scholarly journals Musical Shevchenkiana of Yevhen Stankovych: Interpretation of the Poetical Word in the Oratory “Taras Passions”

2021 ◽  
pp. 121-136
Author(s):  
Olha Vasylenko
Keyword(s):  
Choral Music ◽  
Complex Nature ◽  
Musical Language ◽  
Religious Traditions ◽  
Historical Method ◽  
Poetic Text ◽  
Spiritual Tradition ◽  
New Perspective ◽  
Musical Genres ◽  
Semantic Differentiation

The relevance of the article is to consider a new perspective of genre transformation in the Ukrainian oratorio of the 21st century, studied in the aspect of the relationship between poetic text and music. The work of Yevhen Stankovуch seems to be the pinnacle of the evolution of passions, during which textual interpolations changed and creatively renewed the genre canon. Despite the significant cultural and social resonance of the oratorio Taras Passion, its creative discoveries have not found coverage in scientific discourse yet. Main objectives of the study are to investigate the methods of conceptualizing the poetic word of Taras Shevchenko in the musical language of Y. Stankovуch’s oratorio and to reveal the genre innovations of the work. Such perspectives of analysis outline the boundaries of the novelty of this article. The research methodology is based on the methods of historical, cultural, phenomenological analysis. Their involvement is justified by the complex nature of the scientific problems of the article. Historical method reveals the general content and artistic specificity of the selected segment of Ukrainian musical history; culturological method focuses research on the different types of genres literary, artistic and musical culture; phenomenological method provides the study of certain conceptual contours and promotes the semantic differentiation involved in the analysis of multilevel cultural and artistic phenomena. Results and conclusions. The features of the uniqueness of modern oratorio opuses with the title “Passion” are determined. The ways of conceptualizing the poetic word in the choral music by Yevhen Stankovych are revealed: they are determined by the process that is able to combine various elements of Ukrainian ethnic culture as well as spiritual and religious traditions. The figurative and ideological concepts of word and music are subordinated to the main principles of the Ukrainian mentality (cordocentrism (philosophy of the heart), sacrifice and chivalry). The multidimensionality of the semantic field of Taras Shevchenko’s poetry is noted, as a result of which the real characters of the national liberation history are endowed with an aura of holiness like biblical persons. The gallery of various images of Y. Stankovych’s oratorio synthesizes the peculiarities of the national worldview and the evangelical virtues. In the pantheon of images of holy martyrs, sung in music, the composer places the image of T. Shevchenko. It is indicated that the story of the last days of the earthly life of the St. Virgin, the Prophet, Jan Hus is of particular importance. The principles of selecting fragments of T. Shevchenko’s poems for the libretto of the oratorio directly correspond to the genre canons of passions. The author defines the peculiarities of the composer’s interpretation of the personality of T. Shevchenko the poet as a prophet, patriot, bearer of the sacred Word, an ardent preacher of the ideas of spirituality, a bright exponent of the ethical position and spiritual tradition of the ethnos. At the same time, he acts as the narrator of the oratorio. The prerequisites for the transformation of the genre structure of the work of Y. Stankovych in the context of inheritance of the methods of text interpolation, up to their radical rethinking, are considered. The correspondence of the compositional and structural norms of sacred utterance in the poetry of T. Shevchenko and in the music of Y. Stankovych has been proved. It is indicated that the text genres of prayer, biblical epigraphs, retellings of passionate subjects, Church Slavonic archaic vocabulary of verses are revealed by the composer in the corresponding musical genres (znamenny chant, chorale, hymn, bellringing) and in the parameters of the expressive style. It is indicated that the drama of T. Shevchenko’s poetic style directly corresponds to the immanent qualities of a composer-symphonist and is realized by the orchestral parameter.

scholarly journals Arsip dan Jaringan Intelektual: Studi tentang Koleksi Nishijima di Universitas Waseda Jepang

2017 ◽  
Vol 10 (1) ◽  
pp. 18-30
Author(s):  
Arif Rahman Bramantya
Keyword(s):  
Intrinsic Value ◽  
The Other ◽  
View Point ◽  
Japanese Occupation ◽  
Living Thing ◽  
Historical Method ◽  
Evidential Value ◽  
Sources Of Knowledge ◽  
New Perspective ◽  
Informational Value

Archives can be said to be "inanimate" if we look it from the physical side. On the other hand, archives can be said to be "a living thing" if we look it in terms of the information that is contained in. Archives can explain anywhere, anytime and any purpose, because archives have evidential value, informational value and intrinsic value. In short, archives is a source of knowledge if we look it through academic view point. Archives in relation to the Japanese occupation in Indonesia is very limited.Nowadays, the study related to the Japanese occupation in Indonesia is also decrease. However, the study about the Japanese occupation in Indonesia in the 80s was massive and varied. Nishijima Collection is one of the valuable sources of knowledge related to the Japanese occupation in Indonesia. Unfortunately, many people do not use the collection as source for their Indonesian study. The result of this study provides a new perspective on the materials related with the Japanese occupation in Indonesia contained in Nishijima Collection. Intellectual network was formed through Nishijima Collection. Eventually, the study about Nishijima Collection through the historical method can be an initial foundation to raise the historical awareness that will be able to affect the civilization (of Indonesia).

Parallelism between Linguistics and Music – Noam Chomsky and Heinrich Schenker

2021 ◽  
Vol 13 (62) (SI) ◽  
pp. 287-294
Author(s):  
Botond SZOCS
Keyword(s):  
Heinrich Schenker ◽  
Musical Analysis ◽  
Musical Language ◽  
Transformational Grammar ◽  
Verbal Language ◽  
Noam Chomsky ◽  
Musical Discourse ◽  
Linguistic Categories ◽  
New Perspective ◽  
Structural Levels

The paper aims to compare musical language with verbal language, creating a new perspective on music and natural language. The three categories of linguistics, phonology, syntax and semantics are analyzed. Bernstein highlights the analogies between the linguistic categories and music, researching the same three components of linguistics in music. The possibility of applying the transformational grammar procedures to the musical text is studied. In the second part of the paper, the authors investigate the method of analysis based on harmony and counterpoint, differentiating several structural levels conceived by the theoretical musician H. Schenker. Schenkerian analyzes are a relatively recent appearance in the field of musical analysis, which proposes as an innovation in the field of musical analysis the structural vision of musical discourse.

Exodus 19–40

2006 ◽  
Author(s):  
William H. C. Propp
Keyword(s):  
Old Testament ◽  
Deep Understanding ◽  
Dead Sea ◽  
Major Work ◽  
Religious Traditions ◽  
The Bible ◽  
Biblical Scholarship ◽  
Cultural Mores ◽  
New Perspective ◽  
Ritual Law

The long-awaited conclusion of William H. C. Propp’s masterful study of Exodus, this informative, clearly written commentary provides a new perspective on Israelite culture and on the role of ritual, law, and covenant in biblical religion. Exodus 19–40 sets a new standard in biblical scholarship. Thorough and up-to-date, it is the first commentary on Exodus to include critical textual evidence from the recently edited Dead Sea Scrolls. Informed by Propp’s deep understanding of ancient cultural mores and religious traditions, it casts new light on the Israelites’ arrival at Sinai, their entry into a covenant with God, their reception of the Law, their worship of the golden calf, and their reconciliation to God. The incisive commentary on the building of the Holy Tabernacle–God’s wilderness abode–is supplemented by numerous illustrations that clarify the biblical text. Propp extends the scope and relevance of this major work in five appendices that discuss the literary formation of the Torah, the historicity of the Exodus tradition, the origins of Israelite monotheism, the Exodus theme in the Bible, and the future of Old Testament scholarship. By taking an anthropological rather than strictly theological approach, Propp places familiar stories within a fresh context. The result is a fully accessible guide to one of the most important and best known books of the Bible.

Afterword: From Catholic Modernity to Religious Modernities

2021 ◽  
Vol 75 (3/4) ◽  
pp. 508-543
Author(s):  
Anthony J. Carroll ◽  
Staf Hellemans
Keyword(s):  
Research Field ◽  
The Other ◽  
Grand Strategy ◽  
Content Type ◽  
Religion And Theology ◽  
Religious Traditions ◽  
Religion And Modernity ◽  
New Perspective ◽  
The One ◽  
The Relationship

Abstract In a time when the two major strategies followed by Christian religious traditions in modernity have lost traction—Christendom and subcultural isolation on the one hand and liberal and socialist assimilation with modernity on the other hand—Charles Taylor’s Catholic modernity idea opens up a “third grand strategy,” a new perspective on the relationship between religion and modernity. Moreover, the perspective can be put to use in other religious traditions as well. We will, hence, argue for the extension from a Catholic modernity to a religious modernities perspective. With the help of the arguments and suggestions as well as the critiques put forward by Taylor and the other authors in this volume Modernity and Transcendence, we will chart some of the main axes of this vast research field: (1) the clarification of Catholic/religious modernity; (2) the generalization of the Catholic modernity idea into a religious modernities perspective; (3) the invention of an inspiring, post-Christendom Christianity/post-fusional religion and theology; (4) the issue of religious engagement in our time—what Taylor calls “the Ricci project”; (5 and 6) the need for encompassing theories of modernity and religion (transcendence).

Music in Cabo Verde

2021 ◽  
Author(s):  
Glaúcia Nogueira
Keyword(s):  
Local Population ◽  
Mutual Aid ◽  
Cape Verdean ◽  
Religious Traditions ◽  
Cabo Verde ◽  
John The Baptist ◽  
Musical Practices ◽  
Work Songs ◽  
Musical Genres ◽  
Musical Styles

The landscape of Cape Verdean music is diverse, and its musical genres, like the society from which they emanate, are mostly Creole. They stem from the interactions of the local population with other peoples, not only through colonization, but also from the emigration of Cape Verdeans to other countries. In addition, maritime traffic in the Atlantic, which has always traversed the archipelago, was a fruitful channel of contact with other cultures. These factors meant that Cabo Verde remained attuned to cultural trends and lifestyles circulating around the world. Morna, koladera, batuku, and funaná are the most prominent genres on any list of musical styles considered “genuinely” Cape Verdean, if it makes sense to use this adjective in a society marked so heavily by ethnic admixture. That list must also include: 19th-century European musical styles (mazurka, waltz, schottische, polka, gallop) that local musicians appropriated by playing them; the talaia baxu, from the island of Fogo; and a group of musical expressions related to the feasts of the Catholic calendar, with songs, dances, and drumming, such as the kola sanjon (commemorating St. John the Baptist), present on several islands; the activities of tabankas (mutual aid associations that, among other activities, celebrate the dates of Catholic saints) in Santiago and the flag festivals on the island of Fogo. Other religious traditions include the litanies inherited from the Portuguese tradition sung in Creole. There are also popular songs related to work and other activities like sowing, fishing, and labor with oxen in the artisanal production of rum (grogo, grogue, grogu). The oxen work songs (kola boi) are nearly extinct. Weddings songs are also part of traditional musical practices that are either nearly extinct or performed as folklore representations only. In terms of popular music with international circulation since the 1970s, Cape Verdean youth have enthusiastically embraced rap, reggae, zouk from the Antilles, and to a lesser extent rock, by producing Cape Verdean versions of these genres.

scholarly journals To the problem of interpreting the genre of choral miniatures in the creation of Lesya Dichko (on the example of choral miniatures on poetic texts „Winter”, „Na chovni”, „Spring”)

2019 ◽  
pp. 5-17
Author(s):  
І. М. Рябцева
Keyword(s):  
Visual Arts ◽  
Complex Analysis ◽  
Scientific Investigation ◽  
Practical Implementation ◽  
Musical Language ◽  
Basic Principles ◽  
Choral Works ◽  
Poetic Text ◽  
The Creation ◽  
Poetic Texts

The purpose of the article is to identify the features of the genre ofUkrainian choral miniature and to identify the basic principles of theirimplementation in the choral works by Lesya Dychko. The purpose of thework determines the relevant tasks, which are in identifying the genrestyle landmarks of the musical language of L. Dichko, available in selectedchoral miniatures for poetic texts and, based on their analysis, outline anumber of immanent features inherent in the creativity of the composer.The methods of the research is formed by the using of empiricalapproaches of scientific investigation, namely observations, analyzes and generalizations, which allow the practical implementation of this studyingthemetic destination. The textological and semantic analytical approachesof the poetic text are also used in the work. The scientific novelty of thearticle is determined by the factor of primacy of the complex analysis ofselected choral miniatures from the standpoint of revealing immanentgenre-stylistic traits of L. Dychko’s creativity. Conclusions. The analysisof choral miniatures „Winter”, „Na chovni”, „Spring” on poetic textsallows to classify them as extremely bright, artistically expressiveexamples of modern interpretation of the genre with a relief display ofnationally characteristic stylistic features, which can be considered as anexample of the synthesis of neo-folklore neo-romantic orientation ofcreativity of L. Dychko. The choir miniature of Lesya Dychko is nowfirmly in the repertoire of numerous choirs of Ukraine. The composerforms a comprehensive outlook model of being in interaction with creativethinking. Her vision of the artistic text takes place at the same time in thedimension of literature, music and painting due to the constantinvolvement of elements of the visual arts vocabulary in her works,orientation to „painting”, and work with poetic images.

scholarly journals «Tempest rouse sea…»: to history of literary songs

2017 ◽  
pp. 130-134
Author(s):  
E. E. Vasileva ◽  
Keyword(s):  
18Th Century ◽  
Historical Period ◽  
Pattern Metrics ◽  
Poetic Text ◽  
History Of ◽  
New Perspective

The song became one of the symbols of Russia in 18th century. The song is considered in the context of its existence in oral and written book of songs tradition. Musical-poetic text, strophe pattern, metrics, imagery reveals connections with different spheres of culture related to the preceding historical period are analyzed. The conclusions made on this basis. A new perspective on the correlation of traditions and innovations in the epoch of reforms by Petr I was shown.

scholarly journals Witold Lutosławski: artistic portrait on the background of world wars

2020 ◽  
pp. 184-199
Author(s):  
Yurii Zakharov
Keyword(s):  
World War Ii ◽  
General Concept ◽  
Musical Language ◽  
World War ◽  
Witold Lutoslawski ◽  
Sound Structure ◽  
Firing Squad ◽  
The Subject ◽  
New Perspective ◽  
Gradual Transformation

This article examines the life and artistic journey of the Polish composer Witold Lutosławski over the period from 1913 to 1945. Special attention is given to the fate of his father Józef who along with his brother were executed by a firing squad in September 1918, as well as to the fate of the omposer himself and his brother Henryk during the World War II. In the second part of the article, the subject of research becomes the peculiarities of musical language of W. Lutoslawski, as well as his views upon the sound structure and dramaturgical construct of the compositions. The presence of two substantive aspects in Lutoslawski’s music is proven: 1) gradual transformation of harmonious vertical due to progressive changes or addition of sounds (in combination with intonation transformations); 2) dramaturgy of sections and dramaturgy of layers. The author offers a new perspective on the works of Witold Lutosławski as the continuation G. Mahler in the area of the general concept of symphonic style, as well as in the area of intonation plot. At attempt is made to explain the peculiarity of perception of Lutosławski’s music by Russian audience in the context of comparison of the Russian and Polish mentality.

scholarly journals METAPHONY AS ANTIPODE OF THE EQUIPHONIC SOUND REPETITION (based on the Spanish language)

2017 ◽  
Vol 32 ◽  
pp. 99-108
Author(s):  
Olena Obruchnykova
Keyword(s):  
Spanish Language ◽  
Poetic Text ◽  
Points Of View ◽  
Prospective Research ◽  
New Perspective

The article considers the points of view of modern researchers of the poetic text on the phenomenon of metaphony, reflecting a new perspective of studying the phonetics of the verse. The metaphony as a sound association of separate invertible heterorhythmic sound groups, united around a single syllabic apex – vowel, is considered on the example of the Spanish poetic and folklore text. Metaphonical sound correspondences in repetition create the prospect of using syllable sound groups and complexes to form an alternative, poetic morphology of the word. A prospective research of metaphonical sound repetition can be aimed at revealing the dominant types of metaphonic rhymes in the poetic speech of the Spanish authors.

Polyphony in the Choral Creation for Equal Voices Signed by Dan Voiculescu

2021 ◽  
Vol 66 (1) ◽  
pp. 143-158
Author(s):  
Elena-Laura Greavu ◽  
Roxana Pepelea
Keyword(s):  
Choral Music ◽  
Musical Language ◽  
Ancient Times ◽  
Stylistic Unity

"This paper represents a more detailed research of one of the defining stylistic aspects for equal voices choral creation composed by Dan Voiculescu. The composer managed to enrich the children's repertoire with important works, starting from the premise that it must be close to the contemporary musical language. Polyphony, in its various forms, gives this type of repertoire stylistic unity and offers many possibilities for modernizing the choral language. Dan Voiculescu uses poliphony to exploit and materialize it in a multitude of compositional devices. The most used polyphonic process in Voiculescu's choral creation is imitative polyphony. It is materialized in various forms, being connected mainly by the tradition of its application from ancient times (Renaissance, Baroque) to the present day. Keywords: polyphony, Composer Dan Voiculescu, choral music. "

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