scholarly journals The artistic choral music for children of Myron Datsko

2019 ◽  
pp. 44-52
Author(s):  
Anna Nemerko
Keyword(s):  
Choral Music ◽  
Emotional States ◽  
Turn Of The Millennium ◽  
Musical Culture ◽  
Choral Works ◽  
Creative Initiative ◽  
Choral Repertoire ◽  
The Subject ◽  
Canonical Texts ◽  
Individual Style

The article highlights aspects of children's choral work by M. Danish. Choral education is at the forefront of promoting children's creative initiative; strengthening of personality values; the formation of musical culture. M. Datsk's choir is a kind of mirror that reflects the general processes and patterns of development of modern Ukrainian choral art for children. Choral works of the composer are firmly entrenched in contemporary performing practice and concert life in Lviv. They form the basis of today's children's choral repertoire. However, with obvious demand for performing practice, they have not yet become the subject of special musicological research. This fact determines the relevance of the appeal to this topic and the need for scientific understanding of this layer of modern choral music for children. The signs of the artistic world of the composer's choral music images are established. Studying the choral work for the children of M.Datsk made it possible to outline the peculiar directions of it, including: secular and spiritual works on poems of Ukrainian poets and clergy; works on canonical texts; choirs inspired by Ukrainian song. The choral work is regarded as a complete multilevel system, where the linguistic component is realized through the expressive-visual possibilities of the choral sound; the plot techniques generate artistic meaning, and the compositional ones generate the layout of the material. Understanding this issue brings you closer to understanding the connection: the energy of the artist is the energy of the text he creates. And the brighter the artistic world of the works, the more natural and the emotional states expressed in them, the more adequate the perception of the performers and listeners. It is noted that choral works for children are illustrative not only as an example of M. Danish's individual style, but also as a testimony to the creative achievements of the Ukrainian composing school in the 21st century. Thus, the artistic world of M.Datsk's choral music was considered as the basis for the national revival inherent in the Ukrainian culture of the turn of the millennium.

scholarly journals The Characteristic Features of Vassily Titov’s Choral Music

ICONI ◽  
2021 ◽  
pp. 61-67
Author(s):  
Alexandra G. Trukhanova ◽  
Keyword(s):  
Choral Music ◽  
18Th Century ◽  
Folk Songs ◽  
Spatial Effects ◽  
Musical Culture ◽  
Choral Works ◽  
Baroque Music ◽  
Characteristic Features ◽  
Russian Composers ◽  
The Church

Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral works has made it possible to disclose the characteristic features of the composer’s polyphonic style. The latter include the multi-choral presentation with its bright spatial effects, the antiphonic juxtapositions of large choral masses, the principles of concertizing based on the succession of solo voices and tutti, on the juxtaposition of the chordal-harmonic and the polyphonic exposition, as well as the skillful mastery of imitational counterpoint, up to polyphonic variation. Features of national originality reveal themselves most vividly in the musical thematicism of the compositions, where along with the ornamental design of the intertwining melodic lines and turns of an instrumental type, use is made of intonations of folk songs, cants and church chants. In his musical oeuvres Vassily Titov revised and reevaluated the basic characteristic traits and forms of Western European Baroque music in correspondence with the particularities of Russian musical culture, thereby preserving and enriching the traditions of the Russian national style.

ARTISTIC ASSIMILATION OF THE WORLD IN THE ESSAY PROSE OF M. G. ATAMANOV (BASED ON THE BOOK “I AM UDMURT. WHY DOES IT HURT?”)

2020 ◽  
Vol 14 (3) ◽  
pp. 459-464
Author(s):  
Alevtina Vasilevna Kamitova ◽  
Tatyana Ivanovna Zaitseva
Keyword(s):  
Ethnic Identity ◽  
National Identity ◽  
National Culture ◽  
Native Language ◽  
Topographic Features ◽  
Wide Range ◽  
The World ◽  
The Subject ◽  
Individual Style

The paper reflects the specificity of the fundamental ideas of the artistic world of M. G. Atamanov, which includes a wide range of literary facts from the content level of the text of the works to their poetics. A particularly important role in the works of M. G. Atamanov is played by cross-cutting themes and images that reflect the author's individual style and his idea of national-ethnic identity. The subject of the research is the book of essays “Mon - Udmurt. Maly mynym vös’?” (“I am Udmurt. Why does it hurt?”), which most vividly reflected the main spiritual and artistic searches of M. G. Atamanov, associated with his ideas about the Udmurt people. The main motives and plots of the works included in the book under consideration are accumulated around the concept of “Udmurtness”. The comprehension of “Udmurtness” is modeled in his essays through specific leit themes: native language, Udmurt people, national culture, mentality, geographic and topographic features of the Udmurt people’ places of residence, the Orthodox idea. The “Udmurt theme” is recognized and comprehended by the writer through the prism of national identity.

scholarly journals Introduction

Ramus ◽  
1987 ◽  
Vol 16 (1-2) ◽  
pp. 1-3
Author(s):  
A.J. Boyle
Keyword(s):  
Late Antiquity ◽  
Emotional States ◽  
Latin Literature ◽  
Political Repression ◽  
Adequate Description ◽  
Literary Value ◽  
Roman Literature ◽  
Imperial Period ◽  
The Subject ◽  
Ars Amatoria

oratio certam regulam non habet; consuetudo illam ciuitatis, quae numquam in eodem diu stetit, uersat.Style has no fixed rules; the usage of society changes it, which never stays still for long.Seneca Epistle 114.13This is the first of two volumes of critical essays on Latin literature of the imperial period from Ovid to late antiquity. The focus is upon the main postclassical period (A.D. 1-150), especially the authors of the Neronian and Flavian principates (A.D. 54-96), several of whom, though recently the subject of substantial investigation and reassessment, remain largely unread, at best improperly understood. The change which took place in Roman literature between the late republic/early Augustan period and the post-Augustan empire, between the ‘classicism’ of Cicero, Virgil, Horace, Livy and the ‘postclassicism’ of Seneca, Lucan, Persius, Tacitus is conventionally misdescribed (albeit sometimes with qualifications) as the movement from Golden to Silver Latin. The description misleads on many counts, not least because it misconstrues a change in literary and poetic sensibility, in the mental sets of reader and audience, and in the political environment of writing itself, as a change in literary value. What in fact happened awaits adequate description, but it seems clear that the change began with Ovid (43 B.C. to A.D. 17), whose rejection of Augustan classicism (especially its concept of decorum or ‘appropriateness’), cultivation of generic disorder and experimentation (witness, e.g., Ars Amatoria and Metamorphoses), love of paradox, absurdity, incongruity, hyperbole, wit, and focus on extreme emotional states, influenced everything that followed. Ovid also witnessed and suffered from the increasing political repression of the principate; he was banished for — among other things — his words, carmen. And political repression seems to have been a signal factor, if difficult to evaluate, in the formation of the postclassical style.

scholarly journals Values of neo-protestant choral works in Romania

2019 ◽  
Vol 20 (1) ◽  
pp. 265-279
Author(s):  
Carmen Almăşanu
Keyword(s):  
Choral Music ◽  
Sound Art ◽  
Contemporary Culture ◽  
High Quality ◽  
Music Training ◽  
Modern Music ◽  
Choral Works ◽  
Original Works ◽  
Efficient Expression ◽  
Great Tradition

Abstract Borne from the relevant and efficient expression in the context of contemporary culture, neo-protestant choral spirituality uses a diversified and meaningful language. From the very beginning of the existence of neo-protestant cults on the territory of our country, the establishment of a liturgical repertoire intended for common intonation or by various choral or vocal-instrumental bands has been one of the primordial preoccupations. Along with choral creations translated from the universal literature, there is a significant number of original works created by Romanian composers within the religious services. Due to extremely diverse themes and extrovert character, neo-protestant choral music includes different styles specific to the great tradition of classical, romantic or modern music as well as influences from the extra-European sphere. The text of these creations, which has biblical inspiration or created by the composer, is a means of great diversification in the reproduction of the sound material. Composers and arrangers with high quality music training and a profound understanding of biblical truths, through sound art wanted to contribute to the enrichment of contemporary neo-protestant choral music repertoire, leaving posterity a significant amount of valuable choral pages as inheritance.

scholarly journals Tortious liability for pure economic loss

1979 ◽  
Author(s):  
Ευστάθιος Μπανάκας
Keyword(s):  
Economic Loss ◽  
West Germany ◽  
Pure Economic Loss ◽  
Legal Traditions ◽  
Different Types ◽  
The Subject ◽  
The Common ◽  
The Law ◽  
Comparative Examination ◽  
Individual Style

Financial harm may be caused in many different ways. It can be said that it appears in several different ’’types", each produced in distinct factual circumstances. Different "types" of financial harm may demand a different treatment by the law. The considerations that ought to determine the policy of the law vary together with the factual . circumstances, in which each particular type offinancial harm becomes manifested. Thence the need for a separate examination of the major, or "generic", types of such harm, a need that has already been - detected by Comparative lawyers writing on the subject.(20) The present study will concentrate on the problem ' of financial harm that is not the product of a harmful intention (21) . In the Common Law of Negligence this problem is known as the "pure economic loss" problem. The solutions given to it by English Law are compared to the solutions of the French Law of Torts, and to those of the law of Torts of the German Federal Republic (West Germany)(22). The compared Tort systems not only are leadingthe major legal traditions of our age, each employing its own individual "style" (23), but, also, operate in virtually similar social and economic environments. This should allow the comparison to expose more easily the true merits of any "stylistic" idiosyncrasies, thatthey might possess in this particular connection. The problem of pure economic, loss caused by erroneous advice or information is not examined in * detail in the present study. It has been already the subject of comprehensive Comparative examination (24).

scholarly journals Psychological aspects of ensuring the efficiency of professional activity of a project engineers

2020 ◽  
Vol 210 ◽  
pp. 22041
Author(s):  
Оlena Khokhlina ◽  
Lubov Pomytkina ◽  
Lada Yakovytska ◽  
Oksana Lych ◽  
Denys Khokhlin
Keyword(s):  
Correlation Analysis ◽  
Empirical Study ◽  
Empirical Research ◽  
Reference Method ◽  
Psychological Aspects ◽  
Professional Activity ◽  
Professional Skills ◽  
The Core ◽  
The Subject ◽  
Individual Style

The article presents the results of theoretical and empirical research of the problem of psychological aspects of ensuring the efficiency of professional activity of a Project Engineers in the context of the theory of general and special abilities, the need to take into account the general and individual-typological in the mental development of the subject of labor. The importance of considering professional skills in connection with the intellectual readiness of the subject to the activity and individual style of its implementation is theoretically substantiated. The empirical study revealed the presence of correlations between the efficiency of professional activity, psychological readiness and individual style of activity. The most referent in the description of the professional skills of project engineers are the time of labor tasks performance and individual style of activity, and the organizing factor in the unity of these indicators is the generalization of mental activity, which forms the core of intellectual readiness for work. Correlation analysis of the data allowed us to identify the presence of clear links between: 1) the efficiency of activity by time indicator and ISA: the more ISA corresponds to the reference method, the less time is spent on solving the labor task, and vice versa; 2) between ISA and intellectual readiness for activity; the higher the level of complexity of labor tasks, the higher the level of correlation between these phenomena.

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.

The Age of the Samhitas

2020 ◽  
pp. 40-65
Author(s):  
M. R. Raghava Varier
Keyword(s):  
Traditional Method ◽  
General Medicine ◽  
Medical System ◽  
Rational Method ◽  
Indigenous Healing ◽  
Codified Knowledge ◽  
The Subject ◽  
Scientific Truth ◽  
Canonical Texts ◽  
The Mind

The systematic and codified knowledge of Āyurveda attained maturity in the classical texts of the samhitas. They are several texts and each of them is attached to the name of an ācārya, preceptor, such as Caraka, Suśruta, Bhela, Kāśyapa, and Hārīta. The knowledge and wisdom of indigenous healing and healthcare are explained in the samhitas with special references to a particular branch of the system of medicine. Thus kāyacikitsa, general medicine, is the subject of the Carakasamhita while śalyacikitsa, surgery, is the subject of the Suśrutasamhita. Bhēḷasamhita deals mainly with diseases and treatments for the mind, Kāśyapasamhita focuses on koumārabhṛtya, pediatrics, and the subject of the Hārītasamhita is gṛhabādha, demonology, and allied matters. What were preserved in preceding literature including the Vedas, the Brāhmaņas, and the Buddhist Pali canonical texts as seeds and seedlings are found fully grown in the samhitas, nourished by scholarly discussions at various levels. The indigenous medical system was designated as Āyurveda by the time of the samhitas. Topics such as qualities of a preceptor, qualities of a disciple, and qualities of the science are discussed in the various samhitas. Initiation of the disciples, knowledge of anatomy, procedure of treatment, and Modalities of treatment are discussed in great detail. The traditional method of the daivavyapāśraya (the divine or magico-religious) mode of treatment of the Vedic tradition was replaced by the yuktivyapāśraya (empirico-rational) method of therapy with the codification of the Carakasamhita. The emphasis of Caraka was on the process of investigation, which is essential for arriving at scientific truth and hence he repeatedly uses the word parīkṣa instead of pramāṇa.

Johann Herbeck’s Edition of Choral Works by Franz Schubert: History and Analysis

2018 ◽  
Vol 16 (3) ◽  
pp. 349-382
Author(s):  
William E. Hettrick
Keyword(s):  
Choral Music ◽  
Performance Practice ◽  
Reception History ◽  
Franz Schubert ◽  
Choral Works ◽  
Mixed Chorus ◽  
History Of

Johann Herbeck (1831–1877) served in his native Vienna as conductor of the leading choral and instrumental organizations. He showed his devotion to the legacy of Franz Schubert in his performances and also in his edition, published by C.A. Spina and successors, of 51 selected works of the master for men’s, women’s and mixed chorus. Originally conceived as part-songs for ensembles of soloists, this repertoire had become choral music by Herbeck’s time. Included also are arrangements by Herbeck and others of pieces originally written for different performing media. Surviving copies of numbers in the edition, as well as two additional publications, reveal startling inconsistencies in editorial technique, ranging from a lack of intervention to a much freer approach, including liberal sprinkling of unauthentic markings and other deviations from the originals. In the latter category, the editor’s additions may be said to document the performance practice of these works during his time. His choice of sources was also inconsistent, in some cases resulting in faulty versions of the works presented. This study also documents the production and reception history of Herbeck’s edition.

Folk and author’s fairy tales in the aspect of linguistic consciousness

Neophilology ◽  
2020 ◽  
pp. 235-249
Author(s):  
Anatoliy L. Sharandin ◽  
Yixin Li
Keyword(s):  
Fairy Tales ◽  
Fairy Tale ◽  
Literary Language ◽  
Creative Potential ◽  
Folk Tales ◽  
The Subject ◽  
The Individual ◽  
The Relationship ◽  
Folk Poetry ◽  
Individual Style

The analysis of the problem of the relationship among folk, authors’ folk and authors’ literary tales with linguistic consciousness types is presented. The analysis results indicate that the texts of fairy tales are linguistic representatives of creative (artistic) consciousness and correlate with types of concepts. Folk tales reflect the creative potential of everyday consciousness and represent the folklore concept. Authors’ folk tales are interpretative tales that reflect the syncretic (collective and individual, folk and author’s) consciousness and implement the folklore and literary concept. The literary fairy tale itself is a textual representative of its author’s individual artistic consciousness and the reached artistic concept. It is important to take the form of fairy tales’ household into account – oral (folk tales) and written (author’s literary tales), their relationship with the subject (storyteller or author) and focus on the object (listener or reader). This determines the variability and non-variability of fairy tales. Types of linguistic consciousness are associated with the language: in folklore tales, folk language that is not processed by masters is used, in author’s tales, literary language that implements an individually authors’ system of language means is used. In folk tales, traditional folk poetry is presented, in author’s tales – traditionally artistic and artistic poetics. The individual style of folk tales is traditional for folklore and the individual style of literary tales is individually authors’.

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