scholarly journals The embodiment of mater’s archetype in song genre (on repertoire material by master students of Popular Music and Jazz Department)

2018 ◽  
Vol 13 (13) ◽  
pp. 153-166
Author(s):  
A.V. Tymoshenko
Keyword(s):  
Popular Music ◽  
Compositional Analysis ◽  
Educational Process ◽  
Voice Of America ◽  
Suitable Material ◽  
Retrospective View ◽  
Successful Work ◽  
History Of ◽  
The One ◽  
Popular Images

Background. The Mother has always been one of the most popular images in art. A woman giving birth to another human being and caring for it has always been in a focus of attention of artists and philosophers. From this standpoint, the mother is defi ned as an “eternal theme” [3], on the one hand, and as archetype on another one [1; 2]. That allows methodists of primary education to create lessons, devoted to the fi gure of the mother in different arts [7], thus explaining unknown (peculiar features of every art) through well-known (attitude towards mother). In the music, including popular music, the image of The Mother can be found extremely often, as the list of performers whose heritage includes at least one song about his mother, seems to be infi nite; moreover, it consists of the artists representing different national traditions and styles. But the usage of the works of pronounced theme at the highest level of musical education has received neither methodical nor scientifi c development, regardless of including these songs into the repertoire of the students’ programmes. The realm of the music can serve as an undeniable evidence that the music is full of images of maternity: both in religious works (“Ave, Maria” by Schubert and Bach- Gounod), “Vergin tutto amor” by Durante, “Bogoroditze devo raduysa” by Rachmaninov, Yanchenko and others) and in secular (the roles of Santuzza in “Cavalleria Rusticana” by Mascagni, Cio-Cio-san in “Madama Butterfl y” by Puccini, Russian romances by Gurilyov (“Matushka-golubushka”), Varlamov (“Krasnyi Sarafan”). This list could be continued. The accessibility of the image of the mother to every child, its open emotionality make it extremely suitable material for learning the basic principles of art by the children. B ut at the highest level of education, such usage of achievements of culturological and psychological science can scarcely be seen. Although the lack of methodical and theoretical cognizance of given problem does not exclude the usage of songs that feature the theme of maternity, in one way or another, or the attitude towards the parents, in the educational process. Although the main part of the repertoire performed by students of the Popular Music and Jazz department is oriented at the Western-European and American music, the traditions of education don’t allow to exclude the Ukrainian music from the programme. As the experience shows, it is easier to work on this material – for three main reasons. The fi rst one is the accessibility of the Ukrainian language (both for memorizing and for pronunciation), the second one lays in the fact that Ukrainian songs seem to be perceived more emotionally (that is a prerequisite of a successful work on a composition), and the third one is that the students are often familiar with the Ukrainian songs (both with the melody and the lyrics) even before they start working on them, because they widely distributed in the popular culture. The image of The Mother is among the most often used in the Ukrainian songs. It is featured in the folk songs as well as in academic and popular music, connected with the principles of Ukrainian song intonational features. The one of the most popular song from the latter group is “Pisnya pro Rushnyk” (music by Platon Mayboroda, lyrics by Andriy Malyshko). When it was written in 1958, its popularity skyrocketed (it was even broadcasted by the Voice of America [6]), and it is still widely known. This makes stated song a suitable repertoire for learning the traditions of popular vocal craftsmanship. The lyrics feature some stable motives causing the dominance of the lyric expression. These motives are the retrospection (as all the events of the song are placed in the Past), separation with the mother, and her everlasting love. All the things stated above and slow, somewhat solemn but enlightened melody makes it perfectly clear what emotional state is needed for this song – because the archetype character of the image of The Mother makes it easily perceptible by almost everyone. The objective of this research lays in the revealing of the signifi cant role played by the image of mother in the repertoire of students of the Popular Music and Jazz department and in generalization of typological features of these songs. Methods. In order to reach those objectives, several methods have been used: genre and style analysis, analysis of lyrics and music and their relevance, compositional analysis. Results. The image of The Mother, that is an archetype by itself, has been rece iving its incarnation throughout all known history of humanity, thus acquiring a features of “eternal theme”. The fi gure of the mother (both in the religious and secular meaning) has been portrayed in academic music, in popular one and in the folklore. Generalizing the results of observances, we can conclude, that the songs featuring the image of the mother are characterized by the dominance of the lyrical mode of expression and sincere emotionality. They often have a retrospective view, naturally caused by belonging of the mother to the older generation than her children. As a repertoire of students of the Popular Music and Jazz department the songs about the mother can serve as a material suitable, on the one side, for developing technical and performer skills; and on the another – its content is mostly accessible for open emotional reception, that makes it much easier to work at. Typological features of “the songs about the mother” that have been revealed in this research, do not become cliché as they are different in the language, in the character, and in the nuances of content. Practical signifi cance. The results of this research can be used as methodical recom mendations on the choice of the repertoire of the students and the work on it. Various advices have been given both on musical and verbal aspects of analyzed songs.

THE HISTORY OF PREPARING QUALIFIED LAWYERS IN UZBEKISTAN

2021 ◽  
Vol 4 (6) ◽  
pp. 83-90
Author(s):  
Ilyos A. Kholboyev ◽  
Keyword(s):  
Higher Education ◽  
Education Institution ◽  
Educational Process ◽  
Archival Data ◽  
Soviet Power ◽  
Higher Education Institution ◽  
General Picture ◽  
History Of ◽  
The One ◽  
Ruling Party

The article discusses the introduction of the process of training lawyers with higher education in Uzbekistan by the Soviet authorities. For the establishment and development of Soviet power in the country, as in other areas, the training of lawyers becamea necessity. Initial attempts to train lawyers, problems in the organization of the educational process and the general picture of the higher education institution were covered on the basis of available archival data. The policy of the Sovietstate on thetraining of lawyers was analyzed on the example of the first higher education institution in the country. The article also discusses the one-sided policy pursued by the ruling party in the training of lawyers, the establishment of political criteria for the admission of students and its consequences

scholarly journals Deutsche Spuren in der Ukraine im Deutscheunterricht: illustrativ, interaktiv, kommunikativ

2020 ◽  
Vol 54 (2) ◽  
pp. 34-55
Author(s):  
Vita A. Hamaniuk
Keyword(s):  
Intercultural Communication ◽  
Intercultural Competence ◽  
Language Education ◽  
Interdisciplinary Approach ◽  
Educational Process ◽  
Target Language ◽  
Communicative Behavior ◽  
Smooth Flow ◽  
History Of ◽  
The One

The article deals with the problem of the development of intercultural competence, which is one of the key competences in foreign language education. The focus lies on examining the opportunities available to use the topic of German Trails in Ukraine as a material for developing intercultural competence. The theoretical foundations on which the research was conducted are analyzed: the essence of intercultural communication, the conditions of its smooth flow; the essence of intercultural competence, its constituents and the relations between them; the role of country studies (both the country of the target language and its own history) in the acquisition of background knowledge, the ability to compare cultures, to tolerate differences between them, and furthermore. Considering that the development of intercultural competence at a level that would ensure the effective implementation of intercultural communication is primarily due to the presence, in addition to language acquisition, of intercultural knowledge, perceptions of the rules of communicative behavior and the positive disposition of learners, an important element is the approaching of the target culture, the removal of prejudices about the „alien“. This can be achieved through the inclusion in the educational process of materials from the immediate environment of learners. For exemple, the theme „Traces of the Germans in Ukraine“ is used, in which work, on the one hand, reveals facts of the history of the Germans and Germany in the European format, and on the other, the facts of the history of their own country, the history of their immediate surroundings, at the expense of which the story of „alien“ is transferred to the personal sphere. Among the possible forms of work on the topic focuses on three: work with texts containing information, the history of the Germans as a motivation for communication, the implementation of an interdisciplinary approach to training of project activities.

scholarly journals Political Mission of University: A Retrospective View

2020 ◽  
Vol 29 (10) ◽  
pp. 153-160
Author(s):  
S. G. Lukovenkov
Keyword(s):  
Special Kind ◽  
Cultural Transformation ◽  
Digital Revolution ◽  
Digital Era ◽  
Retrospective View ◽  
The Usa ◽  
History Of ◽  
Colonial Colleges ◽  
The One ◽  
Social Sorting

Academic3 space in its different manifestations has been taking an honorable position in social structure from the earliest stages of the history of human civilization by systematizing multitude experiences of both external and internal world of humankind. At the same time, educational landscape was formulating the different ways of how to theorize about and interact with the world. Simultaneously, there was always combating with the alternative systems and, what is more, this struggle wasn’t necessarily intellectual or polemical. Little has changed in how society perceives academy and its functions in the era of accomplished digital revolution, including its role as an instrument of surveillance and social sorting – these two important elements of power. In this article, an attempt is taken to comprehend University – and speaking broadly academic space as such – as a special kind of social and political field used to perform surveillance and social control. On the example of colonial colleges in the USA, this article examines how University may serve as a surveillance mechanism on the one hand and as a mean of cultural transformation on the other hand, and what conclusions can be made regarding the present and the future of University in the digital era.

Music and Revolution in the Long 1960s

2017 ◽  
Vol 14 (3) ◽  
pp. 463-471
Author(s):  
ODED HEILBRONNER
Keyword(s):  
Popular Music ◽  
Rock Music ◽  
Recent Book ◽  
Musical Style ◽  
Protest Music ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S ◽  
The One ◽  
The Relationship

When discussing the relationship between popular music and social-political change in the long 1960s, historians and critics have tended to fluctuate between two opposing poles. On the one hand, there is Arthur Marwick's approach, echoed in Jon Savage's recent book 1966: The Year the Decade Exploded. In Marwick's cross-national survey, he examines social change in the West during the ‘Long Sixties’ (1958–72), when a ‘cultural revolution’ occurred in which protest music played a major role. On the other hand, there are Peter Doggett's and Dominic Sandbrook's observations that the top-selling albums of the 1960s and 1970s did not include some masterpiece by the Beatles, the Rolling Stones, Bob Dylan, David Bowie, Queen, or other leading figures in rock music, but rather the soundtrack of The Sound of Music. Sandbrook writes that it ‘projected a familiar, even conservative vision of the world, based on romantic love and family life. In a period of change it offered a sense of reassurance and stability, not only in its plot but also in its musical style . . . [T]hese were the values of millions . . . in the Swinging Sixties’. Doggett similarly points to the popularity of Julie Andrews and the soundtracks of Mary Poppins and The Sound of Music. These soundtracks ‘made no attempt to alter the culture or educate the listener’ he suggests, and that is why they have been relegated ‘to a footnote in the history of popular music’ even while being the top-selling records of 1965 and 1966.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

Theodor W. Adorno

2018 ◽  
Author(s):  
Colby Dickinson
Keyword(s):  
The Other ◽  
History Of Thought ◽  
History Of ◽  
The One

In his somewhat controversial book Remnants of Auschwitz, Agamben makes brief reference to Theodor Adorno’s apparently contradictory remarks on perceptions of death post-Auschwitz, positions that Adorno had taken concerning Nazi genocidal actions that had seemed also to reflect something horribly errant in the history of thought itself. There was within such murderous acts, he had claimed, a particular degradation of death itself, a perpetration of our humanity bound in some way to affect our perception of reason itself. The contradictions regarding Auschwitz that Agamben senses to be latent within Adorno’s remarks involve the intuition ‘on the one hand, of having realized the unconditional triumph of death against life; on the other, of having degraded and debased death. Neither of these charges – perhaps like every charge, which is always a genuinely legal gesture – succeed in exhausting Auschwitz’s offense, in defining its case in point’ (RA 81). And this is the stance that Agamben wishes to hammer home quite emphatically vis-à-vis Adorno’s limitations, ones that, I would only add, seem to linger within Agamben’s own formulations in ways that he has still not come to reckon with entirely: ‘This oscillation’, he affirms, ‘betrays reason’s incapacity to identify the specific crime of Auschwitz with certainty’ (RA 81).

Sea Urchins and Circuses: The Modernist Natural Histories of Jean Painlevé and Alexander Calder

2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu
Keyword(s):  
New Media ◽  
Sea Urchins ◽  
Life Sciences ◽  
Three Dimensional ◽  
Machine Age ◽  
Avant Garde ◽  
History Of ◽  
And Performance ◽  
The One ◽  
Natural Historian

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.

NURTURING OF CHILDREN THROUGH DRAMA AND THEATRE: THE CASE OF INTWASA KOBULAWAYO PERFORMANCES

2016 ◽  
Vol 13 (2) ◽  
pp. 86-99
Author(s):  
Vimbai Moreblessing Matiza
Keyword(s):  
Political Development ◽  
Children And Youth ◽  
Main Task ◽  
Growing Up ◽  
Theatrical Performances ◽  
History Of ◽  
The One

Dramatic and theatrical performances have a long history of being used as tools to enhance development in children and youth. In pre-colonial times there were some forms of drama and theatre used by different communities in the socialisation of children. It is in the same vein that this article, through the Intwasa koBulawayo performances, seeks to evaluate how drama and theatre are used to nurture children and youth into different developmental facets of their lives. The only difference which this article will take into cognisance is that the performances are done in a different environment, which is not the one used in the pre-colonial times. Although these performances were like this, the most important factor is the idea that children and youth are socialised through these performances. It is also against this backdrop that children and youth are growing up in a globalised environment, hence the performances should accommodate people from all walks of life and teach them relevant issues pertaining to life as they live it now. Thus the main task of the article is to spell out the role of drama and theatre in the nurturing of children and youth through socio economic and political development in Intwasa koBulawayo festivals.

Responsive Architecture and the Problem of Obsolescence

2014 ◽  
Vol 8 (3) ◽  
pp. 95 ◽  
Author(s):  
Mark Meagher
Keyword(s):  
Computer Science ◽  
Digital Information ◽  
Material Response ◽  
Responsive Architecture ◽  
History Of ◽  
The One

Responsive architecture, a design field that has arisen in recent decades at the intersection of architecture and computer science, invokes a material response to digital information and implies the capacity of the building to respond dynamically to changing stimuli. The question I will address in the paper is whether it is possible for the responsive components of architecture to become a poetically expressive part of the building, and if so why this result has so rarely been achieved in contemporary and recent built work. The history of attitudes to- ward obsolescence in buildings is investigated as one explanation for the rarity of examples like the one considered here that successfully overcomes the rapid obsolescence of responsive components and makes these elements an integral part of the work of architecture. In conclusion I identify strategies for the design of responsive components as poetically expressive elements of architecture.

‘I Fight Anyone Who Doesn’t Act as a Communist Should...’ Letter of F. A. Zemit to N.N. Krestinsky on Financial Work in Siberia. January 5, 1920.

2018 ◽  
pp. 1137-1148
Author(s):  
Dmitrii I. Petin ◽  
Keyword(s):  
Civil War ◽  
Soviet Society ◽  
Difficult Situation ◽  
Professional Activities ◽  
Regional Finance ◽  
Difficult Time ◽  
History Of ◽  
Source Study ◽  
The One ◽  
Major Impediment

The article offers a source study of the letter of the head of the Financial Department at the Siberian Revolutionary Committee F. A. Zemit to the People's Commissar of Finance of the RSFSR N. N. Krestinsky. Its text analysis clears up the issue of creation of Soviet regional governing bodies in the financial–economical sphere in Siberia at the final stage of the Civil War. The published source allows to outline major impediment to restoration of the Soviet finance system in Siberia after the Civil War: shortage of financial workers, their low professional qualifications, lack of regulatory documentation for organizing activities, etc. Key methods used in the study are biographical and problematic/chronological. Biographical method allows to interpret the document and to link it with professional activities of F. A. Zemit in Omsk. The problematic/chronological method allows to trace the developments in regional finance and to understand their causes by placing them into historical framework. The letter was written by F. A. Zemit in early January 1920 – at a most difficult time in his career in Siberia. The author considers this ego-document unique and revealing in its way. On the one hand, it is an official appeal of an inferior financial manager to the head of the People's Commissariat of Finance; its content is practical and no-nonsense. On the other hand, its style indicates a warm friendly and trusting relationship between the sender and the addressee; F. A. Zemit was, apparently, able to report personally to the People's Commissar of Finance of the RSFSR on the difficult situation in the region and to do so with great frankness. This publication may be of interest to scholars in history of Russian finance, Russia Civil War, Soviet society, and Siberia of the period.

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