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 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 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.

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.

Localising Global Norms: The Case of Family-Friendly Parliaments

2020 ◽  
Author(s):  
Sonia Palmieri ◽  
Kerryn Baker
Keyword(s):  
New Zealand ◽  
Cultural Context ◽  
Methodological Approach ◽  
Institutional Context ◽  
Norm Diffusion ◽  
Starting Point ◽  
Family Friendly ◽  
Global Norms

Abstract In this article, we extend empirical understandings of feminist institutionalism by outlining a new methodological approach to the study of parliament as a gendered workplace. We argue that while a localised approach to studying institutional change allows a more nuanced appreciation of the role of local cultural context, internationalised norms can be an interesting starting point to work back from. A case study of the New Zealand parliament’s ‘family-friendly’ workplace practices illustrates this methodological approach. By tracing the establishment of family-friendly practices in this parliament, our study shines a light on the intractable nature of local institutional context in global norm diffusion and hints at the next phase of work required to further the agenda of transformational gender-sensitive parliaments.

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 PERSON OFJERZY GACHE THROUGH THE PERIODICALS IN THE 20-30TH YEARS OF THE XX CENTURY

2020 ◽  
pp. 42-48
Author(s):  
Oksana Lehkun
Keyword(s):  
Music Education ◽  
Interwar Period ◽  
Educational Institution ◽  
Symphony Orchestra ◽  
Music Teacher ◽  
Teacher Leader ◽  
Creative Activity ◽  
Musical Culture ◽  
Cultural Life

The article is based on the analysis of publications of periodicals in the 20-30th of the XX century the character and musical and creative activity of Jerzy Gache, one of the most active figures in the cultural life of Kremenets’ region of this period is characterized. The pedagogical activity of Jerzy Gache, who for 20 years worked as a music teacher, leader of the symphony orchestra and choir of the Kremenets’ Lyceum of the interwar period, was investigated. The geography of the concert performances and the repertoire of the musical groups of the educational institution is considered. It was found that being a head of the department of the Lviv Music Institute, which operated at the Kremenets’ Lyceum, and a teacher of the Musyczne ognisko wakacyjne, contributed to the deepening of music education in Kremenets’ region. Publications in periodicals of the 20-30s of the XX century. reveal the importance of musical auditions that took place on the initiative of Jerzy Gache, in deepening the musical culture and artistic and aesthetic education of the students of the Kremenets’ Lyceum. Based on the publication in «Życie Liceum Krzemienieckiego», the role of Jerzy Gache as the organizer and leader of the Volyn Symphony Orchestra was determined, the repertoire and concert performances of the collective were traced. It has been found out that the artist's participation in public and cultural and educational events is evidence of his active position in the music and educational life of the region. Key words: Kremenets’ Lyceum, Jerzy Gache, Volyn Symphony Orchestra, pedagogical and concert activities.

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.

Sign in / Sign up

Export Citation Format

Share Document