scholarly journals Festivals of spiritual songs in socio-cultural space of Ukraine of the end of the XX - the beginning of the XXI centuries

2021 ◽  
Author(s):  
Oleksandr Antonenko ◽  
Margaryta Antonenko
Keyword(s):  
Twentieth Century ◽  
Sacred Music ◽  
Musical Culture ◽  
Systematic Method ◽  
Choral Singing ◽  
Cultural Conditions ◽  
Cultural Method ◽  
Late Twentieth ◽  
First Time ◽  
Cultural Components

The purpose of the article is to study the activities of festivals of spiritual songs in the context of the development of the musical culture of Ukraine in the late twentieth – early twentieth century. The methodology is based on historical and culturological approaches. A systematic method is also used to characterize festivals of the Orthodox music tradition in their connection with other components of culture; socio-cultural method – in the study of socio-cultural components of the artistic phenomenon of the festival. The scientific novelty of the work is that for the first time the activity of festivals of Orthodox sacred music as a new phenomenon in the musical culture of Ukraine is comprehensively analyzed. Conclusions. The emergence and active functioning of festivals of spiritual songs is one of the leading trends in the development of Orthodox musical culture in Ukraine. The ideological direction of the festivals is primarily of religious content, and, in addition to overcoming the negative trends in the field of culture, their leading function is the revival of orthodox traditions. Festivals of sacred music in Ukraine currently perform two main functions: educational and cultural. They contribute to the revival of the traditions of orthodox musical culture; demonstrate the traditions of orthodoxy in modern socio-cultural conditions; revive centuries-old traditions of spiritual choral singing of Ukraine; revive centuries-old traditions of spiritual choral singing of Ukraine.

Agency and Change: Berlioz in Britain, 1870–1920

2007 ◽  
Vol 132 (2) ◽  
pp. 306-348 ◽  
Author(s):  
Leanne Langley
Keyword(s):  
Twentieth Century ◽  
Structural Change ◽  
First World War ◽  
World War ◽  
Musical Culture ◽  
The First World War ◽  
Orchestral Works ◽  
Late Twentieth ◽  
First World ◽  
Late Twentieth Century

Far from being always unjustly neglected until the late twentieth century, as a recent view would have it, Berlioz's music enjoyed dedicated attention and considerable admiration a century earlier. His orchestral works, in particular, were taken up by a range of skilful players and conductors in Britain from the 1870s, yielding performances in the English regions, the London suburbs and in Scotland that impressed ordinary listeners much more than many experienced ones. I argue that structural change and professional competition within the British concert industry to 1920 assisted this remarkable reception – largely ignored in the historiography of Berlioz's reputation as well as in that of British musical culture – while imaginative musicians, astute promoters, writers and thousands of listeners continued to benefit from contact with his work. Berlioz's challenging music indeed became an agent of aesthetic change in Britain – a benchmark, and a calling-card, of modern orchestral presentation that was both standard and commonly accessible before the First World War.

One of These Mornings

2017 ◽  
Author(s):  
Robert M. Marovich
Keyword(s):  
Twentieth Century ◽  
Sacred Music ◽  
Gospel Music ◽  
Concert Choir ◽  
Late Twentieth ◽  
New Community ◽  
Late Twentieth Century

This chapter discusses the transition in Chicago gospel music that began before the 1959 Detroit Invasion and continued until the late twentieth century. It first recounts the deaths of Roberta Martin and Mahalia Jackson, considered to be emblematic of the fading of the traditional sound in gospel music. It then looks at gospel groups that extended and broadened their reputation well into the 1980s, including the Christian Tabernacle Concert Choir, the Thompson Community Singers, and the Cosmopolitan Church of Prayer Choir. It also examines the rise of new community choirs in Chicago during the 1980s and 1990s, along with other significant developments like the first Stellar Gospel Music Awards, accolades for gospel pioneers, gospel festivals, and the deaths of some gospel greats including Sallie Martin, James Cleveland, and Thomas A. Dorsey. The chapter concludes by highlighting signs that Chicago is beginning to recapture the sacred music supremacy it lost to California in the 1970s.

scholarly journals Anthropological turn in the Music of the Twentieth Century

2021 ◽  
Author(s):  
Viktor Stepurko
Keyword(s):  
Twentieth Century ◽  
Sacred Music ◽  
World Music ◽  
Music Culture ◽  
Musical Culture ◽  
Twelve Tone ◽  
Modern Culture ◽  
Artificial Environment ◽  
Compositional Structures ◽  
Artistic Image

The purpose of the article is to determine the cultural and historical determinants of the anthropological turn in the music of the twentieth century when the civilizational desire to create an artificial environment led to the invention of new forms of compositional structures (twelve-tone system, aleatorics, etc.). The methodology consists of theoretical and interpretive models of analysis of mechanisms of cultural creation to determine their narrative orientation, systemic and comparative approaches to determine the specifics of the musical reality of modern culture to understand the interconnectedness with world social processes. The scientific novelty is to reveal the features of the interaction of social perceptual and artistic image in music at the turn of the XIX-XX centuries as a reality of musicological reflection, as well as to characterize the interaction of globalization processes and ethnic background in the music culture of late XX - early XXI centuries. Conclusions. The musical culture of Ukraine of the twentieth century is becoming one of the priority factors in the dialogue of cultures of both the post-totalitarian "Soviet" space and world music culture, due to the intensification of the search for new ways of human development. Expansion of spheres of interaction, integrative and globalization tendencies are not fixed as restoration of cultural-historical potential, on the contrary, polystylism as a general platform of formation is presented by appeals to Ukrainian baroque culture, the renaissance of sacred music, the revival of the ethnic component in art, search for new ones. Keywords: musical culture, anthropological turn, globalization, dialogue of cultures.

The Shopping Mall

Foundations ◽  
2020 ◽  
pp. 137-163
Author(s):  
Sam Wetherell
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Urban Space ◽  
Urban Form ◽  
The United States ◽  
Shopping Mall ◽  
Shopping Malls ◽  
History Of ◽  
Late Twentieth ◽  
First Time

This chapter tackles the history of the shopping mall in Britain. It argues that unlike shopping malls in the United States or nations that were urbanizing for the first time, shopping malls in Britain emerged in tense negotiation with a state-directed and developmental retail infrastructure established a generation earlier. The chapter discusses the distinction between two types of space: the shopping mall and shopping precinct in order to show how a qualitatively new urban form arose in Britain in the last third of the twentieth-century. It presents the history of the shopping mall which allows us to see how during this period a new relationship between the consumer, state, and economy emerged in Britain. The chapter explores the shopping mall's distinctive contribution to late-twentieth-century British life by historicizing three of its most important features. Ultimately, the chapter demonstrates how the shopping mall in Britain emerged from the ashes of a developmental compact between urban planning and the management of consumer demand. It investigates how shopping mall developers in Britain replicated a globally standardized type of urban space, aligning parts of Britain's built environment with that of the United States and world.

Touch and Go Records and the Rise of Hardcore Punk in Late Twentieth-Century Detroit

2015 ◽  
Vol 4 (1) ◽  
pp. 19-41
Author(s):  
Michael H. Carriere
Keyword(s):  
Twentieth Century ◽  
Urban Spaces ◽  
Political Transformation ◽  
Musical Culture ◽  
Art Form ◽  
Fertile Ground ◽  
History Of ◽  
Late Twentieth ◽  
Post Industrial ◽  
Late Twentieth Century

This essay uses the history of Touch and Go Records – an independent record label founded in 1981 – to show how the late twentieth-century environment of Detroit became fertile ground for the rise of hardcore punk. As the landscape of the post-industrial city was transformed by such developments as deindustrialization and white flight, a cadre of white, suburban youth transformed spaces of abandonment into places of innovation and alternative urban redevelopment, particularly in the city's troubled Cass Corridor neighborhood. Such urban spaces provided the room for musical experimentation in ways that were not possible in the postwar American suburb. Such a process was undoubtedly informed by the economic and political histories of post-industrial Detroit. Yet this essay argues that the rise of hardcore punk was more than an indicator of economic and political transformation; it was also a moment of cultural rupture. Viewed from such a perspective, one sees a group of musicians, writers, and others set on creating a new, viable art form, one that sought to critique and replace an older dominant musical culture that had come to be perceived as lacking vitality and originality. This moment of cultural realignment came to play a great role in the evolution of late twentieth century American culture.

French Philosophy Today

2016 ◽  
Author(s):  
Christopher Watkin
Keyword(s):  
Twentieth Century ◽  
Political Change ◽  
French Philosophy ◽  
Philosophy Today ◽  
Nature And Culture ◽  
Late Twentieth ◽  
First Time ◽  
Late Twentieth Century ◽  
Linguistic Philosophy

After the humanism/anti-humanism debates of the 1940s and ’50s, and after the ‘death of man’ in the linguistic philosophy of the late twentieth-century, French philosophy today is laying fresh claim to the human. This is not to be mistaken for a return to previous ideas of the human, nor is it posthumanism, strictly speaking. It is a series of fundamentally independent and yet strikingly simultaneous initiatives arising in the writing of diverse French thinkers to transform and rework the figure of the human. This book brings together these new figures of the human for the first time, offering the a critique of this contemporary trend in terms of the three categories: the human as ‘capacity’ (Badiou and Meillassoux), as ‘substance’ (Malabou) and as ‘relation’ (Serres and Latour). Tracing these varied transformations of the human makes visible for the first time one of the most widespread, surprising and potentially transformative trends in contemporary French thought. This book draws out both the promises and perils inherent in today’s attempts to rethink humanity’s relation to “nature” and “culture”, to the objects that surround us, to the possibility of social and political change, to ecology and to our own brains, arguing that the stakes of this project are high for our technologically advanced but socially atomised and ecologically vulnerable world.

scholarly journals Lesia Turchak

2021 ◽  
pp. 174-184
Author(s):  
Lesia Turchak
Keyword(s):  
Twentieth Century ◽  
Research Methodology ◽  
Theoretical Method ◽  
Instrumental Performance ◽  
Musical Culture ◽  
Historical Method ◽  
Cultural Method ◽  
The World ◽  
History Of ◽  
Theoretical Results

The purpose of the article is to define Vasyl Yemets’ impact on the development of Ukrainian and world musical culture. The research methodology provides a theoretical method to reveal different aspects of the issue under study; historical method to systematise and synchronise information and investigate the issue essence, cultural method to trace individual stages of the artist’s work and reveal his specifics performing skills. The scientific novelty of the study is to determine Vasyl Yemets’ contribution to the development of Ukrainian bandura art, the features of its Instrumental performance and theoretical results, which has become an essential tool for preserving and spreading Ukrainian culture. Conclusions. It is proved that Vasyl Yemets’ contribution to the world and Ukrainian musical culture consists in developing his own combined way of playing, mixing the traditions of Kharkiv, Chernihiv and Poltava schools. It is proved that he went down in the history of the twentieth-century bandura art as a soloist-performer of a new concert type-virtuosoinstrumentalist, composer and arranger, bandura designer-innovator, author of scientific and journalistic works on the history of Kobzar art, as well as as an artist who brought Ukrainian musical culture to the world level, proposed the standard of the solo concert performance on the instrument and formed the principles laid down in the basis of the work of his followers in the Ukrainian cultural and musical environment of Europe and America.

Nine Centuries of Man

2017 ◽  
Keyword(s):  
Twentieth Century ◽  
Diverse Range ◽  
Gender Expectations ◽  
Court Records ◽  
The Past ◽  
Wide Range ◽  
Police Reports ◽  
Late Twentieth ◽  
Scottish History ◽  
Late Twentieth Century

What did it mean to be a man in Scotland over the past nine centuries? Scotland, with its stereotypes of the kilted warrior and the industrial ‘hard man’, has long been characterised in masculine terms, but there has been little historical exploration of masculinity in a wider context. This interdisciplinary collection examines a diverse range of the multiple and changing forms of masculinities from the late eleventh to the late twentieth century, exploring the ways in which Scottish society through the ages defined expectations for men and their behaviour. How men reacted to those expectations is examined through sources such as documentary materials, medieval seals, romances, poetry, begging letters, police reports and court records, charity records, oral histories and personal correspondence. Focusing upon the wide range of activities and roles undertaken by men – work, fatherhood and play, violence and war, sex and commerce – the book also illustrates the range of masculinities that affected or were internalised by men. Together, the chapters illustrate some of the ways Scotland’s gender expectations have changed over the centuries and how, more generally, masculinities have informed the path of Scottish history

Trey Ellis's Platitudes: Redefining Black Voices

2009 ◽  
Vol 32 (1) ◽  
pp. 55-76
Author(s):  
Quan Manh Ha
Keyword(s):  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
African American Literature ◽  
Black Experience ◽  
Racial Issues ◽  
Black Voices ◽  
Late Twentieth ◽  
One Year ◽  
Late Twentieth Century

Trey Ellis has emerged as a prominent African American writer of the late-twentieth century, despite the small number of his published works. “The New Black Aesthetic,” an essay that he first published in CaUaloo in 1989, one year after the publication of his first novel, Platitudes, stands as a manifesto that defines and articulates his perspective on the emerging black literary voices and culture of the time, and on “the future of African American artistic expression” in the postmodern era.1 According to Eric Lott, Ellis's novel parodies the literary and cultural conflict between such male experimental writers as lshmael Reed and such female realist writers as Alice Walker.2 Thus, Ellis's primary purpose in writing Platitudes is to redefine how African Americans should be represented in fiction, implying that neither of the dominant approaches can completely articulate late-twentieth-century black experience when practiced in isolation. In its final passages, Platitudes represents a synthesis of the two literary modes or styles, and it embodies quite fully the diversity of black cultural identities at the end of the twentieth century as it extends African American literature beyond racial issues. In this way, the novel exemplifies the literary agenda that Ellis suggests in his theoretical essay.

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