scholarly journals Features of Futurism Performance on the Example of the Works ‘Luna, Lussuria e Velocita’ in Ilkham Nazarov’s Interpretation

2021 ◽  
Vol 4 (2) ◽  
pp. 209-218
Author(s):  
Rufat Piriev
Keyword(s):  
Scientific Literature ◽  
Musical Instruments ◽  
Vocal Performance ◽  
Music Culture ◽  
Vocal Technique ◽  
Performance Requirements ◽  
History Of ◽  
And Performance ◽  
First Time ◽  
Video Material

The purpose of the study is to determine the vocal performance characteristics of the ‘Luna, Lussuria e Velocita’ work, written in the style of futurism in the interpretation of I. Nazarov, taking into account the peculiarities of the timbre of his voice. ‘Luna, Lussuria e Velocita’ is written in the futuristic style and is intended for bass/countertenor and electronic musical instruments. The purpose of the research is to determine the features of the vocal performance of the ‘Luna, Lussuria e Velocita’ work composed in the style of futurism, taking into account the features of I. Nazarov's voice timbre. The research methodology is based on the use of music analytical, historical and theoretical analysis methods. The analysis of vocal performance given in the research was carried out based on the note presented by the composer and the video material performed by I. Nazarov. At the same time, a number of scientific literature on futurism was referred to. The scientific novelty of the research is that the work of Italian composer S. Muscaritolo ‘Luna, Lussuria e Velocita’ was involved in the study for the first time. The work is designed for two registers (bass/countertenor) and is composed in the style of futurism, which characterizes its scientific novelty. The work uses non-traditional playing methods for bass and countertenor. In the research, the research of vocal performance methods used by I.Nazarov during the performance was carried out for the first time. Conclusions. I.Nazarov is the first and only singer in the history of Azerbaijani music culture with a countertenor voice and boundless vocal technique. Not only Azerbaijani but also European composers create works of various genres in accordance with the possibilities of his voice. These works are new due to their features and performance requirements. In ‘Luna, Lussuria e Velocita’ I. Nazarov showed himself as a singer with high technical capabilities, able to perfectly control both the baritone and countertenor sound timbre. The singer expanded the possibilities of performing the countertenor sound timbre, which gave rise to the assessment of the sound timbre from a new position.

THE SOURCES AND SYMPTOMS OF NERVOUSNESS PRIOR TO AND DURING A SINGER’S PERFORMANCE

2012 ◽  
pp. 79
Author(s):  
Zane Andžāne ◽  
Māra Marnauza
Keyword(s):  
Scientific Literature ◽  
The State ◽  
Stage Fright ◽  
Vocal Performance ◽  
Vocal Technique ◽  
Professional Singers ◽  
Negative Factor ◽  
Artistic Interpretation ◽  
Professional Singer ◽  
Artistic Quality

Students of vocal performance, as well as professional singers, feel nervousness in front of an audience at concerts, competitions, and exams. The state of nervousness can be a negative factor for the performance of the singer, and therefore it is important for the professional singer to develop not only vocal techniques, but also performance attitudes that help to reduce stage fright. The aim of the study is to analyze the scientific literature about stage fright, its sources, symptoms, and methods of overcoming it. Methods used: analysis of literature, questionnaire. Student self-analysis answers to questionnaire items give evidence, that students feel nervous when performing, and that this negatively influences their command of vocal technique, as well as the artistic interpretation of the song and the artistic quality overall.

Musical Instruments and World History: A Case Study of the Guitar in the Republic of Turkey

2019 ◽  
pp. 194-210
Author(s):  
Kevin Dawe
Keyword(s):  
World History ◽  
Musical Instruments ◽  
Music Culture ◽  
Musical Practices ◽  
History Of ◽  
Preliminary Study ◽  
The Republic ◽  
Republic Of Turkey ◽  
Depth Interviews

This chapter present a preliminary study of the emergence of the guitar in the music, culture and society of Turkey, a transcontinental Republic founded in 1923, noting also the instrument’s presence within Ottoman music culture. It argues that the rise of the guitar in Turkey constitutes a transformative moment in the history of the instrument, if not Turkish music, with the emergence and development of local playing styles and physical modifications made to suit local musical practices, aspirations and sensibilities. Crucially, in reaching back to the near past, the study employs both ethnographic and oral historical techniques of research, including in-depth interviews with key musicians, whilst also drawing attention to the importance of the past—its interpretation, negotiation, contestation and fabrication—in the present.

Prelude to Live Cinema

2011 ◽  
Vol 10 (2) ◽  
pp. 255-265 ◽  
Author(s):  
Douglas Kahn
Keyword(s):  
20Th Century ◽  
Film Theory ◽  
Musical Instruments ◽  
Media Technology ◽  
History Of ◽  
Contemporary Media ◽  
And Performance ◽  
20Th Century Art

This article investigates the increasingly prevalent discourse of ‘live cinema’ as the name of a concrete practice and conceptual aspiration within contemporary media aesthetics. The author argues that this oxymoronic conjunction encapsulates certain fundamental questions recurring throughout the history of 20th-century art in its increasingly important intersection with both media technology and performance. Contrasting contemporary digital ‘interfaces’ with classical musical instruments, he asks how traditional forms of embodiment and virtuosity have been transformed within contemporary audiovisual performance. Finally, he explores ideas of speed and the cut from Sergei Eisenstein’s film theory to explore Abigail Child’s 1983 film Mutiny as a work that, while not itself ‘Live Cinema’, sheds important light on what such a future aesthetic might conceivably entail.

scholarly journals FCC-ee: the synthesis of a long history of e+e- circular colliders

2021 ◽  
Vol 136 (9) ◽  
Author(s):  
K. Oide ◽  
J. Wenninger
Keyword(s):  
Small Scale ◽  
Vacuum Chambers ◽  
Double Ring ◽  
Electron Positron ◽  
Beam Lifetime ◽  
History Of ◽  
Beam Parameters ◽  
And Performance ◽  
Beam Currents ◽  
First Time

AbstractThe design of FCC-ee is relying on the accumulated experience of $$\mathrm {e^{+}e^{-}}$$ e + e - colliders that have been designed, constructed and operated in the past 40 years. FCC-ee will surpass the 26.7 km long Large Electron Positron collider LEP by a factor 4 in size. Like for LEP the large size is justified by the need to control the synchrotron radiation losses that for both machines reach a few percent per turn. To that end LEP had the first large super-conducting (SC) RF system with around 3.8 GV of accelerating voltage. LEP achieved for the first time very large beam-beam parameters of around 0.08, and it relied on transversely polarized beams to determine accurately the beam energy for the experiments. The DA$$\varPhi $$ Φ NE collider, together with PEP II and KEKB split the two beams into separate vacuum chambers to reach much higher Ampere-level beam currents. To overcome beam-beam lifetime and performance issues DA$$\varPhi $$ Φ NE used for the first time the Crab Waist concept for the interaction region (IR) optics. The B-factories, PEP-II and KEKB have verified the double-ring $$\mathrm {e^{+}e^{-}}$$ e + e - collider with multi-ampere stored currents for over 1000 bunches, small $$\beta ^*$$ β ∗ , top-up injection, and achieved then-highest luminosity. KEKB has applied 22-mrad crossing angle at the IP with crab crossing. Both machines inherited accelerator techniques from their predecessors, PEP and TRISTAN, which was a small-scale LEP. Currently the next generation SuperKEKB collider is starting up. It has already achieved some milestones required for FCC-ee such as small $$\beta ^*$$ β ∗ (0.8 mm) and virtual crab-waist scheme with a large Piwinski angle (>10).

A 200-Year History of the Study of Childhood Language Disorders of Unknown Origin: Changes in Terminology

2020 ◽  
Vol 5 (1) ◽  
pp. 6-11 ◽  
Author(s):  
Laurence B. Leonard
Keyword(s):  
Language Impairment ◽  
Specific Language Impairment ◽  
Scientific Literature ◽  
Language Disorder ◽  
Language Disorders ◽  
Unknown Origin ◽  
Developmental Language Disorder ◽  
The Past ◽  
History Of ◽  
The Many

Purpose The current “specific language impairment” and “developmental language disorder” discussion might lead to important changes in how we refer to children with language disorders of unknown origin. The field has seen other changes in terminology. This article reviews many of these changes. Method A literature review of previous clinical labels was conducted, and possible reasons for the changes in labels were identified. Results References to children with significant yet unexplained deficits in language ability have been part of the scientific literature since, at least, the early 1800s. Terms have changed from those with a neurological emphasis to those that do not imply a cause for the language disorder. Diagnostic criteria have become more explicit but have become, at certain points, too narrow to represent the wider range of children with language disorders of unknown origin. Conclusions The field was not well served by the many changes in terminology that have transpired in the past. A new label at this point must be accompanied by strong efforts to recruit its adoption by clinical speech-language pathologists and the general public.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

A Confrontation between Two Doctrines: The Birth of Struggle for Hegemony in Hebrew Children's Literature during the 1930s and 1940s

2008 ◽  
Vol 1 (2) ◽  
pp. 139-155 ◽  
Author(s):  
YAEL DARR
Keyword(s):  
Children's Literature ◽  
Educational System ◽  
Single Channel ◽  
Children’S Literature ◽  
The Political ◽  
Literary Creation ◽  
History Of ◽  
High Level ◽  
First Time ◽  
Literary Quality

This article describes a crucial and fundamental stage in the transformation of Hebrew children's literature, during the late 1930s and 1940s, from a single channel of expression to a multi-layered polyphony of models and voices. It claims that for the first time in the history of Hebrew children's literature there took place a doctrinal confrontation between two groups of taste-makers. The article outlines the pedagogical and ideological designs of traditionalist Zionist educators, and suggests how these were challenged by a group of prominent writers of adult poetry, members of the Modernist movement. These writers, it is argued, advocated autonomous literary creation, and insisted on a high level of literary quality. Their intervention not only dramatically changed the repertoire of Hebrew children's literature, but also the rules of literary discourse. The article suggests that, through the Modernists’ polemical efforts, Hebrew children's literature was able to free itself from its position as an apparatus controlled by the political-educational system and to become a dynamic and multi-layered field.

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

Digging the history. Absolute chronology of the settlement complex at Czermno-Cherven’ (eastern Poland). Research status and perspectives

2020 ◽  
Vol 72 (2) ◽  
Author(s):  
Tomasz Dzieńkowski ◽  
Marcin Wołoszyn ◽  
Iwona Florkiewicz ◽  
Radosław Dobrowolski ◽  
Jan Rodzik ◽  
...  
Keyword(s):  
Interdisciplinary Research ◽  
Qualitative Change ◽  
Archaeological Research ◽  
Research Status ◽  
History Of ◽  
Absolute Dating ◽  
First Time ◽  
Radiocarbon Datings

The article discusses the results of the latest interdisciplinary research of Czermno stronghold and its immediate surroundings. The site is mentioned in chroniclers’ entries referring to the stronghold Cherven’ (Tale of Bygone Years, first mention under the year 981) and the so-called Cherven’ Towns. Given the scarcity of written records regarding the history of today’s Eastern Poland, Ukraine, and Belarus in the 10th and 11th centuries, recent archaeological research, supported by geoenvironmental analyses and absolute dating, brought a significant qualitative change. In 2014 and 2015, the remains of the oldest rampart of the stronghold were uncovered for the first time. A series of radiocarbon datings allows us to refer the erection of the stronghold to the second half/late 10th century. The results of several years’ interdisciplinary research (2012-2020) introduce qualitatively new data to the issue of the Cherven’ Towns, which both change current considerations and confirm the extraordinary research potential in the archeology of the discussed region.

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