish music. The scientific novelty of the research lies in the fact that for the first time the reflection of religious characteristics based on folk music, in particular, based on modal structures and maqams, analysis of the mystical motives of the opera, in combination with modern musical techniques is considered. Conclusions. Saigun’s opera Kerem is one of the rare works based on Sufi philosophy. A clear reflection of the main thought of Sufi philosophy was noted in Kerem, according to which the suffering of the seeker of truth is marked by a return to it. The way of light is the way of Allah. The composer, to show the unique colour and character of Anatolia, the life and customs of people, used the fret and rhythmic structure characteristic of Turkish music. As a result of the study, we see how in Kerem the author enthusiastically and passionately works on national values in all aspects of the opera.

A revision of the Neogene Conidae and Conorbidae (Gastropoda) of the Paratethys Sea

Zootaxa ◽  
2016 ◽  
Vol 4210 (1) ◽  
pp. 1 ◽  
Author(s):  
MATHIAS HARZHAUSER ◽  
BERNARD LANDAU
Keyword(s):  
New Species ◽  
Middle Miocene ◽  
Eastern European ◽  
Morphometric Data ◽  
South Eastern ◽  
Tropical Conditions ◽  
Colour Patterns ◽  
Species Descriptions ◽  
First Time ◽  
The Relationship

The Miocene Conidae and Conorbidae of the central- and south-eastern European Paratethys Sea are revised. In total, 74 species are described of which 10 are new species and 5 are documented for the first time from Paratethyan localities. Species descriptions and delimitations are partly based on morphometric data. In addition, colour patterns are described for the first time for the majority of species. In respect to the ongoing discussion on the supraspecific treatment of extant Conidae, we strongly focus on generic allocations and provide a key for the genera as understood herein. Biogeographically, the larger part of the assemblage indicates affiliation with modern western African faunas as indicated by the occurrence of genera such as Lautoconus, Kalloconus, Monteiroconus and Pseudonoduloconus. The relationship with Indo-West Pacific faunas is comparatively low. The high alpha-diversities observed for localities in the Pannonian, Transylvanian and Vienna basins, with up to 44 species, is a marker of tropical conditions in the Paratethys Sea during middle Miocene times.        Conasprella minutissima nov. sp., Kalloconus hendricksi nov. sp., Kalloconus letkesensis nov. sp., Kalloconus pseudohungaricus nov. sp., Lautoconus kovacsi nov. sp., Lautoconus pestensis nov. sp., Lautoconus quaggaoides nov. sp., Leporiconus paratethyianus nov. sp., Plagioconus breitenbergeri nov. sp. and Plagioconus bellissimus nov. sp. are described as new species; Conilithes eichwaldi nov. nom. is proposed as new name for Conus exiguus Eichwald, 1830 [non Lamarck, 1810]. 

A Newly Discovered Annotated Partimento Manuscript : "Rudimenti di Musica per Accompagnare del Sig. r Maestro Vignali" (1789)

2021 ◽  
Vol 8 (1) ◽  
pp. 60-88
Author(s):  
Sean Curtice ◽  
Lydia Carlisi
Keyword(s):  
Eighteenth Century ◽  
Real Time ◽  
Present Article ◽  
Teaching Methods ◽  
Oral Tradition ◽  
English Language ◽  
Musical Culture ◽  
First Time ◽  
Unknown Manuscript

The partimento tradition of eighteenth-century Italy developed within a musical culture that prioritized oral pedagogy. While these teaching methods were successful in producing generations of great composers, they have left scholars with vexing questions concerning the precise manner in which partimenti should be realized. The recent appearance of a remarkable and previously unknown manuscript—"Rudimenti di Musica per Accompagnare del Sig. Maestro Vignali," dated 1789—promises to shed invaluable new light on the oral tradition of partimento instruction. The manuscript's likely author is Gabriele Vignali (c. 1736– 1799), a maestro di cappella active in Bologna; it is unique in the presently known canon owing to the detailed footnotes that accompany each of its twenty-four Bassi (one in each major and minor key). Vignali's annotations provide precisely the sort of commentary that was ordinarily restricted to real-time explanation, teaching the student to recognize keys, scale degrees, modulations, cadences, typical bass progressions, and significant motives. The present article and accompanying English-language edition examine this exceptional partimento collection in detail, offering modern partimentisti the opportunity for the first time to listen in, as it were, on a series of lessons between an eighteenth-century maestro and his student.

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