scholarly journals DAGESTAN PROFESSIONAL MUSICAL ART IN HISTORICAL DEVELOPMENT: THE SECOND HALF OF THE XX - BEGINNING OF THE XXI CENTURY

2021 ◽  
Vol 17 (2) ◽  
pp. 363-386
Author(s):  
Elmira B. Abdullaeva
Keyword(s):  
Historical Development ◽  
Classical Music ◽  
Species Differentiation ◽  
Research Experience ◽  
Musical Culture ◽  
Holistic View ◽  
Modern Culture ◽  
The Look ◽  
Historical Periods ◽  
Actual Part

The article describes the patterns and features of the development of the musical art of Dagestan at different stages of its evolution over more than half a century of history. We have analyzed the components of the musical and professional tradition, giving a holistic view of it, versatile reflecting both the originality and originality, and historical variability. These include: genre-species differentiation and systemic connections, stylistics and means of musical expression.The multifaceted study and the possibility of interpreting the data obtained allows one to create an idea of ​​the ways of the formation and development of the musical art of Dagestan during the period under consideration. The initial premises of the study can be summarized as follows.The structure of musical art is formed on the basis of the interrelationships of composer's creativity, performing practice and various cultural interchanges that undergo stylistic and genre-specific changes.The second premise was the look at the musical art of Dagestan as an actual part of modern culture. Therefore, the main source has become various forms of broadcasting musical culture (listening practice and analytical observations at concerts of classical music).Reliance on contemporary musical material and direct observation of the musical process in the field of classical, pop and other spheres of culture presupposes the study of the phenomenon in a synchronic aspect. The presence of publications by different authors and our own research experience make it possible to a certain extent to make diachronic comparisons.The important regularities in the development of the Dagestan academic musical art identified by us can form the basis for further research of genre phenomena in different historical periods.

scholarly journals SOUTH KOREAN TV SERIES IN THE SERVICE OF MUSIC EDUCATION

2020 ◽  
Vol 16 (3) ◽  
pp. 133-156
Author(s):  
SERGEI A. AIZENSHTADT ◽  
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Symphony Orchestra ◽  
Working Environment ◽  
The South ◽  
Musical Culture ◽  
Musical Life ◽  
Modern Culture ◽  
South Korean ◽  
Serial Films

In this article we study forms and methods used to popularize western classical music in a South Korean TV series. The main subject of analysis is the TV series Beethoven Virus (2008) devoted to a symphony orchestra in a fictional South Korean city. The main purpose of this TV series is the promotion of classical music, and the author of the article comes to the conclusion that its popularity among Korean audience is explained by its engaging, convincing artistic methods with respect to national cultural specificities, which were used to show the working environment of professional musicians. The series reveals real problems of modern Korean musical culture: “crisis of overproduction” of academic musicians; discrimination of graduates of South Korean musical educational institutions; prejudice that classical music is only for the rich. The author emphasizes that immersion into the atmosphere of professional musical life allows the viewers to apprehend the educational value of the TV series more clearly. Beethoven Virus demonstrates traditional Korean attitude towards European classical music determined by the Confucian roots; and at the same time, it depicts changes in the modern culture conditioned by gradual departure from traditional values. The two main characters — the young and the old conductors — symbolize the old and the new in the Korean musical culture. They interact in a traditional eastern way: the new spirit does not openly conflict with the established convention, but sprouts from it. The author suggests that the music is explained in the film through emotional associations which let the viewers fully perceive the musical idea. The author believes that this method, compared to other ways widespread in the West, corresponds to the nature of the specific sensation of European classical music associated with Confucian cultural roots. An opinion is expressed that methods of music education used in Beethoven Virus were chosen in accordance to the South Korean serial genre traditions: leitmotivs in the soundtrack and gesture clichés are of particular significance here. The author suggests that the South Korean experience of promoting musical classics by means of serial films can be used abroad — given that the differences in mentality and realities of musical life are taken into account.

scholarly journals Yodaya: Thai Classical Music in Myanmar Culture

MANUSYA ◽  
2017 ◽  
Vol 20 (2) ◽  
pp. 55-76
Author(s):  
Suradit Phaksuchon ◽  
Panya Rungrueang
Keyword(s):  
Qualitative Study ◽  
Historical Development ◽  
Classical Music ◽  
Analytical Description ◽  
Way Of Life ◽  
Musical Culture ◽  
Royal Court ◽  
The Past ◽  
Documentary Analysis ◽  
Field Notes

Yodaya is one of the music genres in Myanmar’s musical culture. It was initially tied to the Myanmar royal court in the past and has ever since infiltrated the Myanmar way of life up until the present day. This qualitative study was set out to: 1) investigate the historical development of Yodaya, and 2) examine the features and representation of Thai classical music in Yodaya. Data was gathered between August 2009 and March 2014 through multiple techniques: survey, interview, observation, field-notes and documentary analysis. Informants included five experts, eight practitioners and four related people in Yangon and Mandalay cities in Myanmar. Data was validated by means of a triangulation method based on defined objectives and was presented following analytical description.

scholarly journals UNREALIZED ARCHITECTURAL PROJECTS IN LITHUANIA: HISTORICAL DEVELOPMENT / NEĮGYVENDINTI ARCHITEKTŪRINIAI PROJEKTAI LIETUVOJE: ISTORINĖ RAIDA

2012 ◽  
Vol 4 (2) ◽  
pp. 188-196 ◽  
Author(s):  
Indrė Gudelytė
Keyword(s):  
Historical Development ◽  
Soviet Period ◽  
Specific Design ◽  
Building Projects ◽  
Design Task ◽  
Artistic Value ◽  
Architectural Styles ◽  
Historical Periods

The “unrealized architectural projects” are the building projects, carried out under the specific design task and intended to be built in a particular place (site), though, for certain reasons and circumstances, have never been constructed. However, up to the present day, the topic of the “unbuilt” has been analyzed just episodically in literature and sources. The article touches upon the historical development of unrealized architectural works, as well as their artistic value and role within various historical periods of Lithuanian architecture. One of the chapters briefly reviews the relevance and development of unrealized projects during the period since Czarist Russian occupation (1795) to the restoration of Lithuanian independence (1990). Furthermore, the deeper analysis of the Soviet period (1940–1990) “dead” architecture is presented. While exploring “the unrealized”, attention has been also paid to what was actu ally built, therefore the prevailing architectural styles, tendencies and examples of the corresponding decade (in Lithuania and worldwide) have been studied. Santrauka Neįgyvendinti projektai – tai pastatų projektai, atlikti pagal konkrečią projektavimo užduotį ir skirti realizuoti konkrečioje vietoje (sklype), tačiau dėl tam tikrų priežasčių ir aplinkybių neįgavę realaus statinio pavidalo. Iki šiol ši tema literatūros šaltiniuose nagrinėta epizodiškai. Straipsnyje kalbama apie nerealizuotų darbų istorinę raidą, meninę vertę, jų vaidmenį įvairių laikotarpių Lietuvos architektūroje. Viename iš skyrių trumpai apžvelgiamas nerealizuotų projektų aktualumas ir raida nuo carinės Rusijos okupacijos (1795) iki Nepriklausomybės atgavimo metų (1990). Nuodugniau analizuojama sovietinio laikotarpio (1940–1990) vadinamoji mirusi architektūra. Tyrinėjant tai, kas nerealizuota, tenka atkreipti dėmesį ir į tai, kas buvo įgyvendinta: kokios architektūrinės srovės, mados, stiliai, tendencijos vyravo tam tikru periodu ne tik Lietuvoje, bet ir pasaulyje.

scholarly journals Historical Perspectives and Legal Aspects of Cyber Warfare

2020 ◽  
Vol 3 (2) ◽  
Author(s):  
Zoran Jovanovski ◽  
Andrej Iliev ◽  
Anita Ilieva Nikolovska
Keyword(s):  
United States ◽  
Cold War ◽  
Short Story ◽  
Historical Development ◽  
Terrorist Attacks ◽  
Cyber Warfare ◽  
Historical Perspectives ◽  
The World ◽  
The Cold War ◽  
Historical Periods

Historical development of cyber warfare follows three major historical periods: first period follows the technological advances of information technology during the 1980s until the end of the Cold War in 1990, second period is from the end of the Cold War to the terrorist attacks in United States during 11-th september 2001 year and the third period  is from the terrorist attacks in United States during 11-th september 2001 year onwards. Each of the mentioned historical periods follows a specific doctrine and strategy of dealing with the national security threats from cyberspace. The world super powers and the world states, introduce appropriate strategies and national policies to deal with the consequences of this kind of warfare. Expression of cyberspace is linked to a short story titled "Burning Chrome" in the 1982 year written by American author William Gibson. In the following years, this word turned out to be conspicuously related to online PC systems. According to NATO, people are part of cyberspace.  According to this, NATO defines that cyberspace is more than just internet, including not only hardware, software and information systems, but also peoples and social interaction with these networks. The first cyber warfare weapon ever known in history was Stuxnet. Stuxnet's objective was to physically annihilate a military target. Stuxnet has contaminated more than 60,000 PCs around the world, mostly in Iran. While international cooperation is essential, each nation should in near future develop a National foundation, its own national cyber security strategy, authorities and capabilities. Every nation state, should  require effective coordination and cooperation among governmental entities at the national and sub-national levels as well as the private sector and civil society. The main hypothesis of this paper is to present the historical development and perspectives of cyber warfare and accordingly propose the best legal concepts, national doctrines and strategies for dealing with this modern type of warfare.

The Morphological Interaction of the Four Faculties in the Historical System of W. B. Yeats’s A Vision

2017 ◽  
Author(s):  
Graham A. Dampier
Keyword(s):  
Historical Development ◽  
William Butler Yeats ◽  
The Past ◽  
Historical Periods ◽  
Historical System

William Butler Yeats’ elucidation of A Vision’s historical system in “Dove or Swan” represents the historical present as the reconciliation of past moments. The Four Faculties define history as the perpetual co-existence of historical periods and allow for a vision of historical development that always reflects on the past in order to make sense of the present. This essay argues that the interaction of the Faculties on the “line of coterminous periods” can be understood in terms of Spengler’s morphology of history as analytically analogous. The past influences the present, and can be said to constrain it, but it is the Will’s ability to reconcile the strife between the Tinctures that allows for novelty in this grand system of deterministic continuity. Previous discussions of the Yeats-Spengler connection have overlooked the importance of the Faculties and the four interacting periods of history, which this article only begins to address.

scholarly journals Investigating style evolution of Western classical music: A computational approach

2018 ◽  
Vol 23 (4) ◽  
pp. 486-507 ◽  
Author(s):  
Christof Weiß ◽  
Matthias Mauch ◽  
Simon Dixon ◽  
Meinard Müller
Keyword(s):  
Classical Music ◽  
Music History ◽  
Computational Approach ◽  
Unsupervised Clustering ◽  
Computational Experiments ◽  
Data Driven ◽  
Independent Evidence ◽  
Audio Recordings ◽  
Western Classical Music ◽  
Historical Periods

In musicology, there has been a long debate about a meaningful partitioning and description of music history regarding composition styles. Particularly, concepts of historical periods have been criticized since they cannot account for the continuous and interwoven evolution of style. To systematically study this evolution, large corpora are necessary suggesting the use of computational strategies. This article presents such strategies and experiments relying on a dataset of 2000 audio recordings, which cover more than 300 years of music history. From the recordings, we extract different tonal features. We propose a method to visualize these features over the course of history using evolution curves. With the curves, we re-trace hypotheses concerning the evolution of chord transitions, intervals, and tonal complexity. Furthermore, we perform unsupervised clustering of recordings across composition years, individual pieces, and composers. In these studies, we found independent evidence of historical periods that broadly agrees with traditional views as well as recent data-driven experiments. This shows that computational experiments can provide novel insights into the evolution of styles.

scholarly journals Features of the Ukrainian performing school of opera in the context of the evolution of European traditions

2021 ◽  
Author(s):  
Igor Borko
Keyword(s):  
Performance Analysis ◽  
Research Methods ◽  
Comparative Methods ◽  
Stylistic Analysis ◽  
Research Approach ◽  
Music Culture ◽  
Musical Culture ◽  
Holistic View ◽  
National Music ◽  
Methodological Principles

The purpose of the study is to consider, analyze the features and main aspects related to the development of the Ukrainian performing school of opera in the context of the evolution of European traditions. Methodology. Leading research methods are historical-genetic, comparative, methods of genre and stylistic analysis, and the method of performance analysis. Scientific novelty. The article examines the main aspects, characteristics, and methodological principles of Ukrainian and European musicology, which opened new opportunities for a more complete, unbiased study of the path that had to overcome the national music culture, opera. Conclusions. As conclusions of the research results, we can say that a detailed study and study of the history, present, and trends of national music culture contributes to the development of modern performance. Absolutization of the research approach can lead to significant losses in the scientific interpretation and interpretation of artistic trends and even certain distortions in the creation of a holistic view of musical processes. Keywords: performing school, opera art, musical art, musical culture, Ukrainian music.  

scholarly journals Jacqueline du Pré as 'The Cellist' (2020)

2021 ◽  
Vol 7 (2) ◽  
Author(s):  
Adam Whittaker
Keyword(s):  
Classical Music ◽  
Sexual Experience ◽  
Musical Instrument ◽  
Media Representations ◽  
Musical Culture ◽  
Her Family ◽  
Musical Representations ◽  
Power Couple ◽  
1960S And 1970S ◽  
The 1960S

Few musicians of the twentieth century are as recognisable as Jacqueline du Pré. Her dazzling and distinctive talent, said to have enraptured audiences the world over, was overcome by a tragic diagnosis of MS. This sense of tragedy was all the more heightened by Du Pré’s famed physicality on the stage, leading critics to use all manner of analogies in describing her playing as a physical (and even sexual) experience. Her status as a musical celebrity, further intensified as she became one half of a classical music power couple, has led to numerous dramatic retellings and reimaginings of her biography, played out in film and TV, and now on stage. The most recent example of this fascination with Du Pré is the ballet The Cellist, Cathy Marston’s new work for the Royal Ballet, premiered in February 2020 to much critical acclaim. Its score, composed by Philip Feeney, features a cello soloist and interweaved repertoire extracts that have become so associated with Du Pré. Along with the characters of Barenboim, Du Pré, and her family, her 1673 Stradivarius cello is given a starring role in the form of Marcelino Sambé, a new take that makes this a distinctive contribution to media representations of Du Pré. This article examines the interactions across this complex web of musical representations of musical personae engrained in the cultural consciousness. It considers acts of musical performance, the musical instrument as living companion, and the representation of classical musical culture of the 1960s and 1970s, drawing attention to key features of Du Pré’s narrative re-presented in a new artistic form.

scholarly journals Polish Music Culture in the Life and Work of the Composer Sergey Slonimsky

2021 ◽  
Vol 27 (4) ◽  
pp. 129-138
Author(s):  
O. L. Devyatova ◽  
Keyword(s):  
Cultural Relations ◽  
Music Culture ◽  
Musical Culture ◽  
Modern Culture ◽  
Polish Music ◽  
Political Differences ◽  
Creative Life

The article is devoted to the problem of cultural relations between Poland and Russia in the second half of the 20th and early 21st centuries, which are studied using the example of musical culture and Russian-Polish relationships in the creative life of the St. Petersburg composer Sergei Mikhailovich Slonimsky. The significance of the genealogical and genetic roots and musical and creative contacts of the greatest master of modern culture with Poland and Polish music, both in the 19th and 20–2I-th centuries, is proved. It is concluded that it is musical culture, represented by its outstanding creative figures, that is capable, despite political differences, to establish strong, fruitful creative and friendly relations between the two Slavic countries.

Christian Reception of the ‘New-Music’ Debate in the Church Fathers and Clement of Alexandria

2018 ◽  
Vol 6 (2) ◽  
pp. 359-378
Author(s):  
Andreas Kramarz
Keyword(s):  
Classical Music ◽  
Fifth Century ◽  
New Music ◽  
Christian Faith ◽  
Church Fathers ◽  
Musical Culture ◽  
Evaluative Judgments ◽  
Clement Of Alexandria ◽  
The Church ◽  
Ultimate Principle

Abstract Evaluative judgments about musical innovations occur from the late fifth century BC in Greece and Rome and are reflected in similar discussions of Christian authors in the first centuries of the Empire. This article explores how pedagogical, theological, moral, and spiritual considerations motivate judgments on contemporary pagan musical culture and conclusions about the Christian attitude towards music. Biblical references to music inspire both allegorical interpretations and the defense of actual musical practice. The perhaps most intriguing Christian transformation of the ancient musical worldview is presented in Clement of Alexandria’s Protrepticus. Well-known classical music-myths serve here to introduce a superior ‘New Song’. Harmony, represented in the person of Christ who unites a human and a divine nature, becomes the ultimate principle of both cosmos and human nature. This conception allows music to become a prominent expression of the Christian faith and even inform the moral life of believers.

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