scholarly journals The cultural potential of Modest Mentsinsky's work in the context of the development of the musical culture of the early twentieth century

2021 ◽  
pp. 62-68
Author(s):  
Lesia Turchak
Keyword(s):  
World Music ◽  
Music Culture ◽  
Musical Culture ◽  
Performance Style ◽  
Considerable Contribution ◽  
Creative Evolution ◽  
The World ◽  
Chamber Repertoire ◽  
The One

The purpose of the article is to establish the contribution of the opera singer and famous tenor Modest Omelianovych Mentsynskyi to Ukrainian and world music art. The methodology is based on using historical, biographical, and analytical methods, which allows distinguishing and reviewing the special features of the Ukrainian singer‘s ―internationally universal‖ performance style as well as tracking the stages of his creative evolution. The scientific novelty of the research is in the affirmation that the artist‘s work within the mentioned period, on the one hand, led to the ―Europeanization‖ of the Ukrainian music culture, which influenced the formation of the national vocal and opera school, and, on the other hand, his high vocal level and popularization of the Ukrainian music in the walls of numerous European theaters promoted the popularization of the Ukrainian music culture in the world. Conclusions. Relying on the achievements of the three most famous opera schools (Italian, German and French) and his own experience, the signer formed the ―internationally universal‖ performance style, which helped him make a considerable contribution to the development of opera art in at least three countries: Germany (as the most prominent singer of Wagner‘s plays with a vocal role of a ―heroic tenor‖), Sweden (as a performer and pedagogue who stood at the origins of the vocal school in this country) and Ukraine (as a talented interpreter of the Ukrainian chamber repertoire and popularizer of the national music heritage in the world).

scholarly journals Music code of poetry Dmitry Kremeny

2019 ◽  
Vol 66 (3) ◽  
pp. 186-190
Author(s):  
Olha Petrenko
Keyword(s):  
World Music ◽  
Music Culture ◽  
Semantic Richness ◽  
Wide Range ◽  
The World ◽  
The Subject ◽  
Poetic Texts ◽  
The One ◽  
Musical Cues

The article deals with the role of musical images in the poetry of Dmitry Kremen. The subject of study is the music code, which is present in many works of the poet. Musical signs, symbols, links play a significant role in vocabulary, phraseology and other ways of poetic expressiveness. Familiarity with the subject world of D. Kremin's poetic texts includes a wide range of concepts related to the world of sounds. The additional accents of a musical-conceptual thesaurus arise when musical cues form certain speech turns that acquire the meaning of metaphors. Musical signs in the lyrics of Dmitry Kremin imply awareness of a wide range of sound associations, which the poet interprets from the standpoint of his own value attitude to them. Beethoven, Chopin, Mozart are the names-symbols of the world music culture, which occupy a significant place in the thesaurus of Dmitry Kremin's poetic texts. Behind these subject designations lies the vast world of artistic and figurative generalization and lyrical and philosophical reflections that are gaining coded meaning. Familiarity with the poetry of Dmitry Kremin proves that the leitmotif of many of his texts is the image of a violin, which acquires different semantic shades. Thus, in Beethoven's poetry, the poet emphasizes the value of music as a special language, devoid of words, but empowered to embody emotional and semantic richness, and therefore capable of being the language of angels. Music code the poetry of Dmitry Kremen is a multidimensional system in which the concept of "music" acts as a concept as a set of meaningful characters and their semantic meanings. In the process of decoding Dmitry Kremin's poetry, one can discover the deep semantic loads of the musical code, on the one hand – as the embodiment of the categories of high, sublime, valuable and eternal in the human sense, on the other – as a symbol of the extra-material, mystical, language of which the angels speak. Decoding the poet's texts is the process of extracting recognition codes and perception codes. The codes of perception in the poetry of Dmitry Kremenya are meaningful loads of texts, its semantic components, which highlight the deep meanings of texts. Through the musical code, the poet embodies the content of the categories of the sublime and the beautiful. The music code shows the understanding of poetry of Dmitry Kremenin a deeply metaphorical sense.

scholarly journals Defined aspects of the development of Ukrainian pop song within the postcolonial period of the late XX – early XXI century

2021 ◽  
Author(s):  
Anatoliy Oronovsky ◽  
Ganna Tsap ◽  
Larysa Oronovska
Keyword(s):  
World Music ◽  
Operating Conditions ◽  
Social Changes ◽  
Music Culture ◽  
Musical Culture ◽  
The World ◽  
Flexible Mechanism ◽  
First Time ◽  
Ukrainian Society

The purpose of the article. To consider and analyze some aspects of the development of modern Ukrainian pop songs in the postcolonial period of the late XX - early XXI century. The methodology involves the use of a systematic approach to research, as well as the use of methods of analysis, synthesis, historical and comparative, which allowed analyzing the development of Ukrainian pop songs in the Soviet system and after independence when it was in the field of Russian influence. which is the glow of long-term colonial status. The scientific novelty is that for the first time the development of Ukrainian pop songs was considered not only in the context of art analysis but also the research of postcolonialism, which generally affected the development of Ukrainian culture of XX - early XXI century. Conclusions. Changes in music culture are evidence of the adaptation of the flexible mechanism of music creation to new operating conditions. And although it is difficult to predict further social changes and their impact on the formation of musical culture not only in Ukrainian society but also in the world, the main trends have already been outlined. They consist of a certain unification of musical and stylistic standards, which will eliminate the differences between performers of popular musical compositions around the world. Accordingly, globalization dictates fashion in the field of music culture. In general, at the beginning of the third millennium, Ukrainian pop song culture entered the context of European and world cultural processes and became the property of world music culture, and its brightest representatives occupy a worthy place among world masters. Keywords: pop, pop song, postcolonial influences, national self-identification.

Symphonic compositions of Boris Tishchenko and the world music culture

2021 ◽  
pp. 10-17
Author(s):  
Iurii Eduardovich Serov
Keyword(s):  
World Music ◽  
Musical Language ◽  
Music Culture ◽  
The World ◽  
The Subject ◽  
The 1960S ◽  
Artistic Image

The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939 – 2010). His symphonic pieces synthesize different images, ideas, genres, and forms. This article explores various stylistic and linguistic effects upon his works, reveals the origins of fresh and unique artistic thinking. Emphasis is placed on the innovative role of B. Tishchenko in the revival of Russian symphonic style of the 1960s. Special attention is given to Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko is one of the few among his contemporaries to remain faithful to the genre of great, “pure” symphony, as well as is the successor of the symphonic line of his brilliant teacher D. Shostakovich. The novelty consists in proving the thesis that symphonic style of B. Tishchenko is a holistic, meaningful, and truly modern phenomenon. Tishchenko amusedly delved into the new composing techniques, highlighting dodecaphony, aleatoric music, sonorism, pointillist music; however he did no remain faithful to these genres to the end; he constantly “refined” his musical language, introduced novelties for creating an artistic image.

scholarly journals Conflicts in the environment of Russian political emigration in Switzerland in 1870

10.33287/1195 ◽  
2019 ◽  
pp. 49-57
Author(s):  
Ю. І. Коломоєць
Keyword(s):  
The Political ◽  
Russian Government ◽  
Revolutionary Movement ◽  
Royal Power ◽  
Positive Side ◽  
The World ◽  
State Of Affairs ◽  
The One ◽  
Russian Section

Russian political emigration from the beginning of its birth in the first half of the nineteenth century was constantly in search of forms and methods of struggle with royal power in the homeland. Detachment from Russia, the feeling of isolation that was inherent in emigration to the early twentieth century, were an important factor in the ongoing conflicts that took place in its environment. We note the conflicts between the «old» and the «young» emigration in the late 1860’s, between the Marxists and the populists of the 1880’s, between the revolutionary Marxists and the «economists» at the end of the 1890’s. All of these, as a rule, were due to excessive the ambitions of some leaders, the attempt to become the «rulers of ideas» for revolutionary youth, due to significant financial problems. In the list of these and similar conflicts there are events of 1870, when in the environment of political emigration there are two serious confrontations between the leader of anarchists M. Bakunin on the one hand and S. Nechaev or «Russian section of the First International» - on the other. These conflicts significantly influenced the situation in emigration, disorganized it, weakened the ability to fight the tsarist regime. They were accompanied by sharp accusations, searches for compromising materials, attempts to get support from leaders of the world revolutionary movement. The ambitions of young revolutionaries such as S. Nechaev or M. Utin were also connected with the attempt to take the main place among the emigrants, moving to the background of former leaders M. Bakunin, M. Ogarev, P. Lavrov. All this led to split in emigrant colonies, which consisted mainly of student youth. Violent discussions, accusations, boycotts became a hallmark of emigrant life. Basically, all these events took place in Switzerland, which at that time already became the center of not only Russian, but also international political emigration. Conflicts were directed at the political annihilation of the opponents, which subsequently resulted in the arrest and extradition to the Russian government of S. Nechaev in 1872, the cessation of the activities of the Russian Section of the First International and the return of M. Utin to Russia and the cessation of revolutionary activity in general. The positive side of these conflicts was the rallying of emigrants around their leaders, better information on the state of affairs in their environment, the development of new forms and methods of interaction and the strengthening of the role of revolutionaries from Russia itself.

scholarly journals Competențele – expresie a rezultatelor școlare

2020 ◽  
Vol 46 (3) ◽  
pp. 93-99
Author(s):  
Elena Ramona Cenușe
Keyword(s):  
Educational System ◽  
Social Expectations ◽  
Educational Organization ◽  
Know How ◽  
Modern Education ◽  
The World ◽  
Education School ◽  
The One ◽  
Teaching Learning

In the Romanian educational system, the concept of competence is relatively new, its appearance and use being related to the curricular perspective of educational organization. Synthetically, competence can be defined as ”an ensamble of `savoir faire` (know how) and `savoir-e’tre’ (manners) allowing a good accomplishment of a role, of a function or of an activity” (D`Hainaut). The model of curricular projection centered on competences is meant to improve the efficiency of the internal structure of the curriculum, and of the teaching, learning and evaluation processes. This ”new educational target” aims to: -focus on the final learnig acquisitions; accenuate the action-related dimension of the pupil’s personality; clearly define the school offer according to the pupil’s interests and skills, and to social expectations. Thus it is possible for the modern education to assume an increasing autonomy for the one who learns, so that the differences between the world of education/school/ the didactic process and the real (social, professional) world may palpably decrease.

scholarly journals МИТРОПОЛИТ АНДРЕЙ ШЕПТИЦЬКИЙ В КОНТЕКСТІ МУЗИЧНОЇ КУЛЬТУРИ УКРАЇНСЬКОЇ ДІАСПОРИ (до 155-річчя від дня народження)

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Twentieth Century ◽  
Catholic Church ◽  
Educational Institutions ◽  
Education Abroad ◽  
Musical Culture ◽  
Choral Works ◽  
The World ◽  
Musical Creativity ◽  
Church In The World

Досліджується роль митрополита Андрея Шептицького у розвитку музичної культури української діаспори ХХ століття. Акцентована увага на таких аспектах діяльності Митрополита: розбудова української греко-католицької церкви у світі, його візити у різні країни, розвиток системи духовних навчальних закладів, підтримка світських навчальних закладів, встановлення стипендій для музикантів, які здобували освіту за кордоном, участь у процесах розвитку церковного співу. Виокремлюються святкування на честь Митрополита та вшанування його пам’яті за участю музикантів у різних країнах світу. Питання втілення художнього образу митрополита Андрея Шептицького в музичній творчості композиторів діаспори розглянуто на прикладі аналізу хорових творах одного із його стипендіатів – А. Гнатишина з Австрії.Ключові слова: музична культура, українська діаспора, українська греко -католицька церква, художній образ, митрополит Андрей Шептицький. The author studied role of Metropolitan Archbishop Andrei Sheptytskyi in the development of musical culture of the Ukrainian Diaspora during the twentieth century Emphasis is made on the following aspects of the Metropolitan Archbishop’s activity: development of the Ukrainian Greek Catholic Church in the world, his visits to different countries, development of the system of spiritual educational institutions, support of religious educational institutions, establishment of scholarships for musicians who have received education abroad, participation in processes of church singing development. The article highlights the celebration in honor of the Metropolitan Archbishop and honoring his memory with the participation of musicians from around the world. The author reveals embodiment of the image of Metropolitan Archbishop Andrei Sheptytskyi in the musical creativity of the Diaspora composers at the example of the choral works of one of his fellows, Andrei Hnatyshyn from Austria.Key words: musical culture, Ukrainian diaspora, Ukrainian Greek Catholic Church, image, Metropolitan Archbishop Andrei Sheptytskyi.

appealed to the Queen on being besieged by the wild sense, especially in the concluding cantos, of leaving Irish (see Vi4.1n). In reading this ‘darke conceit’, an iron world to enter a golden one. But do these no one could have failed to recognize these allusions. ways lead to an end that triumphantly concludes the The second point is that Spenser’s fiction, when 1596 poem, or to an impasse of the poet’s imaginat-compared to historical fact, is far too economical ive powers? For some readers, Book VI relates to the with the truth: for example, England’s intervention earlier books as Shakespeare’s final romances relate in the Netherlands under Leicester is, as A.B. Gough to his earlier plays, a crowning and fulfilment, ‘a 1921:289 concludes, ‘entirely misrepresented’. It summing up and conclusion for the entire poem and would seem that historical events are treated from for Spenser’s poetic career’ (N. Frye 1963:70; cf. a perspective that is ‘far from univocally celebratory Tonkin 1972:11). For others, Spenser’s exclamation or optimistic’, as Gregory 2000:366 argues, or in of wonder on cataloguing the names of the waters what Sidney calls their ‘universal consideration’, i.e. that attend the marriage of the Thames and the what is imminent in them, namely, their apocalyptic Medway, ‘O what an endlesse worke haue I in hand, import, as Borris 1991:11–61 argues. The third | To count the seas abundant progeny’ (IV xii point, which is properly disturbing to many readers 1.1–2), indicates that the poem, like such sixteenth-in our most slaughterous age, especially since the century romances as Amadis of Gaul, could now go matter is still part of our imaginative experience as on for ever, at least until it used up all possible virtues Healy 1992:104–09 testifies, is that Talus’s slaughter and the poet’s life. As Nohrnberg 1976:656 aptly of Irena’s subjects is rendered too brutally real in notes, ‘we find ourselves experiencing not the allegorizing, and apparently justifying, Grey’s atrocit-romance of faith or chastity, but the romance of ies in subduing Irish rebels (see V xii 26–27n). Here romance itself ’. For still others, there is a decline: Spenser is a product of his age, as was the Speaker ‘the darkening of Spenser’s spirit’ is a motif in many of the House of Commons in 1580 in reporting studies of the book, agreeing with Lewis 1936:353 the massacre of Spanish soldiers at Smerwick: ‘The that ‘the poem begins with its loftiest and most Italians pulled out by the ears at Smirwick in solemn book and thence, after a gradual descent, Ireland, and cut to pieces by the notable Service of a sinks away into its loosest and most idyllic’; and with noble Captain and Valiant Souldiers’ (D’Ewes Neuse 1968:331 that ‘the dominant sense of Book 1682:286). As this historical matter relates to Book V, VI is one of disillusionment, of the disparity between it displays the slaughter that necessarily attends the the poet’s ideals and the reality he envisions’; or that triumph of justice, illustrating the truth of the common the return to pastoral signals the failure of chivalry in adage, summum ius, summa iniuria, even as Guyon’s Book V to achieve reform (see DeNeef 1982b). destruction of the Bower shows the triumph of tem-Certainly canto x provides the strong sense of an perance. This is justice; or, at best, what justice has ending. As I have suggested, ‘it is as difficult not to become, and what its executive power displayed in see the poet intruding himself into the poem, as it is that rottweiler, Talus, has become, in our worse than not to see Shakespeare in the role of Prospero with ‘stonie’ age as the world moves towards its ‘last the breaking of the pipe, the dissolving of the vision, ruinous decay’ (proem 2.2, 6.9). In doing so, Book and our awareness (but surely the poet’s too) that his V confirms the claim by Thrasymachus in Plato’s work is being rounded out’ (1961a:202). Republic: justice is the name given by those in power Defined as ‘doing gentle deedes with franke to keep their power. It is the one virtue in the poem delight’ (vii 1.2), courtesy is an encompassing virtue that cannot be exercised by itself but within the book in a poem that sets out to ‘sing of Knights and Ladies must be over-ruled by equity, circumvented by mercy, gentle deeds’ (I proem 1.5). As such, its flowering and, in the succeeding book, countered by courtesy. would fully ‘fashion a gentleman or noble person in vertuous and gentle discipline’ (Letter to Raleigh 8). Courtesy: Book VI

2014 ◽  
pp. 36-36
Keyword(s):  
Strong Sense ◽  
Executive Power ◽  
House Of Commons ◽  
Historical Events ◽  
The Third ◽  
The World ◽  
Historical Fact ◽  
The Common ◽  
The One

Bianca Garufi: the virtue of curiosity

2010 ◽  
Vol 2 (2) ◽  
pp. 151-159
Author(s):  
Liberiana Pavone
Keyword(s):  
Psychological Development ◽  
Considerable Contribution ◽  
James Hillman ◽  
Cultural Milieu ◽  
The World

In this article the importance of Bianca Garufi in the Italian cultural milieu is presented and discussed. Her view of the world and of the psyche always emphasised the fundamental role of the relationships between the various psychic components within a non-reducible monotheism as well as a tendency to avoid definitive explanations. The research on the image that Garufi carried out throughout her life is proof of these attitudes. For her, the image is crucial not only because of its intrinsic unity but also because of its role in the imaginative process and because it is the engine of psychological development. Bianca Garufi established and maintained important links between the Italian and English analytical worlds, and also made a considerable contribution to the development of the archetypal school of thought, especially by translating into Italian and disseminating the works of James Hillman.

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