scholarly journals Ternopil branch of the Musical Institute named after Mykola Lysenko as a cultural and educational center of Ternopil (1st half of XX century)

2021 ◽  
Author(s):  
Olena Spolska
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Decisive Role ◽  
Piano Performance ◽  
Initial Stage ◽  
Western Ukraine ◽  
Late Nineteenth ◽  
And Performance ◽  
Historical Comparative

The purpose of the article is to analyze the historical and cultural background and the main aspects of the formation of professional piano performance in Ternopil in the late nineteenth - first half of the twentieth century on the example of VMIL branch activity. Methodology. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (according to V. Cherkasov). The formation of professional piano performance is considered in terms of musicological and stylistic approaches in broader cultural, educational, and musical-pedagogical contexts. The problem of studying the regionalism of music and performance centers and schools as a dynamic historical and cultural phenomenon is actualized. A thorough study of the history of regional piano educational centers and performing schools has been the subject of a number of musicological studies. In particular, the works of N. Kashkadamova, T. Starukh, L. Mazepa, and others are dedicated to the piano art of Lviv, its artistic education, and cultural institutions. Scientific Novelty. Based on the study of scientific and archival sources, we can see that the educational and pedagogical traditions of the Higher Music Institute named after M. Lysenko as the first Ukrainian professional center and its branches in Eastern Galicia have continued in the activities of pianists, teachers, and performers in Ukraine and abroad, mainly Western Of Ukraine. Attention is focused on the opening and initial stage of the branch of the Lysenko Higher Music Institute (VMIL) in Ternopil, in particular, on the activities of piano teachers. Based on historical, comparative, and individual approaches, the role of individual performers, composers, and teachers as the founders of piano performance in the region is highlighted. Thus, the novelty of the article is to trace the initial stage of the formation of piano performance in Ternopil in the late nineteenth - first third of the twentieth century. as a process of transition from the amateur period to academic performance and professional music education. Conclusions are made about the decisive role of the branch of the Higher Music Institute named after M. Lysenko (VMIL) in Ternopil and its founders, in particular, Iryna Krykh (Lyubchakova) and Yuri Krykh, in the development of music education and performance in the region. Keywords: musical culture of Western Ukraine, end of XIX – first half of XX century, piano performance, Higher Music Institute M. Lysenko (VMIL), pianists, performers and lecturers of Ternopil.

scholarly journals Activities of music societies of Eastern Galicia as a prerequisite for the development of professional performance (ist third of the XX century)

2021 ◽  
Author(s):  
Olena Spolska
Keyword(s):  
Twentieth Century ◽  
Professional Education ◽  
Cultural Context ◽  
Methodological Approach ◽  
Educational Institution ◽  
Musical Performance ◽  
Musical Culture ◽  
Late Nineteenth ◽  
And Performance

The purpose of the article is to present the activities of music societies in Eastern Galicia during the late nineteenth – first third of the twentieth century, which laid the foundations for the development of national professional music education and performance, including piano. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (V. Cherkasov), fundamental historical-musicological positions (L. Korniy, L. Kianovska, etc.). Problems of musical culture, education, and performance were considered by Galician musicians of that time (S. Lyudkevych, V. Barvinsky, N. Nyzhankivsky, etc.) in the broader context of national and cultural life, cooperation of Ukrainian cultural and educational societies, the active position of composers, performers, and teachers, which contributed to the development of professional education and performance, music culture in general. This methodological approach was continued by modern musicologists (M. Zagaykevych, L. Kiyanovska, L. Korniy, L. Mazepa, M. Cherepanin, etc.), who interpret the cultural and artistic life of Galicia in the second half of the nineteenth - early twentieth century. as a turning point in the process of formation of professional musical culture, due to the adoption of the so-called "cultural autonomy" (1867). Scientific novelty. A significant role in this process was played by music centers founded by the Society for the Distribution of Music in Galicia, the Galician Music Society (hereinafter - the Polish Music Society), the GMT Conservatory (1854) as the main musical educational institution in Galicia in the second half of the nineteenth century. The role of Ukrainian music societies was important, most of all – the centers of "Boyan" and "Union of Boyans", Music Society M. Lysenko, which became the basis for the establishment of the Ukrainian professional music institution – Higher Music Institute (1903), then - Lysenko Higher Music Institute (VMIL), the activities of an extensive network of its branches in various cities of Galicia. Significant educational activities of cultural, educational, and musical societies have encouraged professional composers to create original musical works, arrangements of folk songs, compiling the appropriate professional repertoire. In turn, this necessitated the development of professional music criticism in the Ukrainian periodicals. Analyzing the socio-cultural context of music societies, we relied on the developed classifications of their activities (N. Kobrin). This allowed us to outline the role of numerous monographic and thematic concerts dedicated to Ukrainian and Western European composers, solo concerts of prominent Ukrainian vocalists, and instrumentalists in the growth of performing skills of Ukrainian artists of this period. Conclusions. Conclusions are made about the decisive role of the network of cultural, educational, and musical societies of Eastern Galicia in the late nineteenth - first third of the twentieth century. in the process of development in the region of musical performance and musical culture in general. Keywords: musical culture of Western Ukraine, end of XIX – first third of XX century, cultural-educational and musical societies, musical performance.

scholarly journals Ukrainian music performance schools: regional aspect

2020 ◽  
Author(s):  
Hrynchuk Iryna ◽  
Spolska Olena
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Professional Training ◽  
Music Performance ◽  
Piano Performance ◽  
Cultural Backgrounds ◽  
Regional Aspect ◽  
Western Ukraine ◽  
Historical Comparative ◽  
Definition Of

The analysis of the definition of “music performance school” in musicological and music-pedagogical studies of modern domestic scientists demonstrates different methodological approaches to its interpretation. This phenomenon is considered in terms of historical and stylistic approach (N. Kashkadamova) and is included in the broader cultural and music-pedagogical context (N. Guralnyk, V. Shulgina). It deals with the problems of professional training of the teacher of art disciplines and art pedagogy (O. Rudnytska, G. Padalka, O. Oleksiuk, O. Mykhailychenko and others). As a socio-cultural and personal-value phenomenon of the music-performing and pedagogical tradition, or the factor of its preservation, transaction and transformation in the scientific discourse, the music performance school can be interpreted in a single, collective and universal dimension. In this context, the problem of studying the regionalism of music performance schools as a dynamic historical and cultural phenomenon is actualised. A thorough exploration of the history of regional piano schools has become the topic of a number of musicological studies. Thus, the works of N. Kashkadamova, T. Starukh, L. Mazepa and others are devoted to the piano art of Lviv. The educational and pedagogical traditions of this school found continuation in the activity of the pianists, pedagogues and performers of Ukraine and abroad, mostly Western Ukraine The purpose of the publication is to analyse the historical and cultural backgrounds and main aspects of the formation of professional piano performance in Ternopil at the end of the 19th — the first half of the 20th century. Based on historical, comparative and individual approaches, the figures of famous piano performers and teachers associated with Ternopil are highlighted. The initial stage of the formation of piano performance in the region during the end of the 19th — the first third of the 20th century is traced as a transition from an amateur period to academic performance and professional music education. The attention is focused on the beginning of the piano class at the branch of Lysenko Higher Music Institute (VMIL) in Ternopil. The article highlights the role of representatives of Lviv piano school, the activity of some performers, composers and pedagogues as founders of piano performance in the region. The creative figures of the performers and piano pedagogues of S. Krushelnytska TMK, V. Hnatiuk TNPU as a follower of the Lviv piano school tradition are briefly presented.

Chinese toms in the making of the drum kit: Localization and exoticism

2021 ◽  
Vol 5 (2) ◽  
pp. 227-242 ◽  
Author(s):  
Henry Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music Education ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Late Nineteenth Century ◽  
The Future ◽  
Late Nineteenth

The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.

scholarly journals “An Oriental Orientalist”: Aḥmad Zakī Pasha (1868-1934), Egyptian Statesman and Philologist in the Colonial Age

2018 ◽  
Vol 3 (1-2) ◽  
pp. 129-166
Author(s):  
Umar Ryad
Keyword(s):  
Twentieth Century ◽  
Cultural Revival ◽  
Islamic Studies ◽  
Early Twentieth Century ◽  
Late Nineteenth

AbstractThe article sheds light on an important episode of the Arab-Orientalist encounter in the late nineteenth and early twentieth century by highlighting the role of the Egyptian scholar Aḥmad Zakī Pasha (1868-1934) in Orientalist circles, his travels to Europe, and his contributions to Arabic linguistic and cultural revival as well as politics. The study looks at his contribution as a member of the international scholarly circles of Arabic and Islamic studies. It will be shown that his engagement with European Orientalists was inseparable from his endeavors to ‘revive’ the Arabic heritage (iḥyā’ al-turāth), an engagement that was rooted in his discourse of ‘Arabism’ (al-‘urūba).

Introduction

Veiled Power ◽  
2020 ◽  
pp. 1-14
Author(s):  
Doreen Lustig
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Human Rights ◽  
International Law ◽  
Late Nineteenth Century ◽  
Private Business ◽  
Business Corporation ◽  
Conceptual Analogy ◽  
Late Nineteenth

Corporations have limited responsibilities in international law but enjoy far-reaching rights and privileges. International legal debates often conceive of this issue as a problem of business accountability for human rights violations. Conceptually, the issue of corporations in international law has focused on whether or not they are, or ought to be, recognized as ‘subjects’ of responsibility in international law and on the adequate conceptual analogy to the corporation. The introduction presents an alternative way of thinking about the role of international law and its relevance to the private business corporation. It traces the emergence of the contemporary legal architecture for corporations in international law and shows how modern international law constitutes a framework within which businesses and governments allocate resources and responsibilities—a framework that began to operate as early as the late-nineteenth century and continued throughout the twentieth century.

The Role of Indian Craftsmen in Late Nineteenth and Early Twentieth-Century Ethiopian Palace, Church and Other Building

1995 ◽  
Vol 5 (1) ◽  
pp. 11-20 ◽  
Author(s):  
Richard Pankhurst
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Addis Ababa ◽  
Crucial Importance ◽  
Early Twentieth Century ◽  
Late Nineteenth

In Ethiopia the last decades of the nineteenth century and the first of the twentieth were of crucial importance. This period witnessed the rise of King, after 1889 Emperor, Menilek, founder of the modern Ethiopian state. He it was who established the presentcapital, Addis Ababa, in 1886–7, defeated an Italian colonial army at the battle of Adwain 1896, and between 1905 and 1910 established a number of modern institutions, including the first modern bank, school, hospital, roads and railway. A notable innovator, he was well content to utilise the skills of Indians, as well as other foreigners, for themodernisation of his age-old empire.

scholarly journals Granville Barker's Ensemble as a Model of Fabian Theatre

2012 ◽  
Vol 28 (4) ◽  
pp. 307-324 ◽  
Author(s):  
Philippa Burt
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Popular Culture ◽  
Early Twentieth Century ◽  
Dialogical Relationship ◽  
And Performance ◽  
The University ◽  
Fabian Society

While the dialogical relationship between the early twentieth-century British theatre and the rise of socialism is well documented, analysis has tended to focus on the role of the playwright in the dissemination of socialist ideas. As a contrast, in this article Philippa Burt examines the directorial work of Harley Granville Barker, arguing that his plans for a permanent ensemble company were rooted in his position as a member of the Fabian Society. With reference to Pierre Bourdieu's concept of habitus and Maria Shevtsova's development of it in reference to the theatre, this article identifies a correlation between Barker's political and artistic approaches through extrapolating the central tenets of his theory on ensemble theatre and analyzing them alongside the central tenets of Fabianism. Philippa Burt is currently completing her PhD in the Department of Theatre and Performance at Goldsmiths, University of London. This article is developed from a paper presented at the conference on ‘Politics, Performance, and Popular Culture in Nineteenth-Century Britain’ at the University of Lancaster in July 2011.

scholarly journals Law, Politics, and Financial Development: The Great Reversal of the U.K. Corporate Debt Market

2013 ◽  
Vol 73 (3) ◽  
pp. 810-846 ◽  
Author(s):  
Christopher Coyle ◽  
John D. Turner
Keyword(s):  
Twentieth Century ◽  
Financial Development ◽  
Bond Market ◽  
Corporate Bond ◽  
Late Nineteenth Century ◽  
Corporate Bond Market ◽  
Debt Market ◽  
Late Nineteenth ◽  
Over Time

This article examines the role of creditor protection in the development of the U.K. corporate bond market. This market grew rapidly in the late nineteenth century, but in the twentieth century it experienced a reversal, albeit with a short-lived post-1945 renaissance. Such was the extent of the reversal that the market from the 1970s onwards was smaller than it had been in 1870. We find that law does not explain the variation in the size of this market over time. Alternatively, our evidence suggests that inflation and taxation policies were major drivers of this market in the post-1945 era.

scholarly journals The Free Improvisation Game: Performing John Zorn’s Cobra

2013 ◽  
Author(s):  
Dylan Van der Schyff
Keyword(s):  
Music Education ◽  
Wide Spread ◽  
Relevant Research ◽  
Music Psychology ◽  
Free Improvisation ◽  
Person Perspective ◽  
The World ◽  
And Performance ◽  
Musical Communication

The use of improvisation is wide spread in musical practice around the world. Nevertheless, Western academic circles tend to ignore this ubiquitous activity and have maintained a focus on composition and interpretation. This is beginning to change, however, and the role of improvisation in performance and music education is receiving an increasing amount of attention. This paper contributes to this project by examining the practice of ‘free improvisation’ in a large ensemble context. A rehearsal and performance of John Zorn’s Cobra––a ‘game’ piece for improvisers––is analyzed from a first-person perspective; relevant research in music psychology is considered; and suggestions are made with regard to how we may better understand the nature of musical communication in improvised contexts. Pedagogical applications are also considered.

scholarly journals Images of Time in the Romanian Folk Chronotope

2020 ◽  
Vol 38 ◽  
pp. 236-251
Author(s):  
Eleonora Sava ◽  
Keyword(s):  
Twentieth Century ◽  
Analytical Tool ◽  
Late Nineteenth Century ◽  
Peasant Communities ◽  
The Social ◽  
Romanian Folklore ◽  
Late Nineteenth ◽  
Traditional Norms ◽  
Tuesday Evening

This study proposes an analysis of the imagery of time in Romanian folklore, as it is outlined in a series of mythological narratives and beliefs recorded by ethnographers in the late nineteenth century and the first half of the twentieth century. The concept of chronotope is used as an analytical tool for understanding the imaginary universe of Romanian folklore. The analysed narratives encapsulate a set of ideas and representations regarding the social norms of the peasant communities in which the figures of weekly time – Saint Wednesday, Saint Friday, Marțolea (Tuesday-Evening), Joimărița (Thursday-Night), etc. – play a central role. Analysing these figures of time, the study reveals their function as guardians of compliance with traditional norms referring to conduct, work and food. The study also highlights the fact that chronotopes perform the role of cognitive schemes of the Romanian folklore imaginary.

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