scholarly journals Innovations of Genre-Related Form in Karmella Tsepkolenko’s Piano Music

ICONI ◽  
2020 ◽  
pp. 46-55
Author(s):  
Oleksandr O. Perepelytsia ◽  
Keyword(s):  
Contemporary Music ◽  
Piano Music ◽  
Musical Composition ◽  
Special Role ◽  
Main Principle ◽  
Musical Structures ◽  
Third Person ◽  
The Creation ◽  
Musical Genres ◽  
The Third Person

The article is devoted to the innovations in the piano compositions of Karmella Tsepkolenko. The presentation of the present theme demonstrates the complex-dialogical character of the interrelations between the composer and artistic space in contemporary music, which requires a broad contextual approach upon analysis and study of the latter. By the example of Tsepkolenko’s children’s pieces and concert piano pieces, disclosure is made of the main parameters of innovations, such as artistic stimulation, the emotional-energetic context of the composition, the scenary development of the musical material, the principle of synthetic mastery of art, and theatricalization of non-theatrical musical genres. Scenary development (the composer’s expertise) becomes the foundation on which the theatricalized events in the piano pieces are unfolded. At the same time the eventful groundwork of the music does not wedge itself into the Procrustean bed of the traditional, historically developed forms and genres, but directs the composer’s thinking towards innovation, towards the creation of new forms and genres appropriate to the scenario. In the children’s pieces and in the concert piece the narrative unfolds according to the principle of “the theater of representation,” when the narration is stated from the third person. One of the manifestations of the “theater of representation” is the inner theatricalization, based on the dialogic relations between separate structural modules, thematic germs, juxtapositions both within each of the musical structures and between them. An important particularity of inner theatricalization is the presence of the element of play, bringing in the role principle into the development of the musical material, fi lling the composition with “images” of the protagonists. Outward theatricalization is also broadly used, and a special role in outward theatricalization belongs to plastic forms — these are gestures of the musicianactors, their behavioral roles. It is shown that the use of the principles of synthetic mastery of art, relying on the phenomenon of play in its inseparable integrality, theatricalization as the main principle of the unfolding of artistic form and scenary development of the musical material directs the composer towards the creation of new aesthetic models, activates the composer’s subconscious structures for the creation of semantic complexes which are new in their new in their form and content, and fi lls the musical composition with complex dialogic connections and play energy.

Effects of Light-Hearted and Serious Entertainment on Enjoyment of the First and Third Person

2016 ◽  
Vol 28 (1) ◽  
pp. 42-48 ◽  
Author(s):  
Matthias Hofer
Keyword(s):  
Young People ◽  
Media Consumption ◽  
First Person ◽  
Online Experiment ◽  
Entertainment Media ◽  
Third Person Effect ◽  
The Third ◽  
Third Person ◽  
Perceived Enjoyment ◽  
The Third Person

Abstract. This was a study on the perceived enjoyment of different movie genres. In an online experiment, 176 students were randomly divided into two groups (n = 88) and asked to estimate how much they, their closest friends, and young people in general enjoyed either serious or light-hearted movies. These self–other differences in perceived enjoyment of serious or light-hearted movies were also assessed as a function of differing individual motivations underlying entertainment media consumption. The results showed a clear third-person effect for light-hearted movies and a first-person effect for serious movies. The third-person effect for light-hearted movies was moderated by level of hedonic motivation, as participants with high hedonic motivations did not perceive their own and others’ enjoyment of light-hearted films differently. However, eudaimonic motivations did not moderate first-person perceptions in the case of serious films.

Music after the Fall

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
New Media ◽  
Contemporary Music ◽  
The United States ◽  
Art Music ◽  
Sound Art ◽  
Musical Composition ◽  
Western Art ◽  
Wide Range ◽  
Definition Of ◽  
The Cold War

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.

SOME CONSIDERATIONS ON THE TEXT UNITS AND COMPONENTS

2020 ◽  
Vol 1 (3) ◽  
pp. 169-177
Author(s):  
Nargiza Qobilova ◽  
Keyword(s):  
Special Role ◽  
The Creation

The creation of the text is of particular importance in the Uzbek language linguodidactics. Today, the text is playing a special role when linguistics is moving towards anthropocentric researches. There is no consensus in this regard, as the issues of the paragraph, which is a unit of the text, has not been studied separately in Uzbek linguistics. Thus, the following article is devoted to the problems of text units. It analyzes the considerations of world linguists, including Uzbek, and the text units are studied critically and analytically. The corresponding conclusions are made and this provided general conclusions about the differences and features between other units of the text and the paragraph.

Causal determinism and a totally global fatalism from the third-person perspective

2020 ◽  
Author(s):  
Xiaoyang Yu
Keyword(s):  
Human Brain ◽  
Human Language ◽  
Causal Determinism ◽  
The Third ◽  
Person Perspective ◽  
Neural Substrate ◽  
Third Person ◽  
Third Person Perspective ◽  
Physical Laws ◽  
The Third Person

The human brain and the human language are precisely constructed together by evolution/genes, so that in the objective world, a human brain can tell a story to another brain in human language which describes an imagined multiplayer game; in this story, one player of the game represents the human brain itself. It’s possible that the human kind doesn’t really have a subjective world (doesn’t really have conscious experience). An individual has no control even over her choices. Her choices are controlled by the neural substrate. The neural substrate is controlled by the physical laws. So, her choices are controlled by the physical laws. So, she is powerless to do anything other than what she actually does. This is the view of fatalism. Specifically, this is the view of a totally global fatalism, where people have no control even over their choices, from the third-person perspective. And I just argued for fatalism by appeal to causal determinism. Psychologically, a third-person perspective and a new, dedicated personality state are required to bear the totally global fatalism, to avoid severe cognitive dissonance with our default first-person perspective and our original personality state.

ARTISTIC AND AESTHETIC EDUCATION AND MUSICAL PSYCHOTHERAPY OF A SPECIALIST’S TRAINING

2020 ◽  
Vol 384 (2) ◽  
pp. 222-232
Author(s):  
P. V. Menshikov ◽  
G. K. Kassymova ◽  
R. R. Gasanova ◽  
Y. V. Zaichikov ◽  
V. A. Berezovskaya ◽  
...  
Keyword(s):  
Performance Practice ◽  
Piano Music ◽  
Traumatic Experiences ◽  
Special Role ◽  
Native Culture ◽  
History Of ◽  
The Subject ◽  
And Performance ◽  
The Many ◽  
Special Meaning

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.

Seeming to Seem

2018 ◽  
Author(s):  
David Rosenthal
Keyword(s):  
Mental States ◽  
Order Theory ◽  
Higher Order ◽  
Psychological State ◽  
Intentional Stance ◽  
First Person ◽  
Psychological States ◽  
Third Person ◽  
Higher Order Theory ◽  
The Third Person

Dennett’s account of consciousness starts from third-person considerations. I argue this is wise, since beginning with first-person access precludes accommodating the third-person access we have to others’ mental states. But Dennett’s first-person operationalism, which seeks to save the first person in third-person, operationalist terms, denies the occurrence of folk-psychological states that one doesn’t believe oneself to be in, and so the occurrence of folk-psychological states that aren’t conscious. This conflicts with Dennett’s intentional-stance approach to the mental, on which we discern others’ mental states independently of those states’ being conscious. We can avoid this conflict with a higher-order theory of consciousness, which saves the spirit of Dennett’s approach, but enables us to distinguish conscious folk-psychological states from nonconscious ones. The intentional stance by itself can’t do this, since it can’t discern a higher-order awareness of a psychological state. But we can supplement the intentional stance with the higher-order theoretical apparatus.

The N-pattern

2018 ◽  
Author(s):  
Martin Maiden
Keyword(s):  
Special Role ◽  
Third Person ◽  
Verb Meaning

The chapter presents the role of stress and stress-related vocalic differentiation in creating a pattern of root allomorphy (the N-pattern), which distinguishes the singular and third-person forms of the present indicative and subjunctive, and of the imperative, from the rest of the paradigm. It is shown how numerous innovatory patterns (including suppletion, defectiveness, heteroclisis, and periphrases) replicate this pattern in diachrony. The possible role of markedness or of residual phonological conditioning is critically considered. It is suggested that the verb meaning ‘go’ may have played a special role. The independence of the N-pattern from extramorphological conditioning is reaffirmed.

scholarly journals Deictic Shifting in Greek Contractual Writing (I–IV AD)

Philologus ◽  
2020 ◽  
Vol 164 (1) ◽  
pp. 83-106
Author(s):  
Klaas Bentein
Keyword(s):  
Literary Texts ◽  
Ancient Greek ◽  
Narrative Technique ◽  
The Third ◽  
Third Person ◽  
The Third Person

AbstractMuch attention has been paid to ‘deictic shifts’ in Ancient Greek literary texts. In this article I show that similar phenomena can be found in documentary texts. Contracts in particular display unexpected shifts from the first to the third person or vice versa. Rather than constituting a narrative technique, I argue that such shifts should be related to the existence of two major types of stylization, called the ‘objective’ and the ‘subjective’ style. In objectively styled contracts, subjective intrusions may occur as a result of the scribe temporarily assuming himself to be the deictic center, whereas in subjectively styled contracts objective intrusions may occur as a result of the contracting parties dictating to the scribe, and the scribe not modifying the personal references. There are also a couple of texts which display more extensive deictic alter­nations, which suggests that generic confusion between the two major types of stylization may have played a role.

Syncretism of plural forms in Spanish Dialects

2021 ◽  
Vol 0 (0) ◽  
Author(s):  
María Mare
Keyword(s):  
Syntactic Structure ◽  
Person Plural ◽  
Person Features ◽  
Third Person ◽  
Lexical Items ◽  
First Person Plural ◽  
The Moment ◽  
The Third Person ◽  
Shed Light ◽  
Spanish Dialects

Abstract One of the main discussions about the interaction between morphology and syntax revolves around the richness or poverty of features and wherever this richness/poverty is found either in the syntactic structure or the lexical items. A phenomenon subject to this debate has been syncretism, especially in theories that assume late insertion such as Distributed Morphology. This paper delves into the syncretism observed between the first person plural and the third person in the clitic domain in some Spanish dialects. Our analysis will lead to a revision of the distribution of person features and their relationship with plural number, while at the same time it will shed light on other morphological alternations displayed in Spanish dialects; that is, subject-verb unagreement and mesoclisis in imperatives. In order to explain the behavior of the data under discussion, I propose that lexical items are specified for all the relevant features at the moment of insertion, although the values of these features can be neutralized. I argue that the distribution proposed allows for some fundamental generalizations about the vocabulary inventories in Spanish varieties, and shows that the variation pattern exhibits an *ABA effect, i.e., only contiguous cells in a paradigm are syncretic.

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