scholarly journals Typical Texture Formulas in Contemporary Music for Button Accordion of Ukrainian Composers: Review and Systematization

2021 ◽  
pp. 65-71
Author(s):  
A. Stashevskyi
Keyword(s):  
System Analysis ◽  
Contemporary Music ◽  
Practical Significance ◽  
Musical Language ◽  
Modern Music ◽  
Urgent Task ◽  
Musical Works ◽  
Work Samples ◽  
First Time ◽  
Instrumental Texture

The relevance of the topic and problem statement. In the process of formation and development of the original style of button accordion music one of the most important roles is played by the factor of texture, which fully embodies the instrumental specificity of the button accordion, and reflects the originality of forms and varieties of musical fabric in button accordion works. The study of the peculiarities of texture organization, as well as highlighting the main trends in texture formation in modern button accordion music, in particular in the works of Ukrainian composers, is seen as an urgent task to understand the essence of the phenomenon of modern button accordion, and in general — to develop domestic musicology in instrumental art. In previous works of the author of this article, an attempt was made to systematize the textured formations of modern button accordion music, which are determined by the specifics of the design of button accordion keyboards (Stashevskyі, 2021). Continuing further study of the textured organization of modern music for button accordion, there is a need to identify and systematize other typical for this work samples of texture and its components, the structure of which is not due to the structural configuration of sound keys on button accordion keyboards. That is, those that are more universal, but, at the same time, are characterized as typical of modern button accordion art. The purpose of the study is to study the most typical textural elements and combinations of modern button accordion music, as well as their systematization based on the analysis of their internal structural organization. The methodology used in this article is based on the use of methods of theoretical musicology (primarily, analysis of elements of musical language and means of expression), as well as methods of structural and system analysis, generalization and classification. The results. The systematization of typical original texture formulas of modern button accordion creativity carried out in this work provides their division into certain groups and kinds (subgroups) in the middle of these groups, in particular: reverberation (chordal and mixed); stereophony (pulsation, transmission, unison); pedalling arpeggio (rhythmic, non­rhythmic); pedal scale (cluster crescendo); monophonic structural­modular constructions (chromatic by broken intervals; gamma­shaped­arpeggio based on a 5­element fingering group); chord transpositions (interval­algorithmic (chromatics; m3; m2­B2; etc.), thematic­melodic); simplified accompaniment (alternation of tessitura­polar sounds); multi­octave duplications (unison, decomposed­arpeggio). The topicality of the work lies in the fact that for the first time in modern musicology the textured elements of modern button accordion music have received analytical discourse and systematization. The practical significance of the work lies in the possibility of its use in theoretical courses on the study of button accordion art, as well as in the practical work of button accordionists. Conclusions. To sum up, we can state that the considered original textural elements and formulas are typical for modern button accordion music, as they occur in works in many cases. The typical button accordion texture formulas considered in this article, which are often found in the artistic plane of musical works, play an important role in the formation of a kind of stylistic handwriting of modern button accordion speech. At the same time, they, in contrast to the group of determinant texture formulas, reflect a certain universalism of their presentation, as they can be transferred to other instrumental texture (keyboard instruments) conditions and implemented in them.

scholarly journals USE OF ORGANIZATION AND ENGINEERING IN EVENT TOURISM

2020 ◽  
pp. 22-28
Author(s):  
Svitlana Tyshchenko ◽  
Taisiіa Chernyshova ◽  
Snizhana Mutasova
Keyword(s):  
System Analysis ◽  
Technical Support ◽  
Point Of View ◽  
Practical Significance ◽  
Wide Audience ◽  
Main Research ◽  
Goal Development ◽  
Effective System ◽  
Event Tourism ◽  
First Time

The article discusses the main problems of the implementation of event tourism in certain territories, which primarily include: short-term event; the scale of the event; placement in a natural area; lack of sufficient means of accommodation and services for tourists; style of events and the like. Goal. Development of an effective system of organizational and technical support for event tourism events. Methodology. The main research methods, in order to achieve the goal, are the analysis of engineering support, the classification of mobile homes for event tourism and the modeling of requirements for them based on the system analysis of event tourism technologies. Results. The organizational and technical support of event tourism activities proposed in the article will reduce the technogenic load on the local natural landscapes of natural areas in the places where event events are held. This will contribute to the formation of a higher culture, the style of their conduct, which will make it possible to undertake events of event tourism in regions that are even more attractive to a wide audience of tourists not only in our country, but also abroad. This method of organizational and technical support can also be used for holding rallies, forums, conferences and other events. Important for the success of the development of event tourism and the correct organization of organizational and engineering support is the formation of a calendar of events, which makes it possible to approach all future events in a planned manner, from the point of view of engineering and technical support, later will give its positive results. Scientific novelty. The current state of the use of mobile houses in event tourism on the territory of Ukraine is analyzed for the first time. For the first time, the calendar of the territory of the Stanishovskaya OTG of the Zhytomyr region was compiled for 2020-2021. Practical significance of the study lies in the fact that the compiled calendar of event tourism will be used by OTG "Stanishovskaya" in full and taking into account our recommendations regarding the holding of mass events.

scholarly journals СТРУКТУРУВАННЯ КОМПОЗИЦІЙНИХ ТА КОНСТРУКТИВНИХ ЗАСОБІВ ПРОЕКТУВАННЯ ОДЯГУ ДЛЯ ВАГІТНИХ

2019 ◽  
pp. 40-47
Author(s):  
І. В. Давиденко ◽  
Т. В. Ніколаєва ◽  
І. Л. Гайова
Keyword(s):  
Pregnant Women ◽  
System Analysis ◽  
Historical Context ◽  
Costume Design ◽  
Literary Analysis ◽  
Practical Significance ◽  
European Tradition ◽  
Technological Means ◽  
Visual Graphic ◽  
First Time

The  purpose  of  the  research  is  to  analyze  and  improve  the  structure  of  the  composition  and constructive  means  of  costume  design  for  future  mothers  through  the  prism  of  the  historical perspective of its development. In the process of doing the work used modern methods of research: literary analysis, historiography, systematic structural, morphological analysis and classification of artistic and composition elements. On the basis of literary and visual-graphic sources, an analysis of the evolution of constructive-technological means of creating clothes for pregnant women in the European tradition of the 15th-20th centuries is carried out and systematized design solutions for certain historical periods to satisfy the ergonomic, utilitarian, hygienic functions of the respective costume,  the  creation  of  psychological  comfort,  as  well  as  the  provision  of  social,  artistic  and aesthetic  functions. Next was the structuring  of composition and constructive means of creating comfortable clothes for pregnant women. Analysis of composition decisions was carried out on the basis of both historical and modern costumes. It was investigated that the use of the principles of transformation in pregnant clothes increases the versatility of products and extends the life of the work. The scientific novelty of research lies in the fact that for the first time a system analysis of the means of shaping and artistic expressiveness in designing special clothes for pregnant women was carried out based on an analysis of the evolution of the shaping of this type of costume in a historical context. It has been determined, systematized and structured the modern constructive-composite means of the design process of promising collections of clothes for pregnant women. The practical significance of the work lies in the development of scientifically based means of shaping special clothes for pregnant women to create collections of modern women’s suits that represent special clothes for pregnant women with improved functional and aesthetic qualities.

scholarly journals Own/Alien Concepts in Contemporary Philosophy and Cultural Studies

2020 ◽  
pp. 65-74
Author(s):  
Nataliia Otreshko
Keyword(s):  
System Analysis ◽  
Modern Science ◽  
The Other ◽  
Practical Significance ◽  
Comparative Approach ◽  
Contemporary Philosophy ◽  
Cultural Concepts ◽  
The Subject ◽  
Synthesis Methodology ◽  
First Time

The purpose of the article is to compare two approaches to analyzing the philosophical and cultural concepts of the Alien that are developing in modern science, to distinguish their specific features and to allow further synthesis. Methodology. System analysis will show the regularity and necessity of studying any encounter with the Other in social reality and must be correlated by the researcher with the configuration of power relations of competing discourses. Results. Drawing on a comparative approach, the author identifies that in both the concept of J. Lacan and the theory of subjection by J. Butler the Other / Alien is an integral part of the personality of the subject. This is a peculiar stage of its formation. Originality. For the first time, the study finds the idea of the subject as alien to oneself. The idea of forming a subject means the experience of communicating with oneself as someone else's (identity crisis), and one of the endpoints of such a process is accepting oneself in a new role, reconciling with oneself in the new capacity of the subject. Practical significance. The information contained in this work can be used for further research and development of methodological material for new courses of lectures and seminars on cultural philosophy and methodology for studying contemporary theories of culture.

scholarly journals Hearing [Hören] is Defenseless—without Listening [Hören]

2010 ◽  
Vol 13 (2) ◽  
pp. 27-50 ◽  
Author(s):  
Helmut Lachenmann
Keyword(s):  
Twentieth Century ◽  
Musical Language ◽  
Modern Music ◽  
Basis Point ◽  
The Common ◽  
The Creation ◽  
First Time

Composer Helmut Lachenmann published this seminal essay in 1985 in Germany, and it has since served as the basis point for a sustained reflection on the conditions of listening. It has also had a certain impact on the orientation of musicological research, particularly in Germany and France. Translated for the first time into English, Lachenmann begins by analyzing the place of modern music in society, in order to expand on a theory of listening which broaches phenomenological terrain: composing becomes the creation of new listening situations rather than the construction of a musical language in abstracto. Through a study of works of the standard repertoire (Beethoven) as well as through twentieth-century offerings (Webern and Lachenmann himself), he gives concrete examples of what a listening which is not "lulled to sleep by the common rituals" might be.

scholarly journals The Performance Gesture as a Theatrical Refl ection of New Contexts of Genre and Style in Contemporary Piano Music

ICONI ◽  
2019 ◽  
pp. 116-124
Author(s):  
Oleksandr O. Perepelytsia ◽  
Keyword(s):  
Theoretical Analysis ◽  
Performance Practice ◽  
Contemporary Music ◽  
Piano Music ◽  
Musical Language ◽  
Piano Performance ◽  
Modern Music

The article deals with the expressive role of gestures in the art of piano performance in relation to both classical and contemporary music. According to theoretical analysis, it is demonstrated that the issue of the performance gesture in contemporary music, in connection with the theatricalization of performance, as well as due to the fact that performance in many cases acquires the features of visual play-acting, stands out from the overall issue of artistry. The general provisions of the artistic gesture in contemporary piano music are complemented by multiple positions related to the art of playing the clusters, strings, pedals, using sound gestures, as well as theatricalization of the performed musical material. The article provides a detailed description of the categories of gestures adopted in the practice of modern music. They are: gestures related to performance of clusters; interspersed with verbal sounds in the process of playing the piano, the so-called verbal and sound gestures; related with playing on the strings by using fi ngers, sticks or other items; associated with playing pedals; theatricalized gestures. In conclusion: the expansion of the boundaries of musical language, and the emergence of performances and theatricalized compositions in performance practice has led to the expansion of the thesaurus of performance gestures’ and of its informative functions. In contemporary music gesture has become a bearer of meaning and forms one of the strata providing meaning to composition.

scholarly journals Perceptions of Audience on Soundpainting Performance

2018 ◽  
Vol 6 (10) ◽  
pp. 142
Author(s):  
Sonat Coskuner
Keyword(s):  
Sign Language ◽  
Contemporary Music ◽  
Point Of View ◽  
Visual Artists ◽  
Modern Music ◽  
Laboratory Environment ◽  
First Time

Today, contemporary music emerges as an experimental phenomenon trapped in the laboratory environment rather than an element of skill. Modern music, where principles such as specialism and rationality are determinative, has become difficult to understand not only for performers who carry it on the stage but also for today's audience. One of the works done in recent years is Soundpainting, which is based on improvisation and allows everyone to do this stage art. Soundpainting is the multidisciplinary live composing sign language for Musicians, Dancers, Actors and Visual Artists. Presently the language comprises more than 1750 gestures that are signed by the Soundpainter to indicate the type of material desired of the performers. The Soundpainter (the composer) standing in front (usually) of the group communicates a series of signs using hand and body gestures indicating specific and/or aleatoric material to be performed by the group. The Soundpainter develops the responses of the performers, molding and shaping them into the composition. In this research, it is aimed to determine the perceptions of the audiences who are listeners in a Soundpainting performance and at the same time performers in Soundpainting performance. The specify of this perception is important in terms of determine the attitude of the listeners fort he first time involved in the Soundpainting performance as well as bringing solutions to the problem of music and alienation from a different point of view.

Seeking attention: an eye tracking study of in-store merchandise displays

2015 ◽  
Vol 43 (6) ◽  
pp. 561-574 ◽  
Author(s):  
Patricia Huddleston ◽  
Bridget K. Behe ◽  
Stella Minahan ◽  
R. Thomas Fernandez
Keyword(s):  
Visual Attention ◽  
Eye Tracking ◽  
Purchase Intention ◽  
Product Information ◽  
Product Category ◽  
Practical Significance ◽  
Content Type ◽  
First Time ◽  
Tracking Technology

Purpose – The purpose of this paper is to elucidate the role that visual measures of attention to product and information and price display signage have on purchase intention. The authors assessed the effect of visual attention to the product, information or price sign on purchase intention, as measured by likelihood to buy. Design/methodology/approach – The authors used eye-tracking technology to collect data from Australian and US garden centre customers, who viewed eight plant displays in which the signs had been altered to show either price or supplemental information (16 images total). The authors compared the role of visual attention to price and information sign, and the role of visual attention to the product when either sign was present on likelihood to buy. Findings – Overall, providing product information on a sign without price elicited higher likelihood to buy than providing a sign with price. The authors found a positive relationship between visual attention to price on the display sign and likelihood to buy, but an inverse relationship between visual attention to information and likelihood to buy. Research limitations/implications – An understanding of the attention-capturing power of merchandise display elements, especially signs, has practical significance. The findings will assist retailers in creating more effective and efficient display signage content, for example, featuring the product information more prominently than the price. The study was conducted on a minimally packaged product, live plants, which may reduce the ability to generalize findings to other product types. Practical implications – The findings will assist retailers in creating more effective and efficient display signage content. The study used only one product category (plants) which may reduce the ability to generalize findings to other product types. Originality/value – The study is one of the first to use eye-tracking in a macro-level, holistic investigation of the attention-capturing value of display signage information and its relationship to likelihood to buy. Researchers, for the first time, now have the ability to empirically test the degree to which attention and decision-making are linked.

Research on Number of High-Pressure Grouting of Hierarchical Multiple for Slope Based on Reliability Analysis

2014 ◽  
Vol 716-717 ◽  
pp. 363-369
Author(s):  
Zhen Hua Xie ◽  
Dong Yang ◽  
Sha Sha Liang ◽  
Zhi Yun Jia
Keyword(s):  
High Pressure ◽  
Rock Mass ◽  
System Analysis ◽  
Rock Surface ◽  
Rock Permeability ◽  
Iron Mine ◽  
Probability Calculation ◽  
Before And After ◽  
Pressure Grouting ◽  
First Time

The technology of hierarchical multiple high-pressure grouting is an effective approach to manage high and steep slope of broken rock mass. The number of grouting is one of the key parameters of this technology. By the analysis of mechanics and grouting theory, the anchoring effect mainly is affected by anchor slurry vein and the contact area with rock mass. Based on the system analysis of slurry vein development for first time and many times high-pressure grouting, the process flow for hierarchical multiple high-pressure grouting is put forward. Serve the rock permeability changes before and after grouting as an indicator measuring slurry and rock surface area, the method of determining grouting number based on the reliable probability is got. Combined with the engineering example of Shouyun Iron Mine, this paper puts forward the reliability criteria of working state of hierarchical multiple high-pressure grouting. Through the probability calculation, the best number of grouting is 4 times. The tests of permeability of rock mass and drawing force verify the accuracy of this determination method.

scholarly journals "Exoticism” in the opera Gilgamesh by Rudolf Brucci in Ralph Locke’s “All the music in the full context” paradigm

Muzikologija ◽  
2013 ◽  
pp. 105-125
Author(s):  
Nemanja Sovtic
Keyword(s):  
Third World ◽  
Visual Representations ◽  
Musical Language ◽  
Musical Style ◽  
Creative Behavior ◽  
Musical Tradition ◽  
Musical Works ◽  
French Composers ◽  
The Third World ◽  
Horizon Of Expectations

In this text, Rudolf Brucci?s opera Gilgamesh is viewed in the light of Ralph Locke?s ?All the Music in the Full Context? Paradigm which promotes the approach that one should search for the exotic elements in musical works first in the discursive components (title, program, accompanying notes), visual representations (costume, scenery) and a ?horizon of expectations? of a particular culture, and only then to observe exoticism as the aspect of a musical style. In the light of this Paradigm, ?exoticism? of the opera Gilgamesh is detected at the level of the music material and compositional procedures, but not in the dramaturgical profiling of characters, narrative adaptation of the Sumerian epic, costumes and scenery. The plot, costumes and the scenery of the opera do not construct the Orient with either positive or negative projections attributed to it by the Western European Orientalist discourse, but portray Gilgamesh and Enkidu as ancient mythic protagonists on the margin of the (not-always) exoticist once/now binarism. The musical language of the opera, which abounds in the usage of oriental musical scales and citations, indicates that oriental/exotic was one of the author?s ?target levels? when conceiving and composing Gilgamesh. Brucci, however, did not build the ?ethnological model? in his opera, but gave oriental scales and ?exotic? musical citations their meaning within the Western musical tradition, which is why his approach can be compared with the ?veiled exoticism? of the French composers of the late nineteenth and the early twentieth centuries. In the light of the self/other binarism, reaching for the exotic in Gilgamesh can be presented as an auto-exotic creative behavior of Brucci as a composer who perceives his ?minority identity? in a relation to an imaginary referential system of the Center. However, I am more inclined to see Brucci?s identificational intention in his advocacy of the Yugoslav NAM (Non-Aligned Movement) project, and his dealing with the ?exotic? as part of his strategy to support cultural achievements of the Third World which predominantly participated in that project.

scholarly journals Scenographic Charac-ters of Tetiana Medvid. Figural, Architectural and Textural Attributes

2021 ◽  
pp. 111-117
Author(s):  
N. Rudenko-Kraievska
Keyword(s):  
Albert Camus ◽  
Visual Image ◽  
Primary Sources ◽  
Practical Significance ◽  
Hedda Gabler ◽  
Theater Studies ◽  
Theoretical Generalization ◽  
The Subject ◽  
Textural Attributes ◽  
First Time

The article for the first time examines the scenographic projects of Tetiana Medvid, which were created during the 70–90s of the XX century, in the theaters of Ukraine, with different directors, but united by one artistic technique — the creation of scenographic characters in the form of figural, architectural and textural elements of the stage scenery, which act as separate material characters and reveal the idea of the play. The purpose of the article is to find out the function of scenographic characters — created by figural, architectural and textural elements of stage scenery in the creative works of Tetiana Medvid within the system of effective scenography in terms of creating a visual image of the play. The subject of research — scenographic projects of Tetiana Medvid: “Threepenny Opera” by B. Brecht (1975), “Living Corpse” by L. Tolstoy (1975), “Do not shoot at white swans” by B. Vasilyev (1977), “Interrogation” by S. Rodionov, D. Liburkin (1979), G. Ibsen’s “Hedda Gabler” (1993), “In the Labyrinth” by V. Vynnychenko’s play “Nailed” (1996), “Christian’s Dreams” by H. Ch. Andersen, “Ole Lukoje” (1995), “Tartuffe” by Moliere (1999) on the stage of the Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre; and “Caligula” by Albert Camus (1998) at the Donetsk National Academic Ukrainian Musical and Drama Theatre named after Artem. Research methodology — use of the method of primary sources, conceptual analysis, the method of theoretical generalization. Results. It is determined that the main expressive element of most scenographic projects of T. Medvid were scenographic characters of different typological series, in particular characters in the form of figural, architectural and textural elements of stage scenery, and the basis of Tetiana Dmytrivna’s work were the principles of visual directing: idea, thought. Novelty. For the first time in Ukrainian art history, one of the typological series of the main means of expression of the outstanding scenographer — T. Medvid — was analyzed and systematized, namely — scenographic characters in the form of figural, architectural and textural elements of stage scenery. The practical significance lies in the possibility of using the presented information in scientific researches of art and theater studies, as well as collected and meaningful factual and illustrative material has the opportunity to become an integral part in further study of the work of scenographers of Ukraine.

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