scholarly journals The First Ethnomusical Publications by Volodymyr Hoshovskyi

2021 ◽  
Vol 16 ◽  
pp. 42-51
Author(s):  
Vira Madyar-Novak
Keyword(s):  
Folk Music ◽  
Early Period ◽  
Historical Review ◽  
Scientific Work ◽  
100Th Anniversary ◽  
Folk Song ◽  
Scientific Career ◽  
Scientific Biography ◽  
New Perspective ◽  
First Time

Relevance of the study. In 2022, the world community will celebrate the 100th anniversary of the outstanding Ukrainian ethnomusicologist Volodymyr Hoshovskyi. This date inspires a research of Hoshovskyi’s scientific career and his achievements. The main purpose of the study is to focus on less known period of scientific biography of V. Hoshovskyi and discuss his first ethnomusicological publications in 1958–1961, written in Transcarpathia in the early period of his scientific career. Scientific novelty of the research. V. Hoshovskyi’s early publications are considered in a new perspective. For the first time, the links between his four first published works have been revealed. Some of the publications have not yet been deeply analyzed in Ukrainian ethnomusicology. The main results and conclusions of the study. The study proved that not only a few, as was thought previously, but all early publications of V. Hoshovskyi discuss the issues of musical dialectology. The study «On the issue of musical dialects of Transcarpathia» (1958) became the first study on this problem. Taking into account the geographical landscape and stylistic heterogeneity of the folk music of the region, the scientist sketched out the main groups of musical dialects. The article «Some peculiarities of the historical development of Ukrainian folk song in Transcarpathia» (1959) touched upon the aspects of history influencing the formation of musical dialects and revealed such aspects as 1) the East Slavic origin of Transcarpathian music; 2) the processes of assimilation during the thousand years of Hungarian expansion, 3) contacts between inhabitants of the multinational Austria and Hungary. The issue of the influence of Czech and Slovak folklore on folk songs of Transcarpathia V. Hoshovskyi considered separately in the publication «Czech and Slovak songs in Ukrainian folklore of the Transcarpathian region of the Ukrainian SSR» (Prague, 1961; 1962, in Czech), thereby completing a historical review of multinational influences on folk music of Transcarpathia. The key role for the further Hoshovskyi scientific work had the article «Musical archaisms and their dialectal features in Transcarpathia» (1960), dedicated to the development of the methodology of musical and dialectical research. The innovative approach of V. Hoshovskyi consisted in a combination of achievements in related sciences: linguo-geography and ethnomusicology and was associated with a great rise in linguodialectic research in Transcarpathia. Thus, the early publications of V. Hoshovskyi identified the object of research, the reasons for the formation of musical dialects and outlined the methodology for their study. These studies reflected the stage of the formation of V. Hoshovskyi as a scientist, and in a broader sense – the first steps of Ukrainian ethnomusicology towards the development of musical dialectology.

János Jagamas’ Folk Song Arrangements

2020 ◽  
Vol 65 (2) ◽  
pp. 307-320
Author(s):  
Éva Péter
Keyword(s):  
Folk Music ◽  
Music Teachers ◽  
Scientific Work ◽  
Folk Song ◽  
Reliable Data ◽  
Mixed Choir ◽  
Folk Song Arrangements

"The aim of the following study is to present János Jagamas’ vocal folk song arrangements by analyzing the melodies and the compositional methods used within the works. During his scientific work at the Folklore Institute of Cluj-Napoca, the outstanding folk music researcher uncovered and recorded reliable data by collecting, recording, analyzing, and classifying not only Hungarian but also Romanian and Bulgarian melodies. He processed some of the melodies he gathered using a variety of compositional procedures. The works are recommended for children, youth, and amateur choirs, so it is important to get to make them known among music teachers and conductors. Keywords: folk song adaptations, homogeneous and mixed choir works, polyphonic and homophonic editing techniques."

Edward Heron-Allen FRS (1861–1943): a review of his scientific career, with an annotated bibliography of his foraminiferal publications

2004 ◽  
Vol 31 (1) ◽  
pp. 6-29 ◽  
Author(s):  
Richard L. Hodgkinson ◽  
John E. Whittaker
Keyword(s):  
Natural History ◽  
Royal Society ◽  
Annotated Bibliography ◽  
Natural History Museum ◽  
Scientific Career ◽  
History Museum ◽  
First Time

ABSTRACT: In spite of his many other interests, Edward Heron-Allen also worked for nearly 50 years as a scientist on minute shelled protists, called foraminifera, much of it in an unpaid, unofficial capacity at The Natural History Museum, London, and notably in collaboration with Arthur Earland. During this career he published more than 70 papers and obtained several fellowships, culminating in 1919 in his election to the Royal Society. Subsequently, he bequeathed his foraminiferal collections and fine library to the Museum, and both are housed today in a room named in his honour. In this paper, for the first time, an assessment of his scientific accomplishments is given, together with a full annotated bibliography of his publications held in the Heron-Allen Library. This is part of a project to produce a bibliography of his complete publications, recently initiated by the Heron-Allen Society.

Competition of Verb Aspects and Its Resolution as a Creative Act (Based on the Material of Aspects Variants in the Texts by F. M. Dostoevsky)

2020 ◽  
Vol 81 (2) ◽  
pp. 56-63
Author(s):  
S. A. Karpukhin
Keyword(s):  
Traditional Method ◽  
Contextual Analysis ◽  
Verb Aspect ◽  
Component Theory ◽  
Two Component ◽  
Artistic Interpretation ◽  
New Perspective ◽  
First Time ◽  
Selection Of ◽  
Aspectual Meaning

The article considers the competition of verbal aspects from a new perspective. Instead of employing the traditional method of demonstrating this phenomenon — an empirical replacement of the aspect of a verb in a phrase with the opposite — the author examines Dostoevsky’s choice between the variants found in different manuscripts of the same text. For the first time, based on a two-component theory of the semantic invariant of a verb type, the aspectual meaning of the selection of a verb aspect is revealed and, as a result of contextual analysis, an artistic interpretation of the selected type is proposed.

Aleksandr A. Yunatov and his studies in Mongolia (to his 100th anniversary)

2009 ◽  
pp. 97-112
Author(s):  
Z. V. Karamysheva
Keyword(s):  
Vegetation Cover ◽  
100Th Anniversary ◽  
Research Data ◽  
Vegetation Map ◽  
Medium Scale ◽  
First Time

The paper is dedicated to the famous geobotanist and botanical geographer A. A. Yunatov and his researches in Mongolia. Yunatov’s scientific activities and his role as an organizer of the science is analyzed. His personal contributions into a study of the vegetation of Mongolia are following: the vegetation cover of Mongolia was described in detail for the first time, zonal and altitudinal regularities of its distribution were revealed, the scheme of botanical-geographic regionalization and the first medium-scale vegetation map were compiled. Author’s research data were published in Russia, Mongolia and China.

scholarly journals Sicily Before the Greeks. The Interaction with Aegean and the Levant in the Pre-colonial Era

2020 ◽  
Vol 6 (1) ◽  
pp. 172-205
Author(s):  
Davide Tanasi
Keyword(s):  
Material Culture ◽  
Complex Dynamics ◽  
Eastern Mediterranean ◽  
Colonial Era ◽  
Local Material ◽  
Gradual Process ◽  
Multiple Variables ◽  
New Perspective ◽  
First Time ◽  
The Relationship

AbstractThe relationship between Sicily and the eastern Mediterranean – namely Aegean, Cyprus and the Levant – represents one of the most intriguing facets of the prehistory of the island. The frequent and periodical contact with foreign cultures were a trigger for a gradual process of socio-political evolution of the indigenous community. Such relationship, already in inception during the Neolithic and the Copper Age, grew into a cultural phenomenon ruled by complex dynamics and multiple variables that ranged from the Mid-3rd to the end of the 2nd millennium BCE. In over 1,500 years, a very large quantity of Aegean and Levantine type materials have been identified in Sicily alongside with example of unusual local material culture traditionally interpreted as resulting from external influence. To summarize all the evidence during such long period and critically address it in order to attempt historical reconstructions is a Herculean labor.Twenty years after Sebastiano Tusa embraced this challenge for the first time, this paper takes stock on two decades of new discoveries and research reassessing a vast amount of literature, mostly published in Italian and in regional journals, while also address the outcomes of new archaeometric studies. The in-depth survey offers a new perspective of general trends in this East-West relationship which conditioned the subsequent events of the Greek and Phoenician colonization of Sicily.

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 Ionospheric research in Germany prior to Karl Rawer

2014 ◽  
Vol 12 ◽  
pp. 225-230
Author(s):  
K. Schlegel
Keyword(s):  
Historical Review ◽  
Scientific Career

Abstract. This brief historical review summarizes the work and achievements of German researchers on ionospheric problems before Karl Rawer started his scientific career in 1937.

scholarly journals Miodrag Vasiljevic’s margin notes on Béla Bartók’s study Morphology of Serbo-Croatian vocal folk melodies

Muzikologija ◽  
2006 ◽  
pp. 365-393 ◽  
Author(s):  
Jelena Jovanovic
Keyword(s):  
Folk Music ◽  
Work Experience ◽  
Traditional Music ◽  
Folk Songs ◽  
Great Work ◽  
Folk Traditions ◽  
First Time ◽  
Source Of Information ◽  
Insight Into ◽  
Empirical Insight

The founder of modern Serbian ethnomusicology, collector of folk songs ethnomusicologist, and music pedagogue, Miodrag A. Vasiljevic (1903?1963) was a younger contemporary of the famous Hungarian composer and ethnomusicologist B?la Bart?k (1881?1945). Bart?k was the author of the first synthetic study of Serbian and Croatian vocal folk traditions, which was also the first such study in English. During the same period and immediately after Bart?k had completed his study, Miodrag Vasiljevic, along with other pioneers of modern ethnomusicology in former Yugoslavia, started to research musical folklore on field at home. Bart?k's study was published a year after Vasiljevic's first book; by 1965 Vasiljevic's other collections, studies and articles had been published (most of them in Yugoslavia, i.e. in Serbia). Independently of Bart?k, yet almost simultaneously, Vasiljevic had written down hundreds of melodies and studied some elements of Serbian and South Slavonic traditional culture: tonality, rhythm, melodic modes and terminology. This was in addition to his great work experience on field and his empirical insight into the fundamental characteristics of musical folklore in this area,. The final result that he wished for, but unfortunately, did not manage to complete, was a synthetic study of Serbian and South Slavonic musical folklore. Vasiljevic's margin notes, handwritten comments on Bart?k's findings, published here for the first time, are considered to be a source of information about his attitude towards Bart?k's assumptions and explanations, as well as showing the results of Vasiljevic's own work, and the ambit of his study focus. Bart?k's and Vasiljevic's primary motives in their approach to South Slavonic traditional music were different. While Bart?k was interested in features of South Slavonic tradition, so that he could note the particular features of the Hungarian music heritage more clearly, Vasiljevic studied the regularities of Serbian folk music approaching it in comparison with other South Slavonic traditions. This diversity determined their approach to the material. Bart?k often leaned on his excellent knowledge of other traditions and drew conclusions from facts that were familiar to him. In contrast, Miodrag Vasiljevic paid more attention to questions relating to the wider issue of the autochthonous development of Serbian musical folklore. Many of Vasiljevic's comments on Bart?k's study are classified here in the following categories: 1) comments in which he expresses agreement with Bart?k; 2) comments in which he gives precious supplements to Bart?k's observations; 3) comments in which he expresses disagreement with Bart?k: a) argument and b) with no evident arguments; 4) comments in which an incomplete understanding of Bart?k's findings is reflected; and 5) comments which indirectly refer to a professional aspect of Bart?k's work. Some of the comments, according to their wide, still unstudied subject matter, demand greater added elaboration and thus have not been covered in detail in this paper. Insight into Vasiljevic's comments on Bart?k's study is significant for experts outside Serbia who have little information on continuity in the development of the Serbian school of ethnomusicology, and are also important because of the huge degree of disproportion in the two scholars' work display.

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.

Historical review, catalog of type specimens and online database of the ichthyology collection of the Instituto de Ciencias Naturales of the Universidad Nacional de Colombia (ICN-MHN)

Zootaxa ◽  
2018 ◽  
Vol 4478 (1) ◽  
pp. 1
Author(s):  
JOSÉ IVAN MOJICA ◽  
HENRY D. AGUDELO-ZAMORA
Keyword(s):  
High Resolution ◽  
Historical Review ◽  
Online Database ◽  
Type Specimens ◽  
History Of ◽  
First Time

For the first time, the catalog of type specimens of ICN-MHN is presented with high resolution photographs. The catalog lists 87 species in 161 lots and includes 41 holotypes, 3 neotypes, and 117 lots of paratypes. Some doubts remain about type specimens of some species described by Miles and Dahl that were supposedly deposited at ICN-MHN. The history of the collection is reconstructed and valuable specimens once considered lost or destroyed have been rediscovered. The botanical and zoological collections of the ICN can be consulted online (http://www.biovirtual.unal.edu.co). 

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