scholarly journals History of the specific musical movements in Ukraine in the XX century

2021 ◽  
Author(s):  
Liliya Niemtsova
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Driving Forces ◽  
Art Music ◽  
Integrated System ◽  
Art Nouveau ◽  
Music Schools ◽  
Scientific Methods ◽  
History Of ◽  
Definition Of

The purpose of the article is to provide systematization and synthesis of data concerning the history of the separate directions of musical art in Ukraine in the XX century. Methodology. General scientific methods of research, analytical, typological, semantic, and comparative analysis - are applied to the terminological definition of a conceptual framework of the history of musical art and justification of its theoretical art criticism application. The scientific novelty consists in consideration of musical art in Ukraine in the XX century as a certain welfare community. Conclusions. The article considers the history of certain areas of musical art in Ukraine in the twentieth century. It was established that at the stage of the emergence of musical art in Ukraine, the initial music of a syncretic nature developed. This trend consisted in the fact that music, dance, song, and poetry were in constant unity and, accompanied both ceremonies, rites and rituals, and everyday life. During the twentieth century, Ukrainian music in a significant variety of genres and forms is widespread in our country and beyond. Ukrainian artists actively mastered classical European instrumental genres, including the Baroque suite, chamber sonata, trio, quartet, quintet. It was at this time that the aesthetics of the Art Nouveau era dictated an appeal to the style of impressionism, expressionism, and other directions of Art Nouveau (in association with traditional genres, forms, and means of musical expressiveness). This has had an appropriate impact on the field of music education. The development of Ukrainian professional music is associated with the evolution of Ukrainian statehood, which only in the 20th century received the driving forces for formation. This state dynamics influenced the development of Ukrainian culture (and musical art) as an integrated system that is necessary for the active development of the society of Ukraine and the international community as a whole. Speaking about the interaction following the results of the ХХ century of innovations and traditions (archaics) in the musical art of Ukraine, it should be pointed out that any tradition is an innovation in the past, and any innovation is potentially a tradition in the future. In addition, it is important that novelty and archaic in the composer's work should complement each other. It is through this trend that innovations in musical art differ significantly from innovations in technology, where a return to archaic cannot be considered an innovative development. Keywords: art, music, musical works, music schools, the ХХ century, directions, development innovations.

scholarly journals From the history of music education in Uzbekistan

2019 ◽  
Vol 2 (4) ◽  
pp. 32-38
Author(s):  
S. B. Мurtozova
Keyword(s):  
Twentieth Century ◽  
Music Education ◽  
Educational Institutions ◽  
Soviet Power ◽  
Music Schools ◽  
Large Cities ◽  
Communist Ideology ◽  
Children's Songs ◽  
History Of ◽  
Teaching Music

This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music. Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education. Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century. The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources. At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions. The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, special music schools, colleges and conservatories was one of the most serious problems.

„Zurück zu Schleiermacher! und von Schleiermacher aus vorwärts!“

2012 ◽  
Vol 19 (2) ◽  
Author(s):  
Brent A. R. Hege
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
The State ◽  
World War ◽  
Psychological Method ◽  
Dialectical Theology ◽  
Complex Picture ◽  
History Of ◽  
The Subject ◽  
Definition Of

AbstractAs dialectical theology rose to prominence in the years following World War I, the new theologians sought to distance themselves from liberalism in a number of ways, an important one being a rejection of Schleiermacher’s methods and conclusions. In reading the history of Weimar-era theology as it has been written in the twentieth century one would be forgiven for assuming that Schleiermacher found no defenders during this time, as liberal theology quietly faded into the twilight. However, a closer examination of this period reveals a different story. The last generation of liberal theologians consistently appealed to Schleiermacher for support and inspiration, perhaps none more so than Georg Wobbermin, whom B. A. Gerrish has called a “captain of the liberal rearguard.” Wobbermin sought to construct a religio-psychological method on the basis of Schleiermacher’s definition of religion and on his “Copernican turn” toward the subject and resolutely defended such a method against the new dialectical theology long after liberal theology’s supposed demise. A consideration of Wobbermin’s appeals to Schleiermacher in his defense of the liberal program reveals a more complex picture of the state of theology in the Weimar period and of Schleiermacher’s legacy in German Protestant thought.

LEGACY OF XIAO YOUMEI: PATHS TO EUROPEAN MUSIC

2020 ◽  
Vol 1 (2) ◽  
pp. 124-132
Author(s):  
Zhang Kewu ◽  
Keyword(s):  
Music Education ◽  
Educational Institutions ◽  
Asian Countries ◽  
Music Culture ◽  
Xxth Century ◽  
Cross Cultural Communication ◽  
Chinese Music ◽  
History Of ◽  
Definition Of ◽  
Scientific Platform

The relevance of this topic is linked to the need to understand the way in which Asian countries develop theoretical musicology in active cross-cultural communication. This work examines Xiao Youmei (1884–1940), one of the most outstanding representatives of Chinese music culture in the first half of the XXth century. His contribution to Chinese music education and science include the organization of the Shanghai Conservatory of Music (1927), the upgrading of national musicology and the development of the first textbooks on music theory and history for training specialists. Of particular importance is Xiao Youmei's educational activities, related to the study of European music and the definition of the main directions in its research. The article mainly discusses the methods used by the Chinese musicologist in introducing European music to the students of the first music educational institutions in China. Theoretical and historical problems of European music are taught in Xiao Youmei’s textbooks: "Essays on the History of Western Music" (1920–1923), "General Musicology" (1928), "Harmony" (1932). They were distinguished by the following features: an overview principle of the presentation of the material, an expansion of the range of languages used by the term authors, several musical examples and a lack of scientific resources, which is explained by the stage of origin of the music educational system and scientific platform in China in the first decades of the XXth century. One of the main features of the content expressed in Xiao Youmei's textbooks is the correlation between various parameters of Chinese and European music. The paper provides examples illustrating the method of using the notions of one thinking system to explain the other (in the field of harmony, instrumental science). It is explained by the transitional stage in the formation of Chinese musicology — from the old system of notation to the new one.

“An Essential Expression of the People”: Interpretations of Hasidic Song in the Composition and Performance History of Ernest Bloch's Baal Shem

2012 ◽  
Vol 65 (3) ◽  
pp. 777-820 ◽  
Author(s):  
Joshua S. Walden
Keyword(s):  
Twentieth Century ◽  
Jewish Identity ◽  
Art Music ◽  
Eastern European ◽  
Performance History ◽  
Jewish Communities ◽  
Jewish Music ◽  
The People ◽  
History Of ◽  
And Performance

Abstract This article examines Ernest Bloch's Baal Shem: Three Pictures of Chassidic Life, considering its score, its performance history, and early recordings of the second movement, “Nigun,” by Yehudi Menuhin, Joseph Szigeti, and Mischa Elman, to investigate the idea, promoted by the composer and many of his performers and critics, that the music represented Jewish identity through the evocation of Hasidic song. Bloch's score and Menuhin's performances were described as expressing what was often characterized during the early twentieth century as a self-affirming racial feeling that linked the modern diaspora in America to Eastern European Hasidic Jewish communities. With Baal Shem, Bloch and his performers and listeners participated in a self-conscious effort to construct a modern Jewish identity that they believed could be conveyed in the sounds and structures of art music. Menuhin's lifelong friendship and collaboration with Bloch underscores the crucial roles of Bloch's performers in working with the composer to devise compositional and performance tropes for the representation of Hasidic song, and in creating his broad reputation as a composer of a definitive Jewish music, a reputation Bloch would sometimes embrace and at other times disavow.

scholarly journals The Music Room: Betty Freeman's Musical Soirées

2017 ◽  
Vol 14 (3) ◽  
pp. 391-409
Author(s):  
JAKE JOHNSON
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Art Music ◽  
Avant Garde ◽  
Western Art ◽  
Interaction Rituals ◽  
Salon Culture ◽  
History Of ◽  
Western Art Music

AbstractFor over ten years, Los Angeles arts patron Betty Freeman (1921–2009) welcomed composers, performers, scholars, patrons, and invited guests into her home for a series of monthly musicales that were known as ‘Salotto’. In this article, I analyse Freeman's musicales within a sociological framework of gender and what Randall Collins calls ‘interaction rituals’. I contextualize these events, which took place in a space in her Beverly Hills home known as the Music Room, within a broader history of salon culture in Los Angeles in the twentieth century – a history that shaped the city's relationship with the artistic avant-garde and made Los Angeles an important amplifier for many of the most important voices in contemporary Western art music of the last sixty years.

THE FEMALE CONSUMER AND THE POLITICS OF CONSUMPTION IN TWENTIETH-CENTURY BRITAIN

2002 ◽  
Vol 45 (1) ◽  
pp. 103-128 ◽  
Author(s):  
MATTHEW HILTON
Keyword(s):  
Twentieth Century ◽  
Consumer Movement ◽  
Women's Participation ◽  
State Apparatus ◽  
The First World War ◽  
Professional Class ◽  
Consumer Interests ◽  
History Of ◽  
Political Left ◽  
Definition Of

This article traces the history of women's participation in consumer politics and the gendering of the consumer in twentieth-century Britain. It does so by focusing on two important moments in the official discussion of the consumer interest: the Consumers' Council of the First World War and the Molony Committee on Consumer Protection, 1959–1962. It argues that notions of consumer-citizenship have been varied and forever in flux and that the involvement of women in consumer issues within the state apparatus has always been at once both disputed and encouraged. Within this complex history, however, a number of discernible trends are apparent. In the first half of the twentieth century, consumer issues were articulated by women's organizations on the political left and the consumer was considered largely a working-class housewife within official consumer politics. By mid-century, an increasingly dominant view of the consumer was that of the middle-class housewife, and a host of socially conservative women's groups came to speak for the consumer. By the 1950s, while the definition of the consumer remained contested, it had increasingly become a gender-neutral category, as business groups defined consumer interests in government committees and an emerging affluent consumer movement inscribed consumerism with the values of a male professional class.

scholarly journals V.M. SHUKSHIN AND “NEW PEASANT POETS”: SURVIVED CHILDREN OF NOT SURVIVED FATHERS

2020 ◽  
Vol 10 (2) ◽  
pp. 4-15
Author(s):  
A.A. Shorokhov ◽  
Keyword(s):  
Twentieth Century ◽  
World Literature ◽  
Cultural Phenomenon ◽  
Early Twentieth Century ◽  
History Of ◽  
Late Twentieth ◽  
Points Of View ◽  
Definition Of ◽  
Late Twentieth Century

The article combines two significant historical and literary phenomena. The first is a group of Russian poets and prose writers of the early twentieth century, known under the general name “new peasant poets”. The second is a group of Russian writers of the late twentieth century, whose work has received a steady definition of “village prose”. V.M. Shukshin’s works are also referred to this cultural phenomenon. The article attempts to get away from simplifying definitions of “urban romance”, “village prose”, and to establish the civilizational continuity of Shukshin’s work with “new peasant poets” of the early twentieth century. The author also tries to consider the phenomenon of the group of “new peasant poets” from the cultural, philosophical and historical-biographical points of view – In the unity of their work, fate and dramatic changes in the history of Russia. The article uses theoretical works on Russian and world literature and history by M.M. Bakhtin, V.V. Kozhinova, I.R. Shafarevich, G.I. Shmeleva, P.F. Alyoshkina, S.Yu. and S.S. Kunyaevs, recent publications on Shukshin’s works by V.I. Belov, A.D. Zabolotsky, and A.N. Varlamov.

scholarly journals FINANCIAL AND ECONOMIC BASES OF THE FUNCTIONING OF STATE EXECUTIVE BODIES: PAST, PRESENT AND PROSPECTS OF IMPROVEMENT

2019 ◽  
Vol 5 (1) ◽  
pp. 126
Author(s):  
Oleksandr Mykolenko ◽  
Iryna Lychenko ◽  
Olena Klymiuk
Keyword(s):  
Executive Branch ◽  
Administrative Reform ◽  
Structural Method ◽  
Legal Regulations ◽  
Negative Effects ◽  
Scientific Methods ◽  
Legal Method ◽  
History Of ◽  
State Of Affairs ◽  
Definition Of

The aim of the article is to analyse legal regulations and perspectives available in the specialized literature concerning financial and economic bases of the functioning of state executive bodies, which should be strengthened and formed according to one of the areas of administrative reform in Ukraine. The subject of the study is financial and economic bases of the functioning of state executive bodies: past, present, and prospects of improvement. Methodology. The study is based on the use of general scientific and special-scientific methods and techniques of scientific knowledge. The historical and legal method enabled to analyse the legal regulations of administrative and financial law on past, present, and prospects of improvement of financial and economic bases of the functioning of state executive bodies. The comparative legal method was used to improve the system of executive bodies and their authorities’ exercise. The system-structural method enabled to consider and identify the most negative effects of the insufficient financing of executive branch activities and the exercise of their authorities. The methods of grouping and classifying were the basis for the author’s approach to the identification of forms of financing state executive bodies. The technical legal method enabled to interrogate the state of affairs in financial and economic bases of the functioning of state executive bodies. The results of the study enabled to highlight the drivers of the improvement of forms of financing state executive bodies. Practical implications. In the study, scientific sources and legal regulations of administrative and financial law on past, present, and prospects of improvement of financial and economic bases of the functioning of state executive bodies are interrogated. The article highlights that strengthening and forming new financial and economic bases of the functioning of state executive bodies have been provided for by one of the areas of the Concepts of Administrative Reform, which nowadays is implemented both at the legislative and law enforcement levels. It was concluded that the formation of new financial and economic bases of the functioning of state executive bodies failed. There is only modelling of certain forms of financing of state executive bodies, familiar to the history of the origin and development of these bodies. Therefore, financial and economic bases of the functioning of state executive bodies should be interrogated by representatives of both administrative and financial law not only from a historical perspective or from a modern perspective but also with a view to the future. Relevance/originality. The original author’s approach to the definition of financial and economic bases of the functioning of state executive bodies is the basis for developing the most promising areas of improvement of domestic legislation in this sphere.

The Origins of the Fuging Tune

1981 ◽  
Vol 17 ◽  
pp. 1-32 ◽  
Author(s):  
Nicholas Temperley
Keyword(s):  
Eighteenth Century ◽  
Folk Music ◽  
Professional Training ◽  
Church Of England ◽  
Art Music ◽  
Musical Life ◽  
English Music ◽  
History Of ◽  
Definition Of ◽  
The Church

The fuging psalm or hymn tune is a form whose existence one would hardly suspect from any history of English music. Yet is was a product of the Church of England, and there are more than six hundred and fifty specimens in English eighteenth-century printed sources alone. Its neglect is readily explained by the fact that it lies on the borderline of art music: the musicians who developed it were obscure country singers without professional training; but at the same time it does not fall within the definition of ‘folk music’ that we have inherited from the Cecil Sharp era, for it is written music designed for rehearsed performance. We may or may not wish to hear or sing these tunes today. But our understanding of eighteenth-century English musical life must be incomplete if it does not take into account a form that was so distinctive and so widely appreciated at the time.

A History of Bodies

2018 ◽  
pp. 237-250
Author(s):  
Annette Rodríguez
Keyword(s):  
Twentieth Century ◽  
Mexican American ◽  
Critical Role ◽  
Historical Analysis ◽  
Mexican American Women ◽  
Pedagogical Choices ◽  
History Of ◽  
Definition Of ◽  
The Continuum

This chapter explores the development of pedagogical choices and historical practice via familial and professional mentorship. Rodríguez argues for the critical role of mentorship for the development of women in the historical profession. Naming her work “a history of the gaps,” she discusses widening the definition of historical actors as well as subjects of historical analysis. As an example, the chapter points to the continuum of women acting against racist violence, documenting, analyzing, and historicizing racist violence—against previously masculinist narratives. Demonstrating a “history of the gaps,” Rodríguez’s chapter concludes with the testimonies of Mexican and Mexican American women whose X marks confirmed anti-Mexican murders at the turn of the twentieth century.

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