scholarly journals КОМПОЗИЦІЙНИЙ ВПЛИВ КАМЕРНІЗАЦІЇ ЯК ОДИН З ФАКТОРІВ СТАНОВЛЕННЯ ДРАМАТУРГІЧНОГО ПРОЦЕСУ У КОНЦЕРТНИХ ТВОРАХ ДЛЯ ФОРТЕПІАНО З ОРКЕСТРОМ ХХ СТОРІЧЧЯ

World Science ◽  
2018 ◽  
Vol 2 (12(40)) ◽  
pp. 56-59
Author(s):  
Решетілов Б. Ю.
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Chamber Orchestra ◽  
Special Kind ◽  
Semantic Content ◽  
Semantic Component ◽  
The Subject ◽  
Innovation Patterns ◽  
Compositional Properties

The subject of this research is to consider the compositional properties of the chamber tendency in relation to drama in compositions for solo instruments within a chamber orchestra. As twentieth century composers' raised interest in chamber-orchestral concert genres, this caused a number of consequences affecting the formation of dramatic specifics. Some of these include those trends of chamber tendency, which relate to timbre, form, genre, neoclassical manifestations, aesthetics, character directivity, etc. Revision of the semantic component of the chamber orchestra toolkit can appear as a movement towards single-timbre or an emphatic ensemble style. Neoclassical trends through the prism of chamber tendency influence the semantic content of character spheres. Keeping and development of chamber-instrumental music traditions create a special kind of musical material presentation, manifested in the deepening of the sphere of individualization and characterization of a subject. Genre orientation, addressed to the rebirth of the main achievements of past epochs, affects not only the semantic load of character spheres, but also a drama in general. Overall miniaturization as one of tendencies of the twentieth century in the context of the chamber nature leaves its trace in formation of character spheres as a tendency to concentration or continuity. Thus, in general, in the concert genre of the twentieth century the specific innovation patterns are created in the formation of conceptual intonation of character dramaturgy.

scholarly journals 7. Stylistic Considerations on Scene No. 8 from the Musical Performance PreȚioasele Ridicole [The Affected Young Ladies] by Vasile Spătărelu

2021 ◽  
Vol 21 (1) ◽  
pp. 46-55
Author(s):  
Alexandru Radu Petrescu
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Musical Theater ◽  
Complete Characterization ◽  
The Public ◽  
Compositional Model ◽  
Interpretive Analysis ◽  
The Subject ◽  
Film Scripts

Abstract Molière is one of the playwrights who not only marked and defined the seventeenth century in France, but, creator of the modern comedy and discoverer of the authentic comic, contributed fully to educating the public in his present and for the future. His comedies have stood the test of time, as they resonated with the audience, which found itself in them. In the twentieth century, his plays entered the artistic territories adjacent to the theater trough other creators, who turned them into film scripts and librettos for musical theater. The subject of our research is a fragment pertaining to the farcePrețioasele ridicole [The Affected Young Ladies] turned into a musical show under the signature of Vasile Spătărelu. An important name in Romanian music, creator with great melodic imagination, harmonic refinement and perfect literary taste, the composer from Iași made a possible compositional model for the genre, which is part of the Romanian musical show’s route opened by Paul Constantinescu and Pascal Bentoiu. His work is distinguished by the stylistic area to which it adheres, by rhythm and vivacity, by the original combination between the spoken and the sung text, by the ingenious architecture of the scenes, by the adequacy of the writing technique to the desired effect and expression. Fully requesting all the resources of the interpreters, we consider that the analysis of the important moments is very useful to them. If pages of theatrical exegesis were dedicated to the characters Magdelon and Cathos, for Mascaril we did not identify something similar, much less a stylistic-interpretive analysis from a musical perspective. In order to achieve a complete characterization of the character, useful to potential student performers, we will comment on the first segments of the Scene no.8 in which Mascaril’s “identity” is established, as he presents himself in front of the two “precious ones”. (the entrance and the monologue).

scholarly journals Twenty-First Century Male Elegance Amongst Elegantly-Dressing Polish Males and Self-Declared “Dandies”

2021 ◽  
Vol 40 (2) ◽  
pp. 71-92
Author(s):  
Grzegorz Maciejewski ◽  
Dawid Lesznik
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Social Movement ◽  
First Century ◽  
Questionnaire Study ◽  
Market Segment ◽  
The Subject ◽  
Twenty First Century ◽  
New Millennium

Abstract Dandyism was a thriving philosophical and social movement amongst elegant men of the nineteenth century. The prevailing conviction in the literature on the subject is that the dandy trend began to gradually disappear in the twentieth century, whereas in the new millennium it essentially no longer exists, or at best exists only as a mere shadow of itself. Herein we report a questionnaire study of elegantly-dressing Polish males regarding their behaviour on the fashion market, seeking to gain an better image of this particular market segment and at the same time to identify the features of contemporary dandies and possible connections with the “metro” style. The results indicate that dandyism (at least in the respondents’ opinion) is still a lively and thriving e-consumer community, which clearly differs in terms of certain features from metrosexualism. However, the modern-day “dandies” cannot easily be considered heirs to the ideals of their nineteenth-century counterparts. Our findings, in particular the characterization of twenty-first-century elegant-dressing men in Poland, may be of use to fashion brands in the broader men’s elegance segment.

Britten's use of the Passacaglia

Tempo ◽  
1970 ◽  
pp. 2-6
Author(s):  
Darrell Handel
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Song Cycle ◽  
The Other ◽  
High Point ◽  
Impending Death ◽  
Peter Grimes ◽  
The Subject ◽  
Vocal Works

Among twentieth-century composers Britten and Hindemith are those who have made perhaps the most notable use of the passacaglia—one of the few points of affinity between them. To Hindemith, predominantly a composer of instrumental music of sonata or symphonic proportions, the passacaglia is a confirming movement. It confirms a tonal centre, recalls earlier thematic material, and in general gives a sense of finality through its systematic progress and growth. Britten too has used the passacaglia as a confirming finale, but he also employs it to create a point of stability around which other movements can gravitate. More important, he has found its tension-building qualities a good means for expressing and intensifying certain moods in his operas and vocal works, where the passacaglia's persistent ground becomes a kind of animated pedal-point that supports the unfolding of the dramatic situation. The contrapuntal polarity between the ground and the expressive flow of the vocal line is one that is carefully controlled to convey the text's innermost expression. He often elevates the passacaglia to some crucial dramatic high point of an opera or song-cycle to reflect on a tragedy or intensify a dialogue. Several examples immediately come to mind associated with the subject of death. The well-known passacaglia in Peter Grimes, an instrumental interlude between scenes, depicts the derangement of Grimes and is, as it were, oppressed with the sense of his impending death. In The Rape of Lucretia there is a dramatic passacaglia after Lucretia's suicide, in which the other characters express their feelings on the finality of death.

scholarly journals Interpretation of Predicative Non-Assertive Relations in Structure of Utterance in Discourse of Russian Orthodox Sermon

2021 ◽  
pp. 9-27
Author(s):  
V. A. Burtsev
Keyword(s):  
Syntactic Structure ◽  
Semantic Content ◽  
Russian Orthodox ◽  
Linguistic Expression ◽  
Religious Ideology ◽  
The Status ◽  
The Subject ◽  
The Moment ◽  
Specific Manifestation

The categorical affiliation and semantic characteristics of propositions that do not have the status of assertions in the current utterance are considered. Such propositions are denoted by the term “pre-conservative”. It is shown that the preassertive status of propositions is determined by two main factors: the grammatical factor of precedence / following of explicit or implicit predication with respect to the moment of speech and the discourse factor of presentation in the proposition of the preassertive information reflecting religious mentality and religious ideology. The action of these factors gives rise to the phenomenon of asubjectivation. With asubjectivization, the semantic content of a linguistic expression is determined only by the properties of the described situation, and not by the locutionary activity of the subject of speech. It has been established that whole sentences, including those with non-propositional meanings, can receive the “pre-passive” status. It is shown that, in terms of some properties, the preassertive is comparable to a number of units of different articulations of the semantic-syntactic structure of an utterance, however, its specific manifestation in connection with asubjectivation proves that this is a special category in relation to explicit predication. The research was carried out on the basis of the material of the Russian Orthodox sermon. The novelty of the research consists in the characterization of the preassertive as a new syntactic relation on the axis “assertion — non-assertive component” of the utterance. Relevance is determined by the fact that the work develops a fundamentally new aspect of the study of subjectivity in language.

Cloud, Precinct of the Theological-Historical

2018 ◽  
Vol 20 (3) ◽  
pp. 277-291 ◽  
Author(s):  
Joan Copjec
Keyword(s):  
Twentieth Century ◽  
German Idealism ◽  
Islamic Philosophy ◽  
Switch Point ◽  
Late Work ◽  
The Subject ◽  
Imaginal World ◽  
Unity Of God

Regarded by many as the pre-eminent Islamicist of the twentieth century, Henry Corbin is also the subject of much criticism, aimed primarily at his supposed overemphasis on the mythological aspects of Islamic philosophy and his idiosyncratic privileging of the concept of the imaginal world. Taking seriously an unusual claim made by Steven Wasserstrom in Religion after Religion that the redeployment of Schelling's concept of tautegory by Corbin reveals all that is wrong with his work, this essay seeks to defend both the concept and Corbin's use of it. Developed by Schelling in his late work on mythology, the concept of tautegory turns out to be, for historical and theoretical reasons, a revelatory switch point. Not only does it make clear why the imaginal ‘locus’ is key to understanding the unity of God – the oneness of his apophatic and revealed dimensions – it also gives us profound insights into the links connecting Islamic philosophy, German Idealism, and psychoanalysis, which all take their bearings from the esoteric or mystical idea of an unconscious abyss.

Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch

2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Primary Source ◽  
Gender And Sexuality ◽  
Benjamin Britten ◽  
Twentieth Century Music ◽  
History Of ◽  
Music Research ◽  
Symphonic Music ◽  
Biographical Knowledge

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.

Historical Fragments’ Mobile Echo

Transfers ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 115-119 ◽  
Author(s):  
Susan E. Bell ◽  
Kathy Davis
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural Revolution ◽  
Ming Dynasty ◽  
Third Century ◽  
Refugee Crisis ◽  
The Third ◽  
Opium War ◽  
The Subject

Translocation – Transformation is an ambitious contribution to the subject of mobility. Materially, it interlinks seemingly disparate objects into a surprisingly unified exhibition on mobile histories and heritages: twelve bronze zodiac heads, silk and bamboo creatures, worn life vests, pressed Pu-erh tea, thousands of broken antique teapot spouts, and an ancestral wooden temple from the Ming dynasty (1368–1644) used by a tea-trading family. Historically and politically, the exhibition engages Chinese stories from the third century BCE, empires in eighteenth-century Austria and China, the Second Opium War in the nineteenth century, the Chinese Cultural Revolution of the mid-twentieth century, and today’s global refugee crisis.

The Image of the Accountant in a German Context

2004 ◽  
Vol 4 (1) ◽  
pp. 62-89 ◽  
Author(s):  
Andreas Hoffjan
Keyword(s):  
Content Analysis ◽  
Empirical Study ◽  
Cost Reduction ◽  
Maximum Degree ◽  
Work Ethic ◽  
Personal Characteristics ◽  
Management Accountant ◽  
The Subject ◽  
Professional Context

This study introduces content analysis as a method of examining the accountant's role. The empirical study is based on 73 advertisements, which are directed primarily at employees who are affected by the management accountant's work. The findings of the study indicate that the subject of accountancy is used particularly in connection with promises of “cost reduction.” Consequently, the majority of advertisements use the accountant stereotype of “savings personified.” In a professional context, the work ethic of the management accountant is given particular emphasis in the advertisements. He/she identifies him/herself with his/her task to the maximum degree, is regarded as loyal to his/her company and, for the most part, is well organized in his/her work. However, the characterization of the management accountant as a well disciplined company-person conflicts with the negative portrayal of his/her professional qualities. In advertisements, the management accountant is portrayed as a rather inflexible, passive, and uncreative specialist who, as a result of these qualities, often demotivates others. The personal characteristics of the management accountant are shown in a negative light. This gives him/her the unappealing image of a humorless, envious, dissociated, and ascetic corporate-person.

Rhythm

2018 ◽  
Author(s):  
Lexi Eikelboom
Keyword(s):  
Social Sciences ◽  
Twentieth Century ◽  
Human Existence ◽  
Embodied Experience ◽  
Giorgio Agamben ◽  
The Social ◽  
Contemporary Philosopher ◽  
The Subject ◽  
The Difference ◽  
Theoretical Category

This book argues that, as a pervasive dimension of human existence with theological implications, rhythm ought to be considered a category of theological significance. Philosophers and theologians have drawn on rhythm—patterned movements of repetition and variation—to describe reality, however, the ways in which rhythm is used and understood differ based on a variety of metaphysical commitments with varying theological implications. This book brings those implications into the open, using resources from phenomenology, prosody, and the social sciences to analyse and evaluate uses of rhythm in metaphysical and theological accounts of reality. The analysis relies on a distinction from prosody between a synchronic approach to rhythm—observing the whole at once and considering how various dimensions of a rhythm hold together harmoniously—and a diachronic approach—focusing on the ways in which time unfolds as the subject experiences it. The text engages with the twentieth-century Jesuit theologian Erich Przywara alongside thinkers as diverse as Augustine and the contemporary philosopher Giorgio Agamben, and proposes an approach to rhythm that serves the concerns of theological conversation. It demonstrates the difference that including rhythm in theological conversation makes to how we think about questions such as “what is creation?” and “what is the nature of the God–creature relationship?” from the perspective of rhythm. As a theoretical category, capable of expressing metaphysical commitments, yet shaped by the cultural rhythms in which those expressing such commitments are embedded, rhythm is particularly significant for theology as a phenomenon through which culture and embodied experience influence doctrine.

The Origins of Progressive Education

2001 ◽  
Vol 41 (1) ◽  
pp. 1-24 ◽  
Author(s):  
William J. Reese
Keyword(s):  
Twentieth Century ◽  
Progressive Education ◽  
Academic Standards ◽  
Popular Press ◽  
Economic Productivity ◽  
Educational Discourse ◽  
Child Centered ◽  
The Subject ◽  
Way Of Thinking

By the dawn of the twentieth century, a new way of thinking about the nature of the child, classroom methods, and the purposes of the school increasingly dominated educational discourse. Something loosely called progressive education, especially its more child-centered aspects, became part of a larger revolt against the formalism of the schools and an assault on tradition. Our finest scholars, such as Lawrence A. Cremin, in his magisterial study of progressivism forty years ago, have tried to explain the origins and meaning of this movement. One should be humbled by their achievements and by the magnitude of the subject. Variously defined, progressivism continues to find its champions and critics, the latter occasionally blaming it for low economic productivity, immorality among the young, and the decline of academic standards. In the popular press, John Dewey's name is often invoked as the evil genius behind the movement, even though he criticized sugar-coated education and letting children do as they please. While scholars doubt whether any unified, coherent movement called progressivism ever existed, its offspring, progressive education, apparently did exist, wreaking havoc on the schools.

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