scholarly journals Style evolution of Sting’s creativity

2021 ◽  
pp. 73-80
Author(s):  
O. Stetskovych
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Practical Significance ◽  
Modern World ◽  
Pedagogical Practice ◽  
Creative Activity ◽  
Cultural Significance ◽  
Stylistic Evolution ◽  
Musical Traditions ◽  
Modern Mass

The purpose of this article is to outline the evolutionary vector of the style evolution of G. M. T. Sumner’s (Sting) creativity. The methodology. The study is based on the comprehensive use of systematic, historical and cultural approaches, as well as methods of periodization and genre-style analysis. The results. The article analyzes the work of one of the recognized masters of world popular music — English musician G. M. T. Sumner, better known by the stage name Sting. The topicality of the chosen topic is due to the artistic and socio-cultural significance and genre and stylistic diversity of Sting’s creative work, which in the research space of modern musicology still remain poorly understood. The article considers the preconditions for the formation of Sting’s authorial style, reveals the key stylistic trends that shaped his individual authorial style, and highlights the personal and professional-artistic criteria of his creative activity. Embodying in one person the guise of a composer, poet, singer, guitarist and actor, G. M. T. Sumner (Sting) is a shining example of a modern universal artist. He illustrates by his own example typical genre-style metamorphoses of mass music of the late XX — early XXI century, revealing new paradigms of modern world music art. The stylistic evolution of Sting’s creativity is substantiated in accordance with the proposed concept of periodization of his creative activity. The main periods of the artist’s creative activity are outlined: 1) early (1977–1990); 2) mature (1991–2012) and 3) late (since 2013). The stylistic priorities inherent in each of these periods are described. The uniqueness and originality of Sting’s authorial artistic style lies in the peculiarity of his artistic thinking, which to some extent is based on the concept of stylistic pluralism. The stylistic evolution of Sting’s works represents his appeal to various stylistic models of modern mass music (rock, jazz, pop, reggae). At the same time, the artist’s stylistic search goes far beyond popular music, extending to the spheres of academic and ethnic musical traditions. The scientific novelty of this article is that this study for the first time reveals the stylistic evolution of Sting’s works, its periodization and identifies the main stages, identifies the leading genre and style features of the artist’s works and the characteristics of his artistic thinking. The practical significance of the article lies in the possibility of using its materials and conclusions in further research on this issue, in performing and pedagogical practice (in the courses “Music of the XX century”, “History and theory of modern music”, “History of rock music”, etc.).

Austropop: popular music and national identity in Austria

Popular Music ◽  
1992 ◽  
Vol 11 (2) ◽  
pp. 151-185 ◽  
Author(s):  
Edward Larkey
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Rock And Roll ◽  
Cultural Legitimacy ◽  
The Us ◽  
German Speaking ◽  
The 1950S ◽  
Musical Traditions ◽  
The 1960S ◽  
Mass Entertainment

The diffusion of rock and popular music from the US and British mass entertainment industries since the 1950s has had a profound impact on the music traditions world-wide. Several generations of youth have been socialised to the musical accompaniment of rock and roll music of the 1950s, the ‘beat music’ of the 1960s, the so-called ‘psychedelic’ or ‘underground’ rock music of the 1970s, disco, punk and new wave music in the 1970s and 1980s. It has resulted in the transplantation of these ‘foreign’ styles into music cultures with small groups of fan communities for rock and roll, country and western, blues, punk, reggae and others which were previously unheard of there before their introduction. In addition, domestic traditions have been profoundly affected by the diffusion of these new music styles and have integrated some of their musical, technical and other components into their own repertoires. The Schlager music in the German-speaking countries has been one of the most prominent in this respect, adapting syncopated rhythm but modifying its harmonic attributes in order to maintain its own prominence and cultural legitimacy in the music culture. Even the volkstümliche or folk-like music, a commercialised genre of traditional folk music, has undergone changes as a result of the diffusion of the newer forms of popular music. A third type of impact upon music tradition is that of ‘transnational’ or ‘transcultural’ styles. When imported musical and cultural innovations are mixed with domestic styles and traditions, these new styles and conventions are ultimately created. These, in turn, form a primary thrust in the cultivation and development of innovations in musical traditions, which eventually evolve into changes in the cultural identity of the particular country.

scholarly journals »Heimat im Koffer.« – »Oder über das Emigrantendasein. (Falls nicht zu traurig).«

Aschkenas ◽  
2014 ◽  
Vol 24 (2) ◽  
Author(s):  
Joachim Schlör
Keyword(s):  
United States ◽  
New York ◽  
Popular Music ◽  
Everyday Life ◽  
The United States ◽  
National Socialist ◽  
Weimar Germany ◽  
Musical Traditions ◽  
German Jewish ◽  
Insight Into

AbstractThe idea to create and stage a play called »Heimat im Koffer« – »A home in the suitcase« – emerged, I presume, in Vienna shortly before Austria became part of National Socialist Germany in 1938: the plot involved the magical translocation of a typical Viennese coffeehouse, with all its inhabitants and with the songs they sang, to New York; their confrontation with American everyday life and musical traditions would create the humorous situations the authors hoped for. Since 1933, Robert Gilbert (Robert David Winterfeld, 1899–1978), the son of a famous Jewish musician and himself a most successful writer of popular music for film and operetta in Weimar Germany, found himself in exile in Vienna where he cooperated with the journalist Rudolf Weys (1898–1978) and the piano artist Hermann Leopoldi (1888–1959). Whereas Gilbert and Leopoldi emigrated to the United States and became a part of the German-Jewish and Austrian-Jewish emigré community of New York – summarizing their experience in a song about the difficulty to acquire the new language, »Da wär’s halt gut, wenn man Englisch könnt« (1943) – Weys survived the war years in Vienna. After 1945, Gilbert and Weys renewed their contact and discussed – in letters kept today within the collection of the Viennese Rathausbibliothek – the possibility to finally put »Heimat im Koffer« on stage. The experiences of exile, it turned out, proved to be too strong, and maybe too serious, for the harmless play to be realized, but the letters do give a fascinating insight into everyday-life during emigration, including the need to learn English properly, and into the impossibility to reconnect to the former life and art.

Conditions for the development of the philosophy of non-violence in the modern world

2020 ◽  
pp. 337-352
Author(s):  
Tolganay V. Mustafina-Kulchmanova ◽  
Zhabayhan M. Abdildin ◽  
Kudaibergen A. Temirgaliev ◽  
Kuralay S. Yermagambetova ◽  
Manifa S. Sarkulova
Keyword(s):  
Public Opinion ◽  
Comparative Study ◽  
Political Science ◽  
Practical Significance ◽  
Modern World ◽  
Practical Application ◽  
Theoretical Methods ◽  
University Teachers ◽  
Analysis And Synthesis ◽  
And Behavior

This article addresses the issues of the genesis of non-violence and the practical application of non-violent practices in the context of modern realities. The phe-nomenon of non-violence is seen in close connection with violence, which is more often reflected in the form of wars, military clashes, and conflicts. The article pro-vides an analysis of the use of non-violent practices and the possibility of develop-ing peacekeeping in public opinion and behavior. During the preparation of this article, a review and comparative study of various literature aimed at studying non-violence were carried out. Together with the philosophical works, various ma-terials of a political science character are studied. In preparing this work, they were used as general theoretical methods, such as analysis and synthesis. At the same time, analogies, systematization, etc. were used. The materials of the article sug-gest practical significance for university teachers of humanitarian/philosophical specialties.

Music video in its contexts: popular music and post-modernism in the 1980s

Popular Music ◽  
1988 ◽  
Vol 7 (3) ◽  
pp. 247-266 ◽  
Author(s):  
Will Straw
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Surrounding Rock ◽  
Music Video ◽  
Post Modernism ◽  
Song Lyrics ◽  
Music Experience ◽  
To Come ◽  
The Individual

Writing on music video has had two distinctive moments in its brief history. The first wave of treatments tended to come from the culture surrounding rock music and from those who were primarily interested in music video as something which produced effects on that music. Here, two claims were most common, and generally expressed in the terms and the contexts of rock journalism:(1) that music video had made ‘image’ more important than the experience of music itself, with effects which were to be feared (for example, the potential difficulties for artists with poor ‘images’, the risk that theatricality and spectacle would take precedence over intrinsically ‘musical’ values, etc.);(2) that music video would result in a diminishing of the interpretative liberty of the individual music listener, who would now have visual or narrative interpretations of song lyrics imposed on him/her, in what would amount to a semantic and affective impoverishment of the popular music experience.

scholarly journals PEDAGOGICAL PRACTICE AS AN EFFECTIVE MEANS OF PROFESSIONAL TRAINING OF PRIMARY SCHOOL TEACHERS

2020 ◽  
Vol 66 (2) ◽  
pp. 198-204
Author(s):  
A.A. Kdyrbaeva ◽  
◽  
E.V. Ryabova ◽  
A.O. Abdykadyrov ◽  
◽  
...  
Keyword(s):  
Primary School ◽  
Professional Training ◽  
Effective Means ◽  
Special Role ◽  
Pedagogical Practice ◽  
Creative Activity ◽  
School Teachers ◽  
Primary School Teachers ◽  
The University ◽  
The Relationship

This article analyzes the problem of organizing the practice of students-future teachers of primary education in the University, describes the pedagogical conditions for the success and effectiveness of its implementation. The purpose of the article is to identify and justify the relationship between the student's creative activity and continuous practice during the entire period of study at the University. It is shown that pedagogical practice has a special role in preparing future primary school teachers for professional work, since practice generates a desire to discover new things, arouses interest in the studied, and forms students ' complete ideas about pedagogical activity, about the real ways of its knowledge and development.

scholarly journals The geotectonic evolution of Olympus Mt and its mythological analogue

2017 ◽  
Vol 47 (2) ◽  
pp. 574
Author(s):  
I.D. Mariolakos ◽  
Ε. Manoutsoglou
Keyword(s):  
Tectonic Evolution ◽  
Modern World ◽  
High Mountain ◽  
Cultural Significance ◽  
Ancient Greek ◽  
Greek Religion ◽  
Know How ◽  
Tectonic Processes ◽  
Of Greece

Mt Olympus is the highest mountain of Greece (2918 m.) and one of the most important and well known locations of the modern world. This is related to its great cultural significance, since the ancient Greeks considered this mountain as the habitat of their Gods, ever since Zeus became the dominant figure of the ancient Greek religion and consequently the protagonist of the cultural regime. Before the generation of Zeus, Olympus was inhabited by the generation of Cronus. In this paper we shall refer to a lesser known mythological reference which, in our opinion, presents similarities to the geotectonic evolution of the wider area of Olympus. According to Apollodorus and other great authors, the God Poseidon and Iphimedia had twin sons, the Aloades, namely Otus and Ephialtes, who showed a tendency to gigantism. When they reached the age of nine, they were about 16 m. tall and 4.5 m. wide. Having then realized their powers, because of their gigantic proportions, they decided to climb Olympus and fight the Gods, exile Zeus and the others, and wed two Goddesses. Otus was to marry Hera and Ephialtes Artemis. But they did not know how to climb such a high mountain, so they decided to construct a “ladder”, by putting mount Ossa on top of mount Olympus and mount Pelion on top of Ossa. This description coincides with the geological and tectonic evolution of the wider Olympus area. But, these complex tectonic processes were completed about 8 – 10 m.a., i.e. millions of years before the appearance of humans, therefore it is impossible that these morphotectonic processes were witnessed by man, so the similarities between the myth of Aloades and the tectonic evolution of the area must be purely coincidental. But are they, or is there more here?

scholarly journals Vectors of Liu Shikun’s Creative Activity in the Context of China Piano Art of the Second Half of the XX — Beginning of the XXI Century

2021 ◽  
pp. 81-85
Author(s):  
Ke Wang
Keyword(s):  
Performing Arts ◽  
Scientific Information ◽  
Careful Analysis ◽  
Practical Significance ◽  
Creative Activity ◽  
Music Schools ◽  
Leading Role ◽  
The World ◽  
Music Community ◽  
Source Studies

Problem statement and its relevance. One of the pioneers of Chinese contemporary piano art, whose creative activity certainly contributed to its formation, further rapid rise and recognition of creative achievements on the world art horizon, is a prominent pianist — Liu Shikun, who today has received complete recognition as a brilliant performer, composer and teacher thus marked the beginning of the so­called piano boom in China, and with it — the gradual formation and confident rise of the Chinese piano school. If various aspects of contemporary Chinese performing arts have repeatedly been subjected to musicological discourse in the scientific community, the direct and comprehensive coverage of Liu Shikun’s leading role in the process of forming the foundations of Chinese piano performing arts, as well as careful analysis and representation of his creative achievements and pedagogical fields are still relevant for basic musicological research. The purpose of this article is to highlight and analyze the main vectors of creative activity of the famous Chinese musician Liu Shikun in the context of the development of piano art in China in the second half of the XX — early XXI centuries. The methodology of the work focuses on the principles of historicism and source studies, which provides coverage of Liu Shikun’s musical work in a single context with cultural, historical and artistic phenomena and their interaction. In addition, methods of retrospective, structural­system analysis, interpretation of facts, argumentation and generalization are involved. The results obtained during the achievement of the goal of this work focus on the representation and characterization of Liu Shikun’s creative achievements in the field of concert performance, teaching and composition and the artist’s contribution to the development of Chinese piano culture. The topicality of the article lies in the first attempt in Ukrainian musicology to comprehensively cover the main directions of creative activity of the famous Chinese pianist Liu Shikun in the projection of his influence on the formation of the current state of Chinese piano art. The practical significance of the facts and analysis of the main vectors of Liu Shikun’s creative activity carried out in this work is the possibility of using this material in courses on the history and theory of modern piano art, in particular in sections on the Chinese piano school, as well as for further more thorough research of Liu Shikun’s musical creativity, systematization of scientific information on his contribution to the development of musical art of this country. Conclusions. Summarizing the above given material, it should be noted that the fruitful and multifaceted work of this artist directly influenced the development and professionalization of piano performance in China at that time. This influence was due to the comprehensive recognition of the artist’s creative achievements by the world music community, in particular through numerous concert performances in leading countries (especially in partnership with leading orchestras and outstanding musicians); creation of original samples of concert repertoire on the basis and with specificity of the Chinese traditional melody; organization of a dense network of author’s music schools (art centers) and formation of the foundations of the Chinese national piano pedagogy.

scholarly journals The Enduring Value of Children’s Music by D. B. Kabalevsky as a Subject of Mastering by Young Pianists

2019 ◽  
Vol 7 (3) ◽  
pp. 94-104
Author(s):  
Marina V. Smirnova ◽  
Anna A. Shtrom
Keyword(s):  
Social Activity ◽  
The State ◽  
Pedagogical Practice ◽  
Creative Activity ◽  
Children's Music ◽  
Educational Role ◽  
Piano Cycle ◽  
Shadow It ◽  
Art Schools

This article analyzes pages from the piano heritage of D. Kabalevsky, which is addressed to the children studying in children musical schools and art schools. The creative image of the musician is revealed through the prism of his multifaceted artistic and social activity, the assessment of which has undergone some revision nowadays. The article also discusses the reasons of why many previously popular works of famous Soviet composers have faded into the shadow. It is emphasized that Kabalevsky was a graduate of the Piano Faculty of the State Moscow Conservatory and has inherited the wonderful traditions of his teacher, A. B. Goldenweiser. The best traditions of the Moscow piano school are used by Kabalevsky as bases in his creative activity, which acquires specific value in the field of music. Today, when the method of young musicians training is going through innovative transformations, this aspect should be especially considered. The high artistic and instructive value of the composer’s piano heritage is noted. The pieces of the piano cycle “From the Pioneer Life,” op. 14, are methodologically analyzed. It is concluded that Kabalevsky’s cycles addressed to children have not lost their artistic and pedagogical value and therefore can be used in the modern pedagogical practice in their entirety. As for the cycles dedicated to the pioneers’ life, they could play an important educational role by raising the younger generation’s interest in one of the most captivating pages of the country’s past.

Riot grrrls and shredder bros: Punk ethics, social justice and (un)popular popular music at School of Rock

2021 ◽  
Author(s):  
Kayla Rush
Keyword(s):  
United States ◽  
Social Justice ◽  
Popular Music ◽  
Rock Music ◽  
Frame Analysis ◽  
Status Quo ◽  
Music Teaching ◽  
Riot Grrrl ◽  
Cultural Status

This article presents a case study of riot grrrl music in a School of Rock franchise in the Midwestern United States. It presents the school as a place in which gender is bound up in specific notions of what it is to play rock music, notions that directly inform what constitutes popular popular music within this context. The article examines the Riot Grrrl project using frame analysis, presenting and discussing three frames through which riot grrrl was taught: as music, punk ethics and social justice. It examines a case of frame conflict as played out in a disagreement between the programme’s two male instructors. It suggests that multi-frame approaches to popular music teaching, including clashes that may arise from conflicting frames, are effective in disrupting the musical-cultural status quo and in creating spaces in which students may productively and empathetically encounter the unpopular popular music of marginalized musical ‘Others’.

Sign in / Sign up

Export Citation Format

Share Document