scholarly journals The evolution of B. Bartok’s piano style

2020 ◽  
Vol 57 (57) ◽  
pp. 45-60
Author(s):  
A. Gedi
Keyword(s):  
Folk Music ◽  
Limited Range ◽  
Temporal Organization ◽  
Musical Composition ◽  
General Interest ◽  
Technical Equipment ◽  
Musical Form ◽  
Piano Works ◽  
Sound Image ◽  
Wide Range

Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today can not be considered completed. The issues of interaction between the compositional and performance style of B. Bartok, modern interpretations of his works remain opened. The Ukrainian listener is familiar with a limited range of B. Bartok’s works, so the emphasis on the artist’s performance serves as an additional stimulus for the actualization of his art in our time. The main presentation of the material. The evolution of B. Bartok’s piano style was identified as a problem by L. Gakkel through the constituent parameters of the piano style: 1) the “realistic-non-pedal” sound image of the piano; 2) coloristic shock-noise method of sound construction; 3) textured accentuated tone as a tonal-harmonic ground. Indeed, many works of the composer testify to this interpretation of the piano: “Two elegies op. 8 / b, Burlesque three pieces op. 8c, Suite op. 14, Etudes op. 18, Sonata; three concertos for piano and orchestra. However, there are a number of works written quite traditionally, in the classical key. In these works B. Bartok uses the coloristic possibilities of the piano quite avariciously (wide range of registers, pedal effects), a striking example is the “Romanian folk dances” op. 8-a). Milestones of the piano evolution of the artist’s style are marked: Rhapsody, cycles “Romanian folk dances”. Etudes op. 18 – a sample of expressionist aesthetics, extremely complex in pianistic terms. They use extreme technical difficulties that require maximum arm stretching and great physical strength.Most of Bartok’s piano works were written in the first two creation periods – early and experimental. The composer’s attention was focused on three genre areas: folklore, pedagogics, innovation. The communicative semantics of these spheres, of course, influenced the composer’s decisions in the formative field, texture, piano technique, the level of virtuosity. The regularities are traced: B. Bartok’s “commitment” to primary (song and dance) and romantic genres (elegy, rhapsody, rich people), program cyclicity; constant interest in creating a repertoire for children, which solves two tasks at once: the promotion of folk music and the children involvement into a new musical language. Note as a contradiction the fact that the analysis of the works of B. Bartok, created in the first and second period, does not fully confirm the version of L. Gakkel, about a radicalistic change in the sound image of the piano. Probably, in B. Bartok’s work the new did not exclude the old one. The basic quality of B. Bartok’s piano style is its national characteristic, which is shrouded in the resources of the latest technique of musical composition. Conclusions. B. Bartok-pianist by genotype belongs to the Liszt’s branch of European pianism. The Liszt’s tradition is a combination of classical-romantic performing principles, which is especially evident in the works of disciples and followers of F. Busoni, K. Martinsen, K. Arrau, and G. Gould. In general, the evolution of B. Bartok’s piano style can be seen as a movement from the romantic – through folklore – to the neoclassical tradition, which is manifested in the change of musical-linguistic resources (rhythm, harmony, features of musical form, texture, melody). As a result, also the sound image of the piano was being changed. Auditory analysis of B. Bartok’s performing style allowed us to conclude that, unlike many pianists of the romantic tradition, B. Bartok uses pedal effects very avariciously, preferring clear and precise pronunciation (utterance) of all elements of the texture. We state the «imposition» of the classical tradition, which originates from harpsichordists, and new trends associated with the percussive understanding of the piano. From the point of view of the temporal organization of the musical form, his works are distinguished by metrical variability and polyrhythm; rhythmic discrepancy of textured layers; extensive use of repetition techniques and ostinato techniques. The foundations of Bartok’s mode-harmonic mentality (reliance on ancient modes of folk music; mode variability in the conditions of chromatic tonality) determine the difficulties of mastering the «intonation dictionary» of his piano works, and in general the technical equipment of the texture. Thus, Bela Bartok’s piano writing style is an expression of the artist’s innovative thinking, in which the performing component of his own abilities played a key role.

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.

Gluten-Free Dry Mixtures with Rice and Amaranth for Children over Three Years Old with Gluten Intolerance

Food Industry ◽  
2020 ◽  
Vol 5 (1) ◽  
pp. 23-31
Author(s):  
Sergey Urubkov ◽  
Svetlana Khovanskaya ◽  
Ekaterina Pyrieva ◽  
Olga Georgieva ◽  
Stanislav Smirnov
Keyword(s):  
Celiac Disease ◽  
Treatment Effectiveness ◽  
Raw Materials ◽  
Calculated Data ◽  
Limited Range ◽  
Gluten Free ◽  
Fruit And Vegetable ◽  
Organoleptic Evaluation ◽  
Free Products ◽  
Wide Range

Diet therapy is one of the main approaches to the treatment of a wide range of diseases of the digestive system. The treatment effectiveness of celiac disease depends on how strictly the patient adheres to a gluten-free diet. It is often disrupted due to the limited range of recommended foods and dishes, especially for children who are particularly sensitive to dietary restrictions. In this case, the development of new types of specialized gluten-free products is relevant, allowing to expand the diet both in terms of nutritional value and taste diversity. This study concerns the recipe developments of dry gluten-free mixtures using rice and amaranth with the inclusion of fruit and vegetable and berry raw materials intended for the nutrition of children over three years old suffering from celiac disease. When developing the recipes, researchers used various combinations of rice and amaranth flour, as well as fruit and vegetable powders. The rice flour composition varied in the range from 15 to 75%; amaranth – from 15 to 45%; fruit and vegetable and berry powders – up to 10%. The finished product was gluten-free cookies, muffins, pancakes made of rice and amaranth. Organoleptic evaluation showed that the studied samples of gluten-free cookies have high quality characteristics, have a pleasant taste and aroma. According to the calculated data, specialized gluten-free dry mixtures intended for children over three years with celiac disease can serve as an important source of: vegetable carbohydrates – from 26.81 to 55.19 g / 100g of finished products; protein – from 4.06 to 11.82 g/100g of finished products; dietary fiber – from 3.82 to 6.36 g/100g of finished products; and energy – from 158.12 to 333.96 kcal/100g of finished products) The developed recipess of gluten-free products can help to provide children with an adequate amount of nutrients and energy.

Punk as Folk: Continuities and Tensions in the UK and Beyond

2020 ◽  
Author(s):  
Pete Dale
Keyword(s):  
Folk Music ◽  
Music Making ◽  
Collective Creativity ◽  
Living Tradition ◽  
Wide Range ◽  
The Us ◽  
The Common ◽  
The Individual ◽  
The Uk

Numerous claims have been made by a wide range of commentators that punk is somehow “a folk music” of some kind. Doubtless there are several continuities. Indeed, both tend to encourage amateur music-making, both often have affiliations with the Left, and both emerge at least partly from a collective/anti-competitive approach to music-making. However, there are also significant tensions between punk and folk as ideas/ideals and as applied in practice. Most obviously, punk makes claims to a “year zero” creativity (despite inevitably offering re-presentation of at least some existing elements in every instance), whereas folk music is supposed to carry forward a tradition (which, thankfully, is more recognized in recent decades as a subject-to-change “living tradition” than was the case in folk’s more purist periods). Politically, meanwhile, postwar folk has tended more toward a socialist and/or Marxist orientation, both in the US and UK, whereas punk has at least rhetorically claimed to be in favor of “anarchy” (in the UK, in particular). Collective creativity and competitive tendencies also differ between the two (perceived) genre areas. Although the folk scene’s “floor singer” tradition offers a dispersal of expressive opportunity comparable in some ways to the “anyone can do it” idea that gets associated with punk, the creative expectation of the individual within the group differs between the two. Punk has some similarities to folk, then, but there are tensions, too, and these are well worth examining if one is serious about testing out the common claim, in both folk and punk, that “anyone can do it.”

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

scholarly journals Internal volumetric heat generation and heat capacity prediction during a material electromagnetic treatment process using hybrid algorithms

2018 ◽  
Vol 38 (1) ◽  
pp. 74-82
Author(s):  
Edgar García-Morantes ◽  
Iván Amaya-Contreras ◽  
Rodrigo Correa-Cely
Keyword(s):  
Inverse Problem ◽  
Heat Capacity ◽  
Electromagnetic Field ◽  
Heat Generation ◽  
Initial Conditions ◽  
Limited Range ◽  
First Case ◽  
Realistic Situation ◽  
Wide Range ◽  
Volumetric Heat Generation

This work considers the estimation of internal volumetric heat generation, as well as the heat capacity of a solid spherical sample, heated by a homogeneous, time-varying electromagnetic field. To that end, the numerical strategy solves the corresponding inverse problem. Three functional forms (linear, sinusoidal, and exponential) for the electromagnetic field were considered. White Gaussian noise was incorporated into the theoretical temperature profile (i.e. the solution of the direct problem) to simulate a more realistic situation. Temperature was pretended to be read through four sensors. The inverse problem was solved through three different kinds of approach: using a traditional optimizer, using modern techniques, and using a mixture of both. In the first case, we used a traditional, deterministic Levenberg-Marquardt (LM) algorithm. In the second one, we considered three stochastic algorithms: Spiral Optimization Algorithm (SOA), Vortex Search (VS), and Weighted Attraction Method (WAM). In the final case, we proposed a hybrid between LM and the metaheuristics algorithms. Results show that LM converges to the expected solutions only if the initial conditions (IC) are within a limited range. Oppositely, metaheuristics converge in a wide range of IC but exhibit low accuracy. The hybrid approaches converge and improve the accuracy obtained with the metaheuristics. The difference between expected and obtained values, as well as the RMS errors, are reported and compared for all three methods.

scholarly journals Impact of Size of Fire boot and SCBA Cylinder on Firefighters’ Mobility

2018 ◽  
Vol 37 (2) ◽  
pp. 103-118 ◽  
Author(s):  
Huiju Park ◽  
Rumit Singh Kakar ◽  
Jie Pei ◽  
Joshua M. Tome ◽  
Jeffrey Stull
Keyword(s):  
Negative Impact ◽  
National Fire Protection Association ◽  
Limited Range ◽  
Upper Body ◽  
Lower Body ◽  
Leg Length ◽  
Neck Extension ◽  
Limited Range Of Motion ◽  
Wide Range ◽  
Biomechanical Tests

The authors conducted biomechanical tests with 21 firefighters and found that there is a significant correlation between boot height and lower body mobility and that using a fixed boot height mandated by National Fire Protection Association 1971 standard decreased lower body ranges of motion during various firefighters’ job-related tasks. Statistical analysis of large anthropometric data also shows a fixed boot height cannot accommodate a wide range of firefighters’ leg length. These findings indicate that shorter firefighters are likely to have limited lower body mobility due to reduced clearance between the knee and top of the boot and thus decreased space causing greater mechanical binding between multiple layers of turnout pants. The authors discovered a greater negative impact of fixed length of self-contained breathing apparatus cylinder on short firefighters on their upper body mobility, evidenced by limited range of motion in neck extension and lumbopelvic flexion while carrying fire gear compared to without any fire gear.

scholarly journals KARYA MUSIK YOUTH KELOMPOK MUSIK SOLOENSIS (Kajian Proses Penciptaan Dan Makna Teks Lagu)

2019 ◽  
Vol 11 (2) ◽  
Author(s):  
Bekti Setyo Utomo
Keyword(s):  
Creative Process ◽  
Musical Composition ◽  
Musical Form ◽  
Major Scale

ABSTRACT This paper focuses on the creative process of the song entitled Youth, and also the meaning of the lyrics. The lyrics and the structure of the music presented is a contradiction between the lyrics and the musical form. The song Youth created by the Soloensis music group used the major scales. Then, the character of their musical composition is cheerful and uses instruments that are not normally played in their works. The song Youth is a song with a message about the anxiety of the creator's youth. In the end, the content of the message is transformed into a song with a contrasting musical composition. This music constructs an atmosphere of anxiety and sadness using the diatonic major scale which is usually cheerful. Kata kunci : musik youth, soloensis, makna teks lagu

scholarly journals Limits to the European Commission – Managing Services of General Interests

2013 ◽  
Vol 4 (3) ◽  
pp. 23-48 ◽  
Author(s):  
Jerzy Ząbkowicz
Keyword(s):  
European Commission ◽  
Essential Element ◽  
Shared Responsibility ◽  
General Interest ◽  
Regulatory Regime ◽  
The European Union ◽  
Public Authorities ◽  
Wide Range ◽  
Services Of General Interest ◽  
The Eu

Services of general interest form an essential element of the European model of society as a way to increase quality of life and to overcome social exclusion and isolation. They are also at the core of the public debate touching the central question of the role public authorities and the institutions of the European Union play in a market economy. The competencies and responsibilities conferred by the Treaty, the EU regulations and directives lay emphasis on the essential role and the wide discretion of national, regional and local authorities in defining, organizing, financing and monitoring services of general interest. The same time the EU Law provide the European Commission with a wide range of means of action to ensure the compliance of the process of organizing and financing such services according to a comprehensive regulatory regime at Community level to make them compatible with the internal market and to prevent a distortion of the competition rules. The paper indicates divergences of the points of view of public authorities and the Commission on their role, shared responsibility and powers in that process.

scholarly journals Интерпретации «Хайтармы» А. Спендиаряна в творчестве современных исполнителей республики Татарстан

2021 ◽  
pp. 44-51
Author(s):  
Лилия Бородовская
Keyword(s):  
Folk Music ◽  
Chamber Orchestra ◽  
Folk Dance ◽  
Professional Musicians ◽  
Historical Information ◽  
Wide Range ◽  
Musical Arrangements ◽  
Crimean Tatar

This article presents two musical arrangements of "Haytarma" from A. Spendiaryan's suite "Crimean Sketches" (part 1), performed by Kazan musicians and composers - R.E. Ilyasov for the "Kazan Nury" folk instrument orchestra and R.Yu. Abyazov for the "La Primavera" string chamber orchestra. A brief historical information about the work of A. Spendiaryan connected with the Crimean Tatar music is given. Also presented is material about the peculiarities of the Crimean Tatar folk dance "haitarma", about its different musical variants. This work will be useful to a wide range of professional musicians, as well as researchers of the Crimean Tatar folk music.

scholarly journals Electronic folklore archive in the modern sociocultural space

2021 ◽  
Vol 10 (1) ◽  
pp. 283-286
Author(s):  
Mikhail Semenovich Zhirov ◽  
Olga Yakovlevna Zhirova ◽  
Natalya Stanislavovna Kuznetsova
Keyword(s):  
Folk Music ◽  
Electronic Version ◽  
Folk Songs ◽  
Preliminary Review ◽  
The Internet ◽  
State Institute ◽  
Electronic Map ◽  
Wide Range ◽  
Arts And Culture ◽  
Musical Genres

The paper is devoted to the problem of creating an electronic version of a folklore archive and finding ways to present it on the Internet. A preliminary review of the electronic archives of folklore materials posted on the Internet indicates different approaches to their implementation. In the category of archives containing information about folk songs, various methods of classifying musical genres are used, as well as ways of organizing them, which in general makes it difficult for the user to work with resources. The authors of this study propose their own development of a draft electronic map Ethno-cultural heritage of Belgorod Region. This information resource is aimed at both professional figures in the field of folk music and a wide range of amateurs. The basis of the electronic map was made up of expeditionary materials from the archive of Folk Singing Art Department of Belgorod State Institute of Arts and Culture. While developing the project, modern trends in the presentation of archival materials on the Internet were taken into account, which made it possible to fully reveal the traditional culture of the region. The proposed method of presenting information allows you to maximally illuminate the musical genre composition of folk singing, get acquainted with the creative heritage of outstanding performers, as well as greatly facilitates the search for specific song samples, both among the archive materials and in existing publications.

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