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.

scholarly journals Experiencing Folk Music in Children

2020 ◽  
Vol 22 ◽  
Author(s):  
Konstanca Zalar
Keyword(s):  
Folk Music ◽  
Social Role ◽  
Symbolic Play ◽  
Musical Language ◽  
Musical Culture ◽  
Music Making ◽  
Slovene Language ◽  
Social Competences ◽  
Phenomenological Case Study

Through everyday exposure to language and music, individuals within a nation become sensitive to the melodic and rhythmical structure of their folk musical culture. It represents improvisational abilities of individuals and groups as well. Despite all changes, it indisputably maintains all characteristic of music parameters as inheritance of past ages. Due to its social role, it appears throughout everyones life and it also represents an important part of childrens life. In the study that was carried out with two groups of children between six and nine years of age, we were interested in determining how do children experience music making with elements of folk music and how it is possible to create the circumstances which can provide the spontaneity of folk music within the structured environment (like primary school). The research was designed as a phenomenological case study. This method allowed us to gather data which provided a deeper insight into the ways in which participants are able to play using elements of folk music and the way they feel while using such material. The results show that, contrary to the basic fact of spontaneity in folk music, 6 and 7 year old participants were not able to use music parameters to play with and had yet to learn how does the symbolic play on the basis of communication in musical language work out. The most natural way to bridge the gap between learning songs and experiencing individual musical expression in a manner of folk music in children seems to be a creative work with lyrics in Slovene language. We also found that children develop social competences of a great value, when they are involved in a symbolic play with folk music elements in the improvisational mode. Key words: folk music; improvisation; music language; music making

scholarly journals TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE

2021 ◽  
pp. 3-7
Author(s):  
Daryna Lukava
Keyword(s):  
Folk Music ◽  
Folk Song ◽  
Musical Drama ◽  
Musical Culture ◽  
Art Form ◽  
Ancient Times ◽  
Professional Genres ◽  
Time To Learn ◽  
The One ◽  
Xix Century

The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays. The object of the research is the nativity drama within the opera art of Ukraine. The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture. It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays. The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology. The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out. The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.

scholarly journals Problems of variability of the musical genre reng in the mugham performing arts of youth

2021 ◽  
pp. 68-74
Author(s):  
Fidan Ildyrymly
Keyword(s):  
Folk Music ◽  
Instrumental Music ◽  
Performing Arts ◽  
Musical Language ◽  
Musical Culture ◽  
Sheet Music ◽  
Sound Recordings ◽  
Musical Genre ◽  
Further Development ◽  
Musical Heritage

Consideration of the variability of the musical genre of rang in mugam performing arts showed that ranks arose and developed in the art of mugam as a form of vocal-instrumental music. Their melodic structure is directly related to the sections of mugam. There are numerous varieties of this relationship. Based on the analysis of the musical notation of the ranks, it was determined that in practice of performing mugam the ranks are directly related to the vocal-instrumental mugam, and this is especially important for their compositional structure. In this regard, in almost every version of mugham destgahs there is a set of different ranks, including tesnifs. The analysis of various musical records of the ranks in the musical performing arts helps to identify the features of the manifestation of this form of folk music in mugam, as well as the further development of this musical genre and musical culture as a whole. We consider it appropriate to study, primarily, the vocal-instrumental interpretation of mugham when studying mugam destgyahs and the melodic interconnections of rangs and tesnifs with sections (shobe) of mugam. After analyzing various musical notations of mugam dastgahs, we were able to trace how rengi relate to mugam shobe. It can be noted that many rengi are used in the recordings of these works associated with various performances in relation to various shobe of mugams. This feature is inherent in various mugham dastgahs – "Shur", "Segah", "Chahargah", "Bayati-Shiraz", "Shushter", "Humayun", etc. All this can be traced in musical notations, as well as in live mugham singing and sound recordings, which helps to determine the numerous variants of rengs related to these mugams. Within the framework of each mugham, dozens of rengs were created and included in musical practice. Part of this rich musical heritage is captured and preserved in sound recordings and sheet music. We believe that it is advisable to study rengi, grouping them into mugham families in order to analyze their musical language and reveal their inherent variability.

If Looks Could Kill

2020 ◽  
Vol 3 ◽  
pp. 81-84
Author(s):  
Karen Chan
Keyword(s):  
Skin Color ◽  
Daily Rhythm ◽  
Significant Rate ◽  
Chinese Canadian ◽  
First Time ◽  
The Way

For me, rhythm means having consistency. The piece highlights my own experience with the disruption of my daily rhythm due to COVID-19. The first half shows my routine and interactions prior to COVID-19 while the second half shows my experiences in the present day. Prior to the virus, I had a day to day routine that was filled with noise. Everyday moved quickly and I established a daily rhythm. However, when COVID-19 spread, it changed everything. I felt like I didn’t have a routine anymore because I wasn’t allowed to go anywhere. Time was moving much slower and worst of all, xenophobia was growing at a significant rate. As a Chinese Canadian, this was the first time I truly felt the weight of the color of my skin. COVID-19 changed the way that I consistently assumed that the color of my skin wasn’t something that strangers would significantly care about. However, as I got on a bus, I unintentionally scared a woman simply because of my skin color. From that point, I knew that xenophobia would affect the way people perceived me everyday. The woman was scared of the virus— which in turn was scared of me—and I was scared that she would thwart her anger towards me because I am Chinese. If looks could kill, then the woman and I ironically both feared each other. Now, due to COVID-19, I am adapting to a new routine. A routine where the color of skin rings louder than any other sound.

THE CLASSIC GENRE OF THE ORAL TRADITION OF AZERBAIJAN IS "MUGHAM"

2020 ◽  
pp. 6-10
Author(s):  
Mammadov R.
Keyword(s):  
Folk Music ◽  
Oral Tradition ◽  
Single System ◽  
Musical Culture ◽  
Musical Tradition

This article is dedicated to the classical mugham genre. It analyzes the main genres of musical culture in Azerbaijan. The author studies the process of emergence of this genre, as well as its main types. Studies folk and national musical art, analyzes the classification of all genres of the oral musical tradition and combines them into a single system of genres of Azerbaijani folk music.

scholarly journals The notion of ‘employer’: Towards a uniform European concept?

2021 ◽  
pp. 203195252199115
Author(s):  
Matthijs van Schadewijk
Keyword(s):  
Functional Approach ◽  
Working Relationships ◽  
Eu Law ◽  
Member States ◽  
Corporate Groups ◽  
European Legislation ◽  
Contractual Approach ◽  
First Time ◽  
The Eu ◽  
The Way

The growth in multilateral working relationships (e.g. agency work, chains of sub-contracting and corporate groups) is causing Member States to increasingly scrutinise their traditional, contractual approach to the notion of ‘employer’. So far, little attention has been paid to the boundaries and limits that EU law sets when defining the employer. The lack of attention may have come to an end with the recent AFMB judgment, in which the Court ruled, for the first time, that the concept of employer in a provision of EU law had to be given an autonomous and uniform interpretation throughout the EU. Starting from the AFMB judgment, the author analyses the concept of employer in EU law. The author finds that the concept of employer in EU law can be described as ‘uniform in its functionality’: in EU law, the national concept of the employer is never absolute, but the circumstances and the way in which the national concept must be set aside depend on the context and the objective of the European legislation in question. Through this functional approach, EU law partly harmonises the various national approaches to the concept of the employer. Nevertheless, a lack of specific reasoning on the part of the Court may grant the Member States considerable leeway to uphold their own views on the concept.

HERODOTUS BECOMES INTERESTED IN HISTORY

2014 ◽  
Vol 61 (1) ◽  
pp. 1-6
Author(s):  
David Harvey
Keyword(s):  
Major Part ◽  
The Real ◽  
Final Draft ◽  
First Time ◽  
The Temple ◽  
Greek World ◽  
The Way

At 3.60 Herodotus tells us that he has dwelt at length on the Samians because ‘they are responsible for three of the greatest buildings in the Greek world’: the tunnel of Eupalinos, the great temple, and the breakwater that protects their harbour. As successive commentators have pointed out, that is not the real reason for the length of his account. We hear about the tunnel for the first time in this chapter (60.1–3); Maiandrios escapes down a secret channel at 146.2, which may or may not be Eupalinos' tunnel; we hear about the temple of Artemis, not of Hera, at Samos in 48; dedications in the temple of Hera are mentioned in passing at 1.70.3, 3.123.1, 4.88.1, and 4.152.4, but the temple itself cannot be said to play a major part in Herodotus' narrative; naval expeditions sail from Samos (e.g. 44.2, 59.4) but there is no emphasis on the harbour or its breakwater. What Herodotus should have said is ‘I have dwelt at length on Samos, because I am interested in the island's history; and, by the way, they are responsible for three…’; but it is not our job to tell him what he ‘should’ have said. As David Asheri remarks, ‘We can explain it [the length of the Samian logos] most simply by supposing that the logos already existed before the final draft of the book’.

THE FLAGELLATION, MOVEMENT, AND ENCYSTMENT OF SOME PHYCOMYCETOUS ZOOSPORES

1962 ◽  
Vol 8 (6) ◽  
pp. 897-904 ◽  
Author(s):  
W. E. McKeen
Keyword(s):  
Short Distance ◽  
Pythium Aphanidermatum ◽  
Concave Side ◽  
Central Axis ◽  
Saprolegnia Parasitica ◽  
Anterior Flagellum ◽  
Posterior Flagellum ◽  
Phytophthora Fragariae ◽  
First Time ◽  
The Way

The anterior flagellum of the zoospores of Phytophthora fragariae, P. megasperma, P. cambivora, Saprolegnia parasitica, Achlya americana, and Pythium aphanidermatum projects straight in front of the zoospore and never moves except during encystment whereas the posterior flagellum is active during the swimming period. In the secondary zoospore the anterior and posterior flagella are attached a short distance apart in the center of the depression on the concave side and respectively pass forward and backward through a groove and form a central axis about which the zoospore rotates. Hyaline vesicles which also have been called beads or paddles form at the base of the flagella at the beginning of encystment and glide part or all the way down the flagella. Movement of flagella after they are released from the zoospore is reported for the first time. Encystment may result from contact stimulus except in the case of Allomyces anomalus. A filament on which vesicles may occur may be secreted or retracted by the Allomyces zoospore.

Musical Culture To-day: A Sociological Note

Tempo ◽  
1944 ◽  
pp. 104-107
Author(s):  
W. H. Mellers
Keyword(s):  
New Technique ◽  
Musical Culture ◽  
The Public ◽  
Look Back ◽  
Good Music ◽  
Adequate Provision ◽  
Post War ◽  
The Way

We are often told that there is to-day a promising efflorescence of musical culture in this country; that the public for ‘good’ music is growing rapidly; and that more adequate provision must be made for music in the post-war reconstructed world. Substantially I believe all this is true; but it does also seem to me that much potential cultural vitality may be wasted if these conclusions are accepted too easily, without enquiry into the premisses on which they are based. What do we mean by musical culture? What do we expect music to give us? The mere quantity of music played tells us nothing; we want to know what kind of relation the noise has to the society that produces it, we want to know what bearing it has on the way people live. If we look back a moment to consider some of the things that music has meant to people living before us, we shall soon see that our problems are peculiarly difficult, and that we may well need a virtually new technique to deal with them. A refusal to see our educational problems against the background of history will lead to confusion and incompetence in musical culture as in everything else.

The History of the Extortion Court at Rome, 123–70 b.c.

1938 ◽  
Vol 14 ◽  
pp. 98-114 ◽  
Author(s):  
J. P. V. D. Balsdon
Keyword(s):  
Roman History ◽  
Precise Statement ◽  
History Of ◽  
Age Limits ◽  
First Time ◽  
The Way

The available evidence concerning the history of the Extortion Court, the quaestio repetundarum, at Rome is tabulated opposite page 114. In view of the bulk of this evidence, it is at first sight surprising that this should be one of the most confused chapters of Roman history. Indeed, it is improbable that all Roman historians would agree upon any more precise statement of certainty than the following: that C. Gracchus, whether by a lex Sempronia iudiciaria, or by a lex Sempronia de repetundis, or by a lex Acilia de repetundis which may, or may not, be reproduced in the lex repetundarum, fragments of which are preserved at Naples and at Vienna (CIL i, 583), established equites (selected either from owners and past owners, within certain age limits, of the equus publicus, or from all those who possessed the equestrian census) either in place of, or in association with, senators as jurors in the quaestio de repetundis; that Q. Servilius Caepio, probably in his consulship in 106 B.C., proposed, and perhaps carried, a judiciary law in the interest of the Senate; that C. Servilius Glaucia either in m (Mommsen), 108 (Carcopino) 104 (Last) or 101 B.C. (Niccolini) carried a lex repetundarum and perhaps other judiciary laws in which he possibly either gave for the first time, or restored, to the equites complete possession of the juries and certainly effected two reforms in procedure, (a) by legalising the prosecution not only of recent magistrates and pro-magistrates, but also of their accomplices and (b) by introducing the form of ‘double action’ known as comperendinatio; that M. Livius Drusus, as tribune in 91 B.C., endeavoured unsuccessfully to establish, or to re-establish, as the case may be, mixed juries of senators and equites, and to make equestrian as well as senatorial jurors liable to prosecution for accepting bribes; that in 89 B.C. by a lex Plautia of the tribune M. Plautius Silvanus mixed juries were established, certainly for trials of maiestas, and perhaps for repetundae too. After this, the way is clearer, Sulla re-established senatorial juries, which survived until 70 B.C., when, by the lex Aurelia, jurors were selected from three panels—from senators, equites and tribuni aerarii.

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