scholarly journals Genre and style specifics of Sonata for Double Bass and Piano by Paul Hindemith

2021 ◽  
Vol 24 (24) ◽  
pp. 127-147
Author(s):  
Dikarev Serhiі
Keyword(s):  
Symphony Orchestra ◽  
Deep Understanding ◽  
Compositional Analysis ◽  
Double Bass ◽  
Paul Hindemith ◽  
Important Place ◽  
Scientific Methods ◽  
Sound Image ◽  
Mature Period ◽  
Solo Instrument

Statement of the problem. The works of Paul Hindemith, one of the most outstanding composers of the twentieth century, is distinguished by its universality. P. Hindemith is known as the author of a large number of sonatas for various instruments, among which is Sonata for Double Bass and Piano. The genre and style specificity of P. Hindemith’s chamber sonatas cannot be considered in isolation from the peculiarities of the instruments chosen by the composer, the sound image of which contributed to the formation of certain specific genre features. Sonata for Double Bass and Piano, which became the culmination of the development of double bass music in the composer’s work, can be considered indicative in this respect. Analysis of recent research and publications. There is a great deal of research works devoted to P. Hindemit’s compositions, particularly chamber sonatas, as well as to the peculiarities of his style. One of the most fundamental works is the monograph by T. Levaya and O. Leontieva (1974), which deals with the works of the composer. Among other researchers who turned to the work of Hindemith, we should mention B. Asafev (1975), V. Polyakov (1987), T. Morgunova (2000), V. Batanov (2016). Despite the fact that the stylistic and genre principles of P. Hindemith’s work are outlined in detail in the works of domestic musicologists, most researchers have overlooked the Sonata for Double Bass and Piano by P. Hindemith, which certainly deserves a detailed analytical understanding both in the context of the genre and in terms of the development of double bass performance. Main objective of the study. Today, Sonata for Double Bass and Piano by Paul Hindemith, the performance of which requires significant technical and artistic skill from double bass players, occupies an important place in the double bass repertoire, which is why this article is relevant. The purpose of the article is to determine the genre and style specifics of Sonata for Double Bass and Piano by P. Hindemith in order to further understand the development of solo and orchestral double bass means of expression and rapidly increase the repertoire for double bass in modern art. The scientific novelty of the article lies in the insufficient study of P.Hindemith’s double bass work in the context of Ukrainian double bass school. As a result of the structural-compositional and genre analysis it was possible to conclude about the uniqueness of Sonata for Double Bass and Piano by P. Hindemith as a vivid example of the composer’s search for non-standard means of expression, which lies in choosing the timbre of the solo instrument and the specifics of formative factors. The research methodology includes the following scientific methods: ● historiographic approach (in the aspect of clarifying the data on the double bass compositions by P. Hindemith); ● stylistic approach (in connection with the study of the composer’s work); ● genre approach (which is necessary for referring to certain genres of P. Hindemith’s work); ек ● structural and functional approach (which is used in analytical descriptions); ● comparative, which is applied in connection with the study of different editions of Sonata for Double Bass and Piano by P. Hindemith. Results. In the course of the study, a detailed structural and compositional analysis of P. Hindemith’s Sonata for Double Bass and Piano was carried out, as well as a comparative analysis of two editions of this sonata. The filling of the classical sonata form with modern musical language, the appeal to the means of polyphonic music, the introduction of the genre features of the instrumental concerto, the traditional German song Lied and operatic intonations make this work a vivid example of neoclassicism in the repertoire of double bass players around the world. The varied palette of lines and the flexibility of the imaginative sphere of the Sonata generalize the long-term composer’s search for individual means of expression in contrabass music. Conclusions. The result of the evolutionary path traversed by the double bass from a modest instrument of a symphony orchestra to a brilliant solo instrument was Sonata for Double Bass and Piano – a vivid example of P. Hindemith’s chamber work, which embodied the features of the composer’s mature period. Sonata for Double Bass and Piano by P. Hindemith poses difficult technical and artistic tasks for the performers, the solution of which must be associated not only with the use of all the skills and abilities of the musician, but also with a deep understanding of the internal structure and specifics of the compositional and dramatic solution of the author’s intention.

LITERARY HERITAGE OF AHMEDKHAN NALOYEV: MAJOR MILESTONES IN BIOGRAPHY AND PROBLEMS OF CREATIVITY (to the 100th anniversary of the birth of the writer)

Kavkazologiya ◽  
2021 ◽  
pp. 154-165
Author(s):  
L.B. KHAVZHOKOVA ◽  
Keyword(s):  
Literary Criticism ◽  
Compositional Analysis ◽  
Literary Work ◽  
100Th Anniversary ◽  
Cultural Development ◽  
Scientific Methods ◽  
Literary Heritage ◽  
General Scientific ◽  
First Time

The article is devoted to the study of the life and literary heritage of one of the significant creative figures in the Kabardian literature of the 60s – 80s. Of the twentieth century, which determined the features of the formation and development trends of national prose of the specified period. The relevance of the stated topic is due to the fact that until now in the Adygeyan literary criticism there are no generalizing works on the study of milestones in the biography and a comprehensive analysis of the literary work of A. Naloev. The scientific novelty of the research lies in the fact that for the first time a comprehensive substantive and structural-compositional analysis of the writer's works is carried out, starting from the first sketches in the form of miniatures and satirical and humorous stories, ending with larger genres – a story and a novel. The aim of the study is to recreate a complete biographical and creative picture of the life of a talented writer, philologist, educator, educator who raised a whole generation of artists and workers of culture and education. To achieve the goal, a number of tasks are solved, among the main ones – the study of the milestones of the biography of A. Naloev, the analysis of works, the consideration of the ideological and thematic orientation and the genre-style paradigm of the writer's work, determination of the role and place of his creative heritage in national literature and in general in cultural development Adyghe ethnos. The study used general scientific methods with an emphasis on the method of analysis, description and generalization. The results obtained have theoretical significance for further study of national literatures. They can become a significant practical help in writing various kinds of research papers, as well as in the preparation of special courses in universities and colleges.

The Viennese: ‘MOB art & tone ART’ Group

Tempo ◽  
1978 ◽  
pp. 10-12
Author(s):  
Josef Heinzelmann
Keyword(s):  
Symphony Orchestra ◽  
Double Bass ◽  
Musical Life

The ‘MOB art & tone ART’ Ensemble made its debut in 1967 and played a lively role in Austrian musical life during the five years of its existence. All three of the composers who directed the Ensemble were also professional instrumentalists—Zykan as pianist, Gruber as double-bass in the Austrian Radio Symphony Orchestra, and Schwertsik as hornist in the Vienna Symphony Orchestra. Zykan and Gruber both appeared regularly with the Ensemble, whose other performing members were Volkcr Altmann (horn), Leonhard Wallisch (cello), Roland Altmann and Kurt Prihoda (percussion). The violinist Ernst Kovacic and the cellist Heinrich Schiff appeared with the Ensemble from time to time as guests.

scholarly journals Sound images of percussion instruments: modernity and retrospections

2020 ◽  
Vol 19 (19) ◽  
pp. 120-139
Author(s):  
Yelyzaveta Bielova
Keyword(s):  
Analytical Model ◽  
Performing Arts ◽  
Symphony Orchestra ◽  
Genetic Research ◽  
Evolutionary Processes ◽  
Historical Experience ◽  
Sound Image ◽  
Musical Works ◽  
Percussion Instruments ◽  
Performing Art

Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.

scholarly journals Influence of the Yalta Conference on the Development of Modern International Law

2021 ◽  
pp. 394-423
Author(s):  
N. A. Cherniadeva ◽  
◽  
Yu. V. Vasilyeva ◽  
Keyword(s):  
International Law ◽  
Legal Analysis ◽  
Important Place ◽  
Scientific Methods ◽  
International Legal Order ◽  
Legal Foundations ◽  
General Scientific ◽  
The Creation ◽  
Final Agreement

Introduction: the article analyzes the contribution of the Yalta conference of 1945 to the formation of the modern international legal system. We believe that the role the decisions taken at this conference played in the formation of current international law is significantly underestimated these days. The purpose of this article was to identify the elements of modern international law the formation and development of which were influenced by the Yalta Conference. For this, the following objectives were set and consistently accomplished in the course of research: to determine the role of international conferences as mechanisms for the development of international law; to identify the features of the Yalta conference; to study international legal decisions that were made during the Yalta conference. Methods: we applied general scientific methods of analysis, synthesis, interpretation, formal logic. In connection with the study of historical aspects of international legal science, the method of historical and legal analysis played a significant role. Of the specialized legal methodological tools used in the preparation of the article, we note the methods of formal legal analysis and legal modeling. Results: the article proves that the Yalta conference laid the legal foundations for new significant international legal regulations. We consider the following to be the main international legal achievements of Yalta-1945: final agreement on the creation of the UN; the creation of a completely new mechanism of international legal governance – the UN Security Council; participation in the formation of a new system of sources of international law; participation in the development of the basis of new international law; participation in the formation of a number of new branches of international law. Conclusions: the Yalta Conference marks the end of one era and the beginning of a new one, in which the UN will occupy the most important place in the system of management of international legal relations. Many decisions made in Yalta concerned the future of the international legal order, and not just the resolution of the geopolitical issues of the Second World War at its last stage.

scholarly journals On the Issue of the Legal Nature of Investments

Legal Concept ◽  
2020 ◽  
pp. 97-104
Author(s):  
Yury Shpinev
Keyword(s):  
Deep Understanding ◽  
Legal Regulation ◽  
Economic Science ◽  
Methodological Framework ◽  
Investment Climate ◽  
Scientific Methods ◽  
Legal Nature ◽  
Definition Of ◽  
Genetic Results

Introduction: despite the need to create a favorable investment climate, the legal regulation of investment in this country has a number of significant drawbacks. The quality of the legislative regulation of investment relations depends on an objective and deep understanding of the legal nature of investments. In this connection, the author aims to study various approaches to determining the legal nature of investments. Methods: the methodological framework for the research was formed by the methods of formal logic, as well as the specific scientific methods: technical-legal and historical-genetic. Results: the author’s position is based on the current legislation and opinions of the legal scholars on the legal nature of investments. Based on the analysis of the existing laws, the problem of defining investments in these acts and legal science is pointed out. Various approaches to the concept of the “legal nature” category are considered, as well as the opinions on the legal nature of investments and investment contracts. The author’s definition of the category “legal nature” is proposed. Conclusions: as a result, it is concluded that in order to establish a single legal and scientific definition of investments, it is necessary to establish their legal nature, which, in turn, requires studying and describing the primary properties of investments at the time of the origin of this category in the framework of the economic science.

scholarly journals New Zealand Works for Contrabassoon

2021 ◽  
Author(s):  
◽  
Hayley Elizabeth Roud
Keyword(s):  
New Zealand ◽  
Dynamic Range ◽  
Double Bass ◽  
History Of ◽  
Solo Instrument

<p>The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contraregister double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers.</p>

scholarly journals Fundamental phenomenological categories of garden and landscape

2012 ◽  
Vol 60 (8) ◽  
pp. 299-306
Author(s):  
Marie Zgarbová
Keyword(s):  
Landscape Architecture ◽  
Deep Understanding ◽  
The United States ◽  
Phenomenological Method ◽  
Qualitative Investigation ◽  
Scientific Methods ◽  
The United Kingdom ◽  
Living Space ◽  
The Common ◽  
Fundamental Categories

The current scientific methods describing gardens and landscapes all over the world are not always sufficient for the purpose of deep understanding of specific and close relations between landscape/garden and its inhabitants/visitors. A new dimension of qualitative investigation of these phenomena and relations between humans and the environment, as distinguished from the common mechanistic methods, has to be acquired. While a systematic anti-mechanistic research on the interaction of humans and living space is carried out especially in the United Kingdom and the United States, Continental Europe persist mechanistic in its core.In Continental Europe phenomenology as well as hermeneutics are regarded mostly as the particular areas of abstract philosophical studies that do not refer enough to practical sciences such as, for example, garden and landscape architecture. However, there are some especially transatlantic centres of applied phenomenological research. This article examines the phenomenological and hermeneutical approach as it might be used to explore the specific field of garden and landscape issues. In the first step, the nature of hermeneutics and phenomenology as compared to the common mechanistic scientific methods is discussed and the parallels between hermeneutics and phenomenology are outlined. Then, using the phenomenological method helps we give evidence on the fundamental categories of garden and landscape. These categories, in contrast to mechanistic constructions, represent garden and landscape as they are intimately experienced by humans. The focus of this research is both methodological (it is an effort to articulate a method alternative to the objectivity and abstraction of strict science, to be used in the field of garden and landscape architecture and related areas) and hermeneutical (it is an effort to achieve a deeper and profound understanding of garden and landscape as the irreplaceable base for every responsible interaction, whether scientific, creative, or other, with garden and landscape).

scholarly journals AN ANALYSIS ON THE PROCESS OF BECOMING AN “ORCHESTRAL MUSICIAN” IN ISTANBUL STATE SYMPHONY ORCHESTRA

2018 ◽  
Vol 7 (46) ◽  
Keyword(s):  
Private Sector ◽  
Classical Music ◽  
Descriptive Analysis ◽  
Symphony Orchestra ◽  
The State ◽  
Ethnographic Research ◽  
Affecting Factors ◽  
Symphony Orchestras ◽  
Important Place ◽  
History Of

Symphony orchestras are institutions that have been serving in the field of classical music for centuries. The history of the symphony orchestras in Turkey is not as old as the Europe orchestras. These orchestras have been supported both by the state and the private sector. The symphony orchestras which continue to work under state auspices have gained an important place in the field of art by giving concerts regularly since their establishment. The structure and works of the symphony orchestras have been studied by researchers who are in the fields of management, organisational studies and psychology. The subjects of these researches, largely conducted with the participation of orchestra members, have been determined to be as leadership, interaction between the conductor and orchestra members, or interaction between orchestra and audience. For this reason, this study focuses on explaining the concept of orchestral musician (“orkestracı”) as the result of the ethnographic research conducted with members of the Istanbul State Symphony Orchestra. Becoming an orchestral musician has been considered here as a particular process and its affecting factors have been explained in a descriptive analysis. Keywords: Classical music, symphony orchestra, becoming an orchestral musician, interaction, etnomusicology

scholarly journals МЕТАМОРФОЗИ ОБРАЗУ ТУРАНДОТ У СИМФОНІЧНОМУ СКЕРЦО ПАУЛЯ ГІНДЕМІТА

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Twentieth Century ◽  
Fairy Tale ◽  
Semantic Analysis ◽  
Symphony Orchestra ◽  
Social Conditions ◽  
Practical Significance ◽  
Paul Hindemith ◽  
Femme Fatale ◽  
Twentieth Century Music ◽  
First Time

Порушується питання втілення образу Турандот у жанрах симфонічної музики, зокрема, у «Метаморфозах» П. Гіндеміта. Докладний структурно-семантичний аналіз дозволяє визначити рівень кореспонденції з темами К.-М. Вебера, які лягли в основу твору Гіндеміта як вияв неокласичних тенденцій, а також прослідкувати музичні маркери, застосовані композитором щодо цього образу, відтвореного засобами сучасної музики в іронічно-пародійному плані. Контекстуальне поле прочитань образу китайської принцеси у музиці ХХ століття збагачується за рахунок «Турандот» П. Гіндеміта симфонічною та балетною версіями, рівночасно демонструючи специфічний аспект орієнтальної тематики.Ключові слова: Турандот, орієнталізм, Пауль Гіндеміт, Скерцо, Метаморфози, пародія, балетні втілення, імагологія, імагосемантика. The aim of this paper is to determine the peculiarities of reading Turandot's image by Paul Hindemith in «Metamorphoses» for symphony orchestra. The methodology of the research is based on the application of the structural-semantic analysis of Scherzo's «Turandot» by P. Hindemit, which is considered using the principles of imagological research in the contextual field of reading the image of a Chinese princess in musical art.Results. In P. Scerzo's P. Hindemith, Turandot's brazen takes on a new meaning: in response to contemporary to the composer political and social conditions through the prism of parody, and extends the boundaries of traditional «Chinese», which is characterized by a vibrant jazz component and a neoclassical dimension, transporting the idea of a Chinese princess through reading an early romantic overture by K. M. von Weber from music to F. Schiller's drama «Turandot». Such specific «polystylistics» in the embodiment of this theme by expanding the intercontinental sound space reveals globalist tendencies and perpetuates humanistic ideals in a kind of grotesque form. The imagosemantics of Turandot's image in P. Hindnmith also contains stable musical markers (toy-puppet theme as a fairy-tale imaginary princess, chromatic-tortuous theme as an imago femme fatale, state imago – fanfare motif as a symbol of imperial-empathetic, motif drums in the spirit of «Chinozerii»). However, a parody-ironic approach to the solution of the image, the genre of eccentric, overflowing with total shock exaltation and warlike scherzo, in which the composer etymologically rethinks the serious challenges of the plot and the image of the heroine itself (the metamorphosis of the delicate «air China» theme into a distorted chromatized dissonance-false fanfare) – appears for the first time. Turandot in the music of the second half of the twentieth century will act more as a representative of totalitarian political structures, nominally representing ChineseOrientalism of the postmodernist type.Novelty. For the first time in national musicology, Turandot's embodiment in the music of the twentieth century was demonstrated, in particular, in the Scherzo of P. Hindemith's Metamorphosis for symphony orchestra, and the features of reading this image in the dimension of oriental imagosemantics were determined.The practical significance. In this article, Ukrainian and foreign musicologists may find information useful for exploring Turandot's image in twentieth-century music, particularly in Paul Hindemith's work in symphonic and ballet incarnations.Key words: Turandot, Orientalism, Paul Hindemith, Scherzo, Metamorphoses, Рarody, Ballet Еmbodiments, Imagology, Іmagosemantics.

scholarly journals Strategies of Representing Christian Imagery And Motives in the Art of Kharkiv in the Late Soviet Period

2021 ◽  
pp. 100-110
Author(s):  
O. A. Osadcha
Keyword(s):  
Historical Context ◽  
Compositional Analysis ◽  
Practical Significance ◽  
Soviet Period ◽  
State Control ◽  
Comprehensive Overview ◽  
Scientific Methods ◽  
Soviet Art ◽  
General Scientific ◽  
The 1960S

The aim of the study is to define the multiplicity and specificity of the approaches of the Kharkiv artists of the 1960s — 1980s to the visualization of Christian imagery and motives. Research methodology is based on the combination of general scientific methods of systematization, classification, synthesis, and specialized ones, related to the field of art history, namely formal and comparative, iconological and compositional analysis. Results. The paper is focused on the specificity of functioning of the religious theme in the fine art of Kharkiv of the 1960s — 1980s. It’s emphasized that, due to the trajectory of political discourse of that time, Christian imagery in the Ukrainian late Soviet art was largely marginalized and existed mainly in the veiled, latent form. A significant number of easel paintings, graphic and photographic works by Kharkiv artists, who belong to the circles of unofficial and “allowed” art, was analyzed. The historical context of the creation of those works is outlined. Its development was defined by a vast presence of the state control. It is shown that the authors’ perception of the given problematics was characterized by the inclination towards reflecting social reality through irony and deconstruction of the familiar sacred images and iconographic schemes (Crucifixion, Madonna, Pieta, eschatological motives). It is emphasized that such approach was often realized through the methods of collage and citation, which amplify the split between the mundanity and the Sublime. Novelty. The study attempts to give a comprehensive overview of the development of the religious motives and characters in the Ukrainian late Soviet art. The practical significance. The key points of the paper can be used both for further study of the representation of the category of sacred and transformation of its role in the Ukrainian culture in the second half of the XX — beginning of the XXI century, and its practical application in the educational and exhibition projects.

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