Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

Author(s):  
Iia Fedorova

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

Author(s):  
Kendra Klages

My research project focuses on folk inspired music of Poland, England, China, and Ireland. In my applied lessons on clarinet, I studied two neoclassical Polish folk pieces, so the question answered in the research is how the two neoclassical Polish pieces compare to folk inspired pieces from other countries. The pieces chosen for this study are mainly pieces that I have heard before. Therefore, I chose the pieces based upon my familiarity with them. Folk music expresses the sounds and rhythms that represent countries all over the world. Over time these sounds and rhythms evolve to reflect the country at that moment. This study will reflect how folk music was implemented into different pieces with a focus on Polish neoclassical folk pieces versus English, Chinese, and Irish folk pieces. There is a detailed analysis focused on two Polish compositions. While the focus of the other global pieces is to allow one to understand how folk music was being used in compositions specific to the country being studied. The purpose of this study is to understand how folk tunes and characteristics can be expressed through larger compositions, and how the different countries and genres approached that. Furthermore, the study compares Polish folk music to the folk music of other countries and where Polish folk composers stand in originality and experimentalism with the composers of England, China, and Ireland.


Philosophy ◽  
2004 ◽  
Vol 79 (2) ◽  
pp. 161-162

Of course, we are not all Straussians, even now, and not just because Leo Strauss is virtually unknown outside the small circle of his followers. (Leo Strauss's name does not even appear in the first five works of philosophical reference we consulted.) Ignorance aside, many readers of Philosophy, along with many other intellectuals, academics, teachers and students, would in any case be appalled to learn that they have any beliefs in common with what is known to-day as neo-Conservatism. But neo-Conservatism is undoubtedly influential in contemporary American foreign policy, and its philosophical roots are Straussian in the very direct sense that many of those driving that policy would regard themselves as having been influenced by Strauss. And only the other day we heard an eminent member of the Conservative Shadow Cabinet in Britain declare that modern conservatism had just two options: to go backwards with Michael Oakeshott's inimitable brand of clubbable nostalgia or brightly forward into the twenty-first century with the neo-Conservatism of Leo Strauss.To describe Leo Strauss as a neo-Conservative is itself an irony Strauss may have been appreciated. For Strauss was neither neo nor a conservative. He was not neo because he believed that the only way to understand our situation was to go back to the ancients, and to understand them on their own terms. We had to read Plato and Aristotle, and to understand them we had to read the Greek historians, Xenophon above all; to understand modernity we had to read Machiavelli, the first modern, and to understand him we had to read Livy, and so on and so on. And he was not conservative, if by conservative one means having an over-weening commitment to some local history or tradition or being nostalgic for an imaginary past. Strauss believed, as did the ancients, in a universal human nature, and he believed that from this nature followed certain things about the conditions necessary for human flourishing, now and in the future.Strauss was born in Germany in 1899, into orthodox Jewry. His studies in Germany included a year in Freibourg as a colleague of both Husserl and Heidegger. He left Germany in 1932, and for most of the rest of his life he was a teacher in American universities, notably in Chicago and St John's College Annapolis. What the ancients and his own experience further taught Strauss was this: ‘Liberal democracy is the only decent and just alternative available to modern man. But he also knew that liberal democracy is exposed to, not to say beleagured by threats, both practical and theoretical. Among those threats is the aspect of modern philosophy that makes it impossible to give rational credence to the principles of the American regime, thereby eroding conviction of the justice of its cause.’ The words are those of Allan Bloom, Strauss's pupil, taken from his obituary of Strauss in 1974, and in Strauss's view as well as in Bloom's the sources of that erosion included as well as Heidegger, Rousseau and Nietzsche.Strauss himself had a horror of anything except thought. In Bloom's words he ‘was active in no organization, served in no position of authority, and had no ambitions other than to understand and help others who might also be able to do so.’Nevertheless, despite Strauss's own reticence and his almost complete neglect in the academic world, some of those he helped, and some of their pupils are now influential in the highest political circles in the USA. They too believe in a universal human nature and that it is to be found in Africa and Asia and everywhere else in the world, as much as in the West. They believe that if you have the power to afford the benefits of liberal democracy in places where people have for decades suffered under tyranny or are locked into cycles of ethnic strife and slaughter, you should not turn your head away and pass on the other side of the road, as in different ways old Conservatives and modern cultural relativists might be inclined to do. You should actually intervene, even at cost to yourself.These beliefs may be wrong, but they could well seem attractive to those seeking a better future for the world as a whole. They are not self-evidently absurd or wicked. They, and their best sources, deserve thought and study. It is time for the writings of Leo Strauss to appear on syllabuses of political philosophy.


2014 ◽  
Vol 05 (04) ◽  
pp. 426-427
Author(s):  
Sayantanava Mitra ◽  
Anjana Rao Kavoor

ABSTRACTIn spite of becoming more humane in its approach with improvements in understanding of mental illnesses over last century, psychiatry still has a long way to go. At this point in time, on one hand the world faces issues like terrorism, wars and global warming; while on the other it is witnessing economic and gender empowerment like never before. With technology providing us with immense opportunities to advance care for the mentally ill, we are closer than ever to finding the holy-grail of psychiatry, and overcoming daunting challenges.


2014 ◽  
Vol 18 (1) ◽  
pp. 10-19
Author(s):  
Stacey O. Irwin ◽  

Perception and reciprocity are key understandings in the lived experience of driving while using a cellular phone. When I talk on a cell phone while driving, I interpret the world through a variety of technologically mediated perceptions. I interpret the bumps in the road and the bug on the windshield. I perceive the information on the dashboard and the conversation with the Other on the other end of the technological “line” of the phone. This reflection uses hermeneutical phenomenology to address the things themselves in life with which we relate and interact with in our everydayness, as we talk on a cell phone while driving.


2021 ◽  
pp. 150-155
Author(s):  
L. Shemet

The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine. The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument. The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods. The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument. The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.


Author(s):  
Philip V. Bohlman

If folk music made it possible to imagine world music, it did so from a European perspective. ‘Music of the folk’ examines what concepts of folk and nationality meant to Hungarian composers Bartók and Kodály and explores the global success of folk-inspired Celtic music. Musical pioneers often straddled two cultures, such as Leadbelly, who performed both rural Southern blues and more sophisticated fusion. Leadbelly’s story and others were documented by the Lomax family of folk musician scholars. The spread of polka across the world suggests that there is a place for folk music within world music, contradicting claims that the idea of world music encourages homogenization.


1973 ◽  
Vol 10 ◽  
pp. 173-192
Author(s):  
J. Van Den Berg

As far as the protestant countries are concerned the eighteenth century, the ‘age of reason’, might as well be called ‘the age of revival’. On the one hand, we meet with a strong desire to escape the snares of this world by concentrating upon the mysteries of salvation: the road to sanctity is a narrow road, to be trodden in fear and trembling. On the other hand there are those for whom this world is a world full of new and unexpected possibilities, a world to be explored and to be made instrumental to the fulfilment of the divine plan with regard to the development of humanity in its secular context. Naturally, also in the eighteenth century ‘sanctity’ and ‘secularity’ were not seen as in themselves mutually exclusive concepts. While many revivalists looked forward to the enlightenment of this world by the knowledge of God, many men of the enlightenment saw before them the prospect of the sanctification of the world by the combined influences of reason and revelation. Some of the fathers of the enlightenment - notably Locke and Leibniz - were essentially committed to the cause of Christianity, while on the other hand protagonists of the pietist and revival movements such as Francke and Edwards cannot in fairness be accused of an anti-rational attitude and of a lack of interest in the well-being of this world. Nevertheless, within the circle of eighteenth-century protestant Christianity there were conspicuous differences with regard to the evaluation of and the attitude towards the world in which the Christian community, while living in the expectation of the kingdom, still had to find its way and its place.


2009 ◽  
Vol 2 ◽  
pp. 147-153
Author(s):  
Anna Muradova ◽  

The archaic mythology of Celts like the other pagan cosmologic systems is based on binary oppositions e.g. light and darkness, “our world” and the Otherworld. The comparative reconstruction of the basic concepts of the pre-Christian mytho-poetical tradition is in most cases based on the Old Irish text. Nevertheless, Breton folklore texts (often neglected because of their modernity) can be useful for further reconstruction of the opposition “light – dark”, “our world – otherworld”. The fact of the existence of such oppositions like one of the first steps of the human mind on the way of understanding the world and structuring the society was observed by ethnologists, psychologists and comparative linguists.


2015 ◽  
Vol 33 (1) ◽  
pp. 57-67 ◽  
Author(s):  
Elżbieta Macioszek

There are to two groups of turbo roundabouts used currently in Poland. The first group is turbo roundabouts with geometry and traffic organization designed following the model of Dutch turbo roundabouts with raised lane dividers. The other group is turbo roundabouts with traffic organization which entirely or partly corresponds to traffic organization of conventional turbo roundabouts, but with lane dividers not present, with their function performed by a single continuous line of P-2 type. Turbo roundabouts in the world are considered as solutions which are characterized by a high level of road safety and allow for effective flow at substantial traffic intensities. The data about turbo roundabouts in Poland analysed by the author show that there are substantially more turbo roundabouts without raised lane dividers. The paper attempts to answer to the question of whether turbo roundabouts with lane dividers in the form of a single continuous line ensure the appropriate level of road safety. Furthermore, the comparison of the level of road safety in turbo roundabouts equipped in raised lane dividers with turbo roundabouts with lane separators in the form of continuous line revealed that turbo roundabouts with raised lane dividers are safer solutions than turbo roundabouts with traffic lane dividers in the form of continuous line.


Author(s):  
Peter Pesic

Johannes Kepler, more than anyone, incorporated music into the foundations of his innovative astronomy. This chapter relates his interest in musical practice to his novel approach to its theory, which moved him to reject algebraic results that contradicted musical experience. Kepler’s search for cosmic polyphony points to Orlando di Lasso’s In me transierunt as a moving expression of the “song of the Earth,” down to the melodic spelling of the Earth’s song. Kepler presents cosmos and music as essentially alive and erotically active, based on his sexual understanding of numbers. The pervasive dissonance of the cosmic harmonies reflects the throes of war and eros. Like Oresme, Kepler realized the essential incompleteness of the cosmic music, which seemingly could never reach a final cadence, a universal concord on which the world-music could fittingly end. This would have been a heretical view, contradicting scriptural teachings about the finitude of time. Kepler treats this as an indication of divine infinitude, inscribed in the finite cosmos. Throughout the book where various sound examples are referenced, please see http://mitpress.mit.edu/musicandmodernscience (please note that the sound examples should be viewed in Chrome or Safari Web browsers).


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