scholarly journals Intertype evolution of the Black Dog composition in Robert Plant’ musical legacy

2018 ◽  
Vol 50 (50) ◽  
pp. 193-202
Author(s):  
Iryna Paliy
Keyword(s):  
21St Century ◽  
Rock Music ◽  
Musical Language ◽  
Ethnic Music ◽  
Long Period ◽  
Definite Pattern ◽  
Numerous Author

The article is devoted to the analysis of Led Zeppelin’s composition Black Dog and its compositional and performing versions. This musical material is a good example of the interaction of music in fundamentally different areas – rock music and ethnic music of Africa. Initially having related directly to rock music, the Black Dog composition in the 21st century became the object of numerous author interpretations that transformed this composition into an ethnic format. The article traces the process of such a transformation over a long period and reveals a definite pattern. The degree of interaction of the elements of the musical language of two different areas is increasing towards the predominance of the ethnic field in the most recent versions of the composition. To determine the degree of mixing ethnic and rock music, expressive means are differentiated in three levels: intonation, timbre and composition.

scholarly journals Long-period changes of the air temperature in Tatarstan and their forecast till the end of the 21st century

2019 ◽  
pp. 94-107
Author(s):  
Yuri P. Perevedentsev ◽  
Konstantin M. Shantalinskii ◽  
Boris G. Sherstukov ◽  
Alexander A. Nikolaev
Keyword(s):  
Surface Temperature ◽  
Air Temperature ◽  
21St Century ◽  
Ocean Surface ◽  
The Arctic ◽  
Long Distance ◽  
Climate Fluctuations ◽  
Long Period ◽  
The Earth

Long-term changes in air temperature on the territory of the Republic of Tatarstan in the 20th–21st centuries are considered. The periods of unambiguous changes in the surface air temperature are determined. It is established that the average winter temperature from the 1970s to 2017, increased in the Kazan region by more than 3 °C and the average summer temperature increased by about 2 °C over the same period. The contribution of global scale processes to the variability of the temperature of the Kazan region is shown: it was 37 % in winter, 23 % in summer. The correlation analysis of the anomalies of average annual air temperature in Kazan and the series of air temperature anomalies in each node over the continents, as well as the ocean surface temperature in each coordinate node on Earth for 1880 –2017, was performed. Long-distance communications were detected in the temperature field between Kazan and remote regions of the Earth. It is noted that long-period climate fluctuations in Kazan occur synchronously with fluctuations in the high latitudes of Asia and North America, with fluctuations in ocean surface temperature in the Arctic ocean, with fluctuations in air temperature in the Far East, and with fluctuations in ocean surface temperature in the Southern hemisphere in the Indian and Pacific oceans, as well as air temperature in southern Australia. It is suggested that there is a global mechanism that regulates long-term climate fluctuations throughout the Earth in the considered interval of 200 years of observations. According to the CMIP5 project, climatic scenarios were built for Kazan until the end of the 21st century.

scholarly journals Ivan Brkljačić: Love!: Saxophone concerto

New Sound ◽  
2020 ◽  
pp. 65-75
Author(s):  
Asja Radonjić
Keyword(s):  
Rock Music ◽  
Symphony Orchestra ◽  
Musical Language ◽  
Moving Force ◽  
History Of ◽  
Orchestral Work ◽  
Creative Life

The text examines Ivan Brkljačić's most recent orchestral work entitled: Love!-Saxophone Concerto, composed in 2018 as commissioned by the Belgrade Philharmonic. Love! was chosen as a universal theme, but also as the moving force behind the composer's personal and creative life. The composition corresponds to the stylistic expression that is characteristic of Brkljačić. His contemporary musical language is complemented by his own quotes and unequivocal references to popular, primarily rock music, but also to pop, jazz, and other genres that have formed his artistic persona. This work will remain chronicled as the first performed concert for saxophone and symphony orchestra in the history of Serbian music.

scholarly journals China and Russia – «The Great Silk Road» - the interpenetration of cultures in composing in the 21st century

2020 ◽  
Author(s):  
Liu Y.W.
Keyword(s):  
21St Century ◽  
Symphony Orchestra ◽  
Silk Road ◽  
Musical Language ◽  
Chinese Music ◽  
Characteristic Modes ◽  
Direct Quotation ◽  
Symphonic Work

The article is devoted to the premiere of the symphonic work of the Russian composer Viktor Pleshak "Dun Huang" held in China in 2018. In this regard, the problem of interpenetration of cultures on the basis of their integration and striving for peaceful cooperation is considered. The urgency of such cultural initiatives between countries is emphasized. The features of the musical language of this symphony are noted: the introduction of Chinese folk instruments (pipa, erhu, shen) into the classical composition of the symphony orchestra. As a feature of the musical language of the symphony, the ability of the Russian composer to penetrate into the essence of the characteristic modes of Chinese music and create a large symphonic work with a national flavor in the absence of direct quotation of Chinese folk melodies is noted.

scholarly journals Characteristics of development of Tajik jewelry art at the turn of the 21st century

2018 ◽  
Vol 50 ◽  
pp. 01226
Author(s):  
Zarrina Umarova
Keyword(s):  
Natural Resources ◽  
20Th Century ◽  
21St Century ◽  
Transitional Period ◽  
Early 20Th Century ◽  
Long Period ◽  
Folk Traditions ◽  
History Of ◽  
The Republic ◽  
Characteristic Features

The paper identifies and analyzes the characteristic features of the development of Tajikjewelry art in the late 20th - early 21st centuries. The author believes that at this time, after a long period of oblivion, there is a marked way to restoration of many lost and nearly forgotten folk traditions in Tajik jewelry art. This period of time can be distinguished as a transitional period in the history of Tajik jewelry art development. This issue carries a significant value in the history of Tajikistan because the jewelry art in the period from the 80ies ofthe 20th century to the early 20th century was previously not subjected to a dedicated study, which results in certain gaps in the research of modern Tajik jewelry art. Studying the characteristics of the development of jewelry art at the turn of the 21st century and of the problems faced by master jewelers (zargars) at that time will aid in the future to identify the most efficient ways of developing this industry and facilitate its becoming one of the export-oriented areas, taking into account that the Republic of Tajikistan possesses all the necessary natural resources.

scholarly journals Wet Collodion and a pair of lenses. Carlos Relvas's stereoscopic photography: the digital reunion of negatives and prints

2020 ◽  
Author(s):  
Victor Flores
Keyword(s):  
Digital Media ◽  
21St Century ◽  
Meaningful Work ◽  
Public And Private ◽  
Long Period ◽  
Photography Collections ◽  
First Time ◽  
Early Photography ◽  
Private Collections

The beginning the photographic activity of Carlos Relvas (1838-1894) is closely connected to stereoscopic photography. This fact has not always been quite clear since Carlos Relvas’s stereoviews have remained one of the least known sides of his photographic work. The dispersion of his stereo cards among several public and private collections, as well as the long period of inaccessibility to his archive of negatives, hindered the perception of the meaningful work that Carlos Relvas carried out in the production of stereoscopic views of Portugal. One of the main challenges of the 21st-century studies of photography lies in the opportunity to publish online images from early photography collections. Digital media can enhance these collections and expand their reading. Among the main beneficiaries will be photographic negatives, which will gain new heuristic importance in this new environment of mediations. That was our intuition by developing a digital catalogue for the collections of Carlos Relvas’s stereoscopic photography aiming to bring together and combine all his negatives and positives and thus, for the first time, allow a comprehensive image of his passion for this type of photography.

Yes, ‘Awaken’, and the progressive rock style

Popular Music ◽  
2001 ◽  
Vol 20 (2) ◽  
pp. 243-261 ◽  
Author(s):  
JOHN R. PALMER
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Musical Language ◽  
Rock Bands ◽  
Progressive Rock ◽  
The One ◽  
The Uk ◽  
Further Development ◽  
Musical Styles

Going for the One was a good rebirth of Yes at that time, to find its feet and really know what it wanted to do. And we made ‘Awaken’ . . . (Morse 1996, p. 58).Since the release of their third recording, The Yes Album, in March 1971, the music of the English band Yes has been associated with the rock music substyle called ‘progressive rock’. The first two Yes albums showcase a very capable, inventive group of musicians who drew freely from the multitude of sounds around them, emulating aspects of the various musical styles they found engaging. However, it was not until they composed the works appearing on The Yes Album that the band coupled this eclecticism with a quest for originality to develop a voice highly idiosyncratic when judged against prevailing popular music styles. Subsequent albums reveal a predeliction for experimentation and expansion, and successful record sales in both the UK and US encouraged further development in the same direction. Although not members of the ‘first wave’ of progressive rock bands, Yes became ‘codifiers’ and for many, especially later detractors, the flagship of the ‘progressive' fleet. Before I go on to describe and illustrate, through the analysis of a particular song, aspects of Yes's musical language, I will briefly describe the environment in which it appeared and flourished.

New Performance Sources and Old Modernist Productions: Die Jakobsleiter in the Age of Mechanical Reproduction

2002 ◽  
Vol 19 (3) ◽  
pp. 434-460 ◽  
Author(s):  
Jennifer Shaw
Keyword(s):  
21St Century ◽  
Musical Language ◽  
Literary Style ◽  
Work In Progress ◽  
Mechanical Reproduction ◽  
Novel Approaches

Although Schoenberg certainly regarded his most important wartime composition, the half-finished oratorio Die Jakobsleiter, as an autonomous and performable work, his conception of the piece changed dramatically over the three decades that it remained a "work in progress." Yet recent productions confirm a remarkable consistency of interpretation, based less on the Schoenberg/Winfried Zillig-orchestratedUrtext than on a 1980 performance conducted by Boulez. This "definitive" commercial release has not only dictated the parameters of productions that have followed but has erased from the record several earlier performances of the work, including the only version that Schoenberg heard and authorized. Two performance sources, both held in collections in Vienna but not yet discussed in published studies, may prove to be extremely significant for future performances of the oratorio. The first, Schoenberg's libretto manuscript for his oratorio, contains an extended concept sketch for the musical and dramatic climax. The second, a copy of the published libretto, includes extensive annotations in Alban Berg's hand which record aspects of Schoenberg's rehearsals for the premiere performance of the oratorio in 1921. Both sources highlight Schoenberg's and Berg's sensitivity to the innovative musical language of the oratorio, its fragmentary form, and its problematic literary style, yet both also suggest novel approaches to its realization in 21st-century productions.

scholarly journals To the Issue of the Genre Evolution: Passacaglia in the Works of Russian Composers of the Second Half of the 20th Century

2019 ◽  
Author(s):  
Г.В. Абдуллина
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Musical Language ◽  
New Type ◽  
Instrumental Works ◽  
Russian Composers

В статье рассматриваются инструментальные сочинения отечественных композиторов второй половины XХ начала XXI века, написанные в жанрах пассакалии и чаконы. Эволюция музыкального языка отражается на их образноэмоциональном содержании, музыкальном материале и формообразовании, что проявляется в новом типе тематизма, способах его развития и в соединении классических структур с элементами современного композиторского мышления. Традиционные жанры, в которых форма в большой степени становится зависимой от драматургии и техник письма, претерпевают существенные изменения. The article considers the instrumental works by Russian composers of the second half of the 20th beginning of the 21st century, written in the genres of passacaglia and chaconne. The evolution of the musical language at the end of the 20th century has been reflected in their emotional contents, musical material and shaping, which is manifested in a new type of its themes, the ways of its development and the combination of classic structures with new elements of modern composer thinking. Traditional genres, in which form becomes heavily dependent on dramaturgy and writing techniques undergo significant changes.

scholarly journals Estaciones de esquí, turismo y entorno rural de montaña: claves para una regulación de las estaciones de esquí ante el cambio climático

2013 ◽  
pp. 91 ◽  
Author(s):  
Alejandro García Abad
Keyword(s):  
Climate Change ◽  
Economic Crisis ◽  
21St Century ◽  
Driving Force ◽  
Economic Viability ◽  
Mountain Regions ◽  
Economic Sectors ◽  
Long Period

• El presente artículo se desprende de un trabajo de investigación sobre los Centros Turísticos Recreativos de Montaña como fenómeno jurídico. En él se expone una visión general del sector turístico del esquí en España y de los retos jurídicos y socioeconómicos que plantea a comienzos del s. XXI, en un contexto de crisis económica y cambio climático. Se analiza el papel del sector en torno al  desarrollo de las zonas de montaña, su viabilidad económica y se discute la preeminencia de las estaciones como motor de desarrollo frente a otros sectores económicos, dentro del marco  constitucional. Se alega la necesidad de una regulación integrada y sostenible, que otorgue un atracmarco sostenible y seguridad jurídica a todos los sectores del ordenamiento a los que afecta, tras el gran período sin regular como fenómeno jurídico unitario hasta la actualidad.• This article is the result of research carried out on Mountain Recreation Resorts as a legal phenomenon. It offers an overview of ski tourism in Spain, and the legal and socio-economic challenges confronting it at the beginning of the 21st century, within a context of economic crisis and climate change. The industry’s role is analysed regarding the development of mountain regions and their  economic viability. The pre-eminence of the resorts as a driving force for development is discussed in relation to other economic sectors, from a constitutional standpoint. The paper argues in favour of the need for integrated, sustainable regulations that can provide a sustainable framework and legal guarantees for all sectors of the system affected, after such a long period devoid of any legal unitary phenomenon as has been the case until now.

The Musical Language of Rock

2018 ◽  
Author(s):  
David Temperley
Keyword(s):  
Rock Music ◽  
Soft Rock ◽  
Three Dimensions ◽  
Musical Language ◽  
Alternative Rock ◽  
Wide Range ◽  
Music Theory And Analysis ◽  
New Material ◽  
Late Twentieth ◽  
Anglo American

A theory of the structure of rock music is presented, addressing aspects such as tonality/key, harmony, rhythm/meter, melody, phrase structure, timbre/instrumentation, form, and emotional expression. The book brings together ideas from the author’s previous articles but also contains substantial new material. Rock is defined broadly (as it often is) to include a wide range of late twentieth-century Anglo-American popular styles, including 1950s rock & roll, Motown, soul, “British invasion” rock, soft rock, heavy metal, disco, new wave, and alternative rock. The study largely employs the informal, intuitive methods of conventional music theory and analysis, but it is also informed by corpus data. An important component of the theory is a representation of pitches—the “line of fifths”—that sheds light on issues such as stylistic distinctions within rock, effects of surprise, and emotion. The theory also entails a model of expression with three dimensions, representing valence, energy, and tension; this proves to be a powerful tool for tracing shifts in expressive effect within songs. The theory features novel approaches to issues such as cadences, melodic-harmonic coordination, the handling of sectional boundaries, and the classification of formal types. The final two chapters present analyses of six songs and a broader consideration of rock in its historical and stylistic context.

Sign in / Sign up

Export Citation Format

Share Document