scholarly journals The national nature of Vitaism and Vasily Barvinsky

2019 ◽  
pp. 152-170
Author(s):  
Liliya Nazar
Keyword(s):  
Twentieth Century ◽  
Conceptual Modeling ◽  
Musical Culture ◽  
Temporal Perspective ◽  
Main Method ◽  
Poetic Image ◽  
Historical Tradition ◽  
The Aesthetic ◽  
Light Rhythm ◽  
Scientific Pedagogical

The article raises the problem of one of the dimensions of national modernism in the first half of the twentieth century – Vitaism, which is manifested not only in literature, but also other forms of art, in particular, music. The synthetic nature of Vitaism, the platform of which was outlined by M. Khvylovy, answered the aesthetic requests of the development of the new Ukrainian culture at that time and proved to be in agreement with many of its representatives. Acting in correspondence with the artists of the Dnieper Ukraine, professing the ideas of the uniqueness and unity of Ukrainianness, V. Barvinsky showed vivid and vibrant vitaistic tendencies in his work The nation-building idea gathers and absorbs all the life processes of the artist, revealing deep mental roots as the basis of vitaism - the heart animation of life. The fusion of ethnogenetic origin (through intense folklorizm) with a historical tradition (broad national and European temporal perspective) occurs at the composer under the denominator of cordocentric lyrical, however, active romanticism. Numerous vectors of neo- (baroque, classicism, romanticism) as one of the centrifugal axes of V. Barvinsky's style, opens a new round of vision and renewal of tradition. Along with the bright, solid pages of the composer's music, there is also a tangible tragedy. Responsible "heart-universe" does not avoid darkness, because light and darkness are in the only indivisible heart of a person, who is responsible for the dark first, too, grasping the antithetical and contradictory life. The main method of the artist is the desire for synaesthetic fusion in the sound matter of play, plasticity, color, symbol and movement (light rhythm). Conceptual modeling based on such a synthesis gives unique Ukrainian pictures of our own poetic image of the world. The rationalism of Vitaism was manifested in the high education and professionalism of the artist, who called for responsibility for the need to build a serious national cultural school, which served as a voluminous critical journalistic and scientific-pedagogical activity. Barvinsky, as one of the central figures of Galician musical culture of the first half of the twentieth century, reveals an original and unique synthesis of the tendencies of numerous artistic and aesthetic directions of the day. However, the optic ideological axis and active romanticism that shape the composer's stylistic dominance, vital conceptualism in the artistic modeling of the artist's world, make V. Barvinsky one of the brightest representatives of Vitaism.

Living Stereo

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Media Studies ◽  
Cumulative Effect ◽  
Dominant Mode ◽  
Musical Culture ◽  
Vast Amount ◽  
Screen Media ◽  
History Of ◽  
Advance Research ◽  
The Aesthetic

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.

Of Sand or Soil

2015 ◽  
Author(s):  
Nadav Samin
Keyword(s):  
Twentieth Century ◽  
Saudi Arabia ◽  
State Formation ◽  
Oral Narrative ◽  
Soil P ◽  
Lower Status ◽  
Historical Tradition

Why do tribal genealogies matter in modern-day Saudi Arabia? What compels the strivers and climbers of the new Saudi Arabia to want to prove their authentic descent from one or another prestigious Arabian tribe? This book looks at how genealogy and tribal belonging have informed the lives of past and present inhabitants of Saudi Arabia and how the Saudi government's tacit glorification of tribal origins has shaped the powerful development of the kingdom's genealogical culture. The book presents the first extended biographical exploration of the major twentieth-century Saudi scholar Hamad al-Jāsir, whose genealogical studies frame the story about belonging and identity in the modern kingdom. It examines the interplay between al-Jāsir's genealogical project and his many hundreds of petitioners, mostly Saudis of nontribal or lower status origin who sought validation of their tribal roots in his genealogical texts. Investigating the Saudi relationship to this opaque, orally inscribed historical tradition, the book considers the consequences of modern Saudi genealogical politics and how the most intimate anxieties of nontribal Saudis today are amplified by the governing strategies and kinship ideology of the Saudi state. Challenging the impression that Saudi culture is determined by puritanical religiosity or rentier economic principles, the book shows how the exploration and establishment of tribal genealogies have become influential phenomena in contemporary Saudi society. Beyond Saudi Arabia, this book casts important new light on the interplay between kinship ideas, oral narrative, and state formation in rapidly changing societies.

The Labour of Laziness in Twentieth-Century American Literature

2019 ◽  
Author(s):  
Zuzanna Ladyga
Keyword(s):  
Twentieth Century ◽  
American Literature ◽  
Ernest Hemingway ◽  
Gertrude Stein ◽  
Value System ◽  
John Barth ◽  
The Status ◽  
Twentieth Century American Literature ◽  
The Aesthetic ◽  
Historical Moment

The Labour of Laziness in Twentieth-Century American Literature focuses on the issue of productivity, using the figure of laziness to negotiate the relation between the ethical and the aesthetic. This book argues that major twentieth-century American writers such as Gertrude Stein, Ernest Hemingway, John Barth, Donald Barthelme and David Foster Wallace provocatively challenge the ethos of productivity by filtering their ethical interventions through culturally stigmatised imagery of laziness. Ladyga argues that when the motif of laziness appears, it invariably reveals the underpinnings of an emerging value system at a given historical moment, while at the same time offering a glimpse into the strategies of rebelling against the status quo

scholarly journals Serbian music criticism in the first half of the twentieth century: Its canon, its method and its educational role

Muzikologija ◽  
2008 ◽  
pp. 185-202
Author(s):  
Aleksandar Vasic
Keyword(s):  
Twentieth Century ◽  
Negative Attitude ◽  
Music Criticism ◽  
Educational Mission ◽  
Violin Concerto ◽  
The Public ◽  
Educational Role ◽  
And Performance ◽  
The Aesthetic ◽  
Professional Critics

Serbian music criticism became a subject of professional music critics at the beginning of the twentieth century, after being developed by music amateurs throughout the whole previous century. The Serbian Literary Magazine (1901- 1914, 1920-1941), the forum of the Serbian modernist writers in the early 1900s, had a crucial role in shaping the Serbian music criticism and essayistics of the modern era. The Serbian elite musicians wrote for the SLM and therefore it reflects the most important issues of the early twentieth century Serbian music. The SLM undertook the mission of educating its readers. The music culture of the Serbian public was only recently developed. The public needed an introduction into the most important features of the European music, as well as developing its own taste in music. This paper deals with two aspects of the music criticism in the SLM, in view of its educational role: the problem of virtuosity and the method used by music critics in this magazine. The aesthetic canon of the SLM was marked by decisively negative attitude towards the virtuosity. Mainly concerned by educating the Serbian music public in the spirit of the highest music achievements in Europe, the music writers of the SLM criticized both domestic and foreign performers who favoured virtuosity over the 'essence' of music. Therefore, Niccol? Paganini, Franz Liszt, and even Peter Tchaikowsky with his Violin concerto became the subject of the magazine's criticism. However their attitude towards the interpreters with both musicality and virtuoso technique was always positive. That was evident in the writings on Jan Kubel?k. This educational mission also had its effect on the structure of critique writings in the SLM. In their wish to inform the Serbian public on the European music (which they did very professionally), the critics gave much more information on biographies, bibliographies and style of the European composers, than they valued the interpretation itself. That was by far the weakest aspect of music criticism in the SLM. Although the music criticism in the SLM was professional and analytic one, it often used the literary style and sometimes even profane expressions in describing the artistic value and performance, more than it was necessary for the genre of music criticism. The music critics of the SLM set high aesthetic standards before the Serbian music public, and therefore the virtuosity was rejected by them. At the same time, these highly professional critics did not possess a certain level of introspection that would allow them to abstain from using sometimes empty and unconvincing phrases instead of exact formulations suitable for the professional music criticism. In that respect, music critics in the SLM did not match the standards they themselves set before both the performers and the public in Serbia.

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.

scholarly journals SOM E FÉ: DA PRÁTICA COMUNITÁRIA RELIGIOSA PARA A COMPLEXIDADE DO PENSAMENTO MUSICAL ERUDITO DO ÚLTIMO QUARTEL DO SÉC. XX

2020 ◽  
Vol 13 (1) ◽  
pp. 23
Author(s):  
José Luís Postiga
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Religious Practices ◽  
The West ◽  
Communicative Practice ◽  
Musical Concepts ◽  
Musical Works ◽  
The Aesthetic ◽  
Different Cultures ◽  
Western Classical Music

When faced with the artistic-musical concepts developed in the second half of the twentieth century, it is common to observe them from the perspective of the scientific advances they have promoted or resulted from, the abstract organizations in which they are based, the aesthetic principles they create or and almost always fall within the individuality of the interpretation present in the creative act and its representativeness, regardless of the support in which it presents itself. Paradoxically, some of the main classical musical works written in the last quarter of the twentieth century resulted from the musicological study and/or musical representation of concepts, rites, religious practices representative of different cultures of the West and especially the East. In this sense, throughout the present article will be addressed works by composers of Western classical music, such as the case of Jonathan Harvey and Tristan Murail, characteristics of the musical currents that fit, from serialism to spectralism, as well as acoustic and electronic casts, which result. reinterpretations of religious practices of Hinduism and Buddhism, as well as sound behaviors of the communicative practice of peoples, such as the songs and instruments of Tibet and Mongolia.

scholarly journals MYSTERY AS A META-GENRE IN THE DRAMA OF THE TWENTIETH CENTURY

2021 ◽  
pp. 18-26
Author(s):  
K. Oliinyk
Keyword(s):  
Twentieth Century ◽  
World Order ◽  
Semantic Content ◽  
Point Of View ◽  
Dramatic Works ◽  
Life And Death ◽  
The Matrix ◽  
General Feeling ◽  
The Aesthetic ◽  
Definition Of

The article examines the specificity of existence of the renewed mystery genre as a meta genre in the twentieth century. The main literary study views on the definition of ancient and medieval / Christian ritual mystery are analyzed. The beginning of the twentieth century was full of a general feeling of catastrophe and tragic hopelessness. In artistic terms, the consequence of this was the activation of Christian issues, motives, plots, religious genres (miracles, morality and mystery). The most universal from the point of view of the ideological message and content for the writers of the twentieth century. was the matrix of the medieval mystery, which retained the ritual basis in its primary structure. This made it possible for the multilevel organization of the action and the space for it. The genre of medieval mystery is being modified, it ceases to be a purely form of religious action and acquires the quality of a meta genre. There is a transition from the religious sphere to the secular one, and the aesthetic one is replacing the didactic load. Mystery begins to exist on the edge of genres as a synthetic formation, showing intentions to “help” other genres. A large number of dramatic works of the twentieth century. ("Forest Song" by Lesia Ukrainka, "Iconostasis of Ukraine" by Vіra Vovk) comes close to the mystery, using its archetypal components: the ideas of faith in the absolute beginning, governing the eternal rotation of life and death, world order and harmony, death and rebirth, transformations of the human soul, chosenness and initiation associated with trials, sacrifice, deepening into mysticism. Such works are a certain imitation with elements of mythological or religious subjects. So, the twentieth century, actualizes a certain involvement of the semantic content of dramas to the mysteries, bringing the mystery to the level of the meta genre.

scholarly journals ФОРМУВАННЯ СТИЛІСТИКИ АРТИСТИЗМУ У САМОДІЯЛЬНОМУ ОРКЕСТРОВОМУ ВИКОНАВСТВІ УКРАЇНИ

World Science ◽  
2019 ◽  
Vol 3 (4(44)) ◽  
pp. 34-37
Author(s):  
Ірина Смірнова
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Educational Work ◽  
Musical Culture ◽  
The Enlightenment ◽  
Cultural Life ◽  
Further Development

In the article by I. Smirnova, the problem of the formation of the style of artistry in the amateur orchestral performance of Ukraine and the functioning of orchestral collectives in the conditions of the formation of artistic amateur activities and in the educational work in Ukraine of the 20th and 3rd years of the 20th century is considered. The urgency of the work is due to the fact that the specificity of the formation of amateur orchestral performance in the Ukrainian musical culture of this period is not sufficiently studied, although it played a prominent role in the further development of domestic amateur collective music. The object of attention was the enlightenment movement in Ukraine in the first half of the twentieth century - one of the brightest phenomena of cultural life of that period.

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.

Sign in / Sign up

Export Citation Format

Share Document