“Memories” by Sergey Lyapunov: “Light Pages Read in Life”

10.34690/206 ◽  
2021 ◽  
pp. 106-138
Author(s):  
Ирина Борисовна Теплова
Keyword(s):  
Folk Songs ◽  
Early Years ◽  
Special Importance ◽  
Folk Culture ◽  
Geographical Society ◽  
Piano Lessons ◽  
Musical Works ◽  
Life Path ◽  
Village Life ◽  
First Time

Представленные в статье материалы посвящены детским годам С. М. Ляпунова (1859-1924) - яркого композитора, пианиста, музыковеда, профессора Петербургской консерватории, собирателя народных песен, соратника М. А. Балакирева. Впервые публикуются «Воспоминания» Ляпунова, рукопись которых хранится в Российской национальной библиотеке. Память композитора обращается к «светлым страницам» жизни - детским впечатлениям, среди которых: уроки фортепиано, которые давала матушка, талантливая пианистка; красота среднерусской природы; радости деревенской жизни. Большое значение для формирования его характера имели теплая, творческая атмосфера родительского дома в Ярославле, внимание и любовь многочисленных родственников в Симбирской губернии. Обладая незаурядным литературным даром, композитор создает зримые портреты династий Ляпуновых, Сеченовых и Шипиловых. Основы мировосприятия, заложенные в детские годы, впоследствии отзовутся в музыкальных произведениях разных жанров. Способность к тонкой наблюдательности и интерес к народной культуре предопределят разностороннюю деятельность Ляпунова в качестве члена-сотрудника Песенной комиссии Императорского Русского географического общества. Публикуемый документ имеет научную и художественную ценность, которая заключается в запечатлении мира обитателей дворянских усадеб последней трети Х!Х века, в возможности убедиться в особом значении окружения талантливого ребенка для развития его музыкального дарования и формирования жизненного пути. The presented materiaLs are devoted to the chiLdhood of S. M. Lyapunov (1859-1924), a taLented composer, pianist, musicoLogist, professor of the St. Petersburg Conservatory, coLLector of foLk songs, associate of M. A. BaLakirev. For the first time Lyapunov's “Memoirs” is being pubLished, the manuscript of which is kept in the Russian NationaL Library. The musician's memory turns to “bright pages” of life - his early impressions: piano Lessons given by his mother, a taLented pianist, the beauty of CentraL Russian nature, the joys of village life. The warm, creative atmosphere of the parentaL home in YarosLavL, the attention and love of numerous reLatives in the Simbirsk province were of great importance for the formation of his character. Possessing an extraordinary Literary gift, the composer creates visibLe portraits of the Lyapunov, Sechenov and ShipiLov family dynasties. The foundations of the worLdview Laid in the early years wiLL Later be reflected in musicaL works of different genres. Lyapunov's keen observation abiLity and attention to foLk cuLture wiLL predetermine versatile activities as a member - employee of the Song Commission of the ImperiaL Russian GeographicaL Society. The pubLished document has obvious scientific and artistic vaLue, which consists in a vivid impression of the worLd of the inhabitants of nobLe estates of the Last third of the 19 century, in the opportunity to make sure of the special importance of the environment of a taLented chiLd for the deveLopment of his musical gift and the formation of a life path.

scholarly journals Creating an Ethnographic Atlas of European Russia as Reflected in Peter von Köppen’s Correspondence with the Academy of Sciences

2021 ◽  
Vol 9 (3) ◽  
Author(s):  
Catherine Gibson
Keyword(s):  
Scientific Activity ◽  
Early Years ◽  
European Russia ◽  
History Of Cartography ◽  
Geographical Society ◽  
History Of ◽  
The Russian Empire ◽  
Academy Of Sciences ◽  
First Time ◽  
The Relationship

In the mid-nineteenth century, the development of ethnographic cartography was mostly driven by issues related to the classification and territorial distribution of ethnic groups. However, in the course of this work, cartographers, ethnographers, and statisticians faced economic and material challenges, which have often been overlooked in the scholarship. This article examines the ‘mapping processes’ (М. Edney) of the 1840s through an analysis of correspondence between Peter von Köppen and the Imperial St Petersburg Academy of Sciences about the preparation of the Ethnographic Atlas of European Russia (1848), one of the first ethnographic maps published in the Russian Empire. These sources held in the St Petersburg branch of the Archives of the Russian Academy of Sciences are published here for the first time and provide detailed information about the circumstances behind the preparation of the atlas. The academy only published a short summary of these discussions, which omitted key financial and methodological details. The correspondence thus provides an alternative perspective on the history of cartography, revealing the difficulties of everyday scientific activity behind the scenes. The exchange vividly describes the relationship between the Academy of Sciences and the Russian Geographical Society during its early years, Köppen’s struggle to finance his various cartographic projects, and the material processes of producing an ethnographic map. The article focuses on how Köppen balanced his scientific vision with his limited material and practical circumstances and the goals of the various scientific organisations he was involved in.

Some Palaeoliths from South Arabia

1954 ◽  
Vol 19 (2) ◽  
pp. 189-218 ◽  
Author(s):  
G. Caton-Thompson
Keyword(s):  
Geographical Society ◽  
South Arabia ◽  
First Time ◽  
Do So

The material here described was found in the Hadhramaut by Elinor Gardner and myself between November 1937 and March 1938. My personal investigation of the Palaeolithic Age was limited by pre-Islamic excavations, and I am therefore indebted to her for the gathering of most of the specimens in situ in terrace gravels, and to her detailed study of their positions.The collection consists mainly of groups from four fairly widely separated localities; the physiography of these has already been outlined in a comprehensive paper published in the Geographical Journal. Whenever appropriate to the purpose of this account, which is to place for the first time on illustrated record all we observed about the palaeoliths, I have reused in this different context illustrations of Quaternary environment which appeared in that Journal. With thanks I acknowledge the permission of the Royal Geographical Society to do so.

Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments

2020 ◽  
Vol 19 (3) ◽  
pp. 68-75
Author(s):  
N.I. Anufrieva ◽  
◽  
A.P. Efremenko ◽  
Keyword(s):  
Training Programs ◽  
Traditional Approach ◽  
Teaching Methodology ◽  
Music Pedagogy ◽  
Folk Culture ◽  
University Teachers ◽  
Avant Garde ◽  
Musical Education ◽  
Musical Works ◽  
Educational Potential

the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.

scholarly journals Transforming the Learning Environment of Undergraduate Physics Laboratories to Enhance Physics Inquiry Processes

2017 ◽  
Vol 8 ◽  
Author(s):  
Gregory P. Thomas ◽  
Al Meldrum ◽  
John Beamish
Keyword(s):  
Learning Environment ◽  
Early Years ◽  
First Year ◽  
First Semester ◽  
Physics Laboratory ◽  
Physics Classes ◽  
Mixed Method Design ◽  
Physics Laboratories ◽  
First Time ◽  
Academic Year

Concerns persist regarding the lack of promotion of students’ scientific inquiry processes in undergraduate physics laboratories. The consensus in the literature is that, especially in the early years of undergraduate physics programs, students’ laboratory work is characterized by recipe type, step-by-step instructions for activities where the aim is often confirmation of an already well-established physics principle or concept. In response to evidence reflecting these concerns at their university, the authors successfully secured funding for this study. A mixed-method design was employed. In the 2011/2012 academic year baseline data were collected. A quantitative survey, the Undergraduate Physics Laboratory Learning Environment Scale (UPLLES) was developed, validated, and used to explore students’ perceptions of their physics laboratory environments. Analysis of data from the UPLLES and from interviews confirmed the concerns evident in the literature and in a previous evaluation of laboratories undertaken in 2002. To address these concerns the activities that students were to perform in the laboratory section of the course/s were re/designed to engage students in more inquiry oriented thinking and activity. In Fall 2012, the newly developed laboratory activities and tutorials, were implemented for the first time in PHYS124; a first year course. These changes were accompanied by structured training of teaching assistants and changes to the structure of the evaluation of students’ laboratory performance. At the end of that term the UPLLES was administered (n = 266) and interviews with students conducted (n = 16) to explore their perceptions of their laboratory environments. Statistically significant differences (p<.001) between the students in the PHYS 124 classes of 2011/2012 and 2012/2013 across all dimensions were found. Effect sizes of 0.82 to 1.3, between the views of students in the first semester physics classes of 2011/2012 and 2012/2013, were also calculated suggesting positive changes in the laboratory inquiry orientation. In their interviews, students confirmed and detailed these positive changes while still noting areas for future improvement.

scholarly journals Upphaf kvikmyndaaldar á Íslandi

Ritið ◽  
2019 ◽  
Vol 19 (2) ◽  
pp. 43-68
Author(s):  
Gunnar Tómas Kristófersson
Keyword(s):  
Prior Knowledge ◽  
19Th Century ◽  
Early Years ◽  
The World ◽  
The 19Th Century ◽  
Magic Lantern ◽  
First Time

The article addresses the early years of film in iceland, where the goal is to deepen our knowledge of the main participants in introducing and promoting cinema in iceland at the turn of the 19th century. Two years spanning a three-year period mark the beginnings of the age of film in iceland. The former is 1901 when the Dutch filmmaker F. A. Nöggerath came to film iceland and icelanders for an English film company. The latter year is 1903, when the Norwegian, Rasmus Hallseth and the Swede David Fernander, traveled around the country to screen films for the first time in iceland. These two visits mark the emergence of cinema in iceland. iceland-ers had little prior knowledge of the new medium, which was getting to be widely known around the world, apart from the coverage of newspapers and stories of lucky icelanders who had experienced film screenings abroad. Shows using a predecessor of film, the magic lantern, were held by Sigfús Eymundsson and Þorlákur ó. Jo-hnson in the 19th century. After the introduction of films in 1903, several people put together funds to buy Hallseth’s and Fernanders’ equipment and began to exhibit films on their own. However, daily performances did not happen until Reykjavik Biograftheater (later ,,Gamla Bíó”) was established in 1906. After several attempts by various parties to hold regular screenings in Reykjavik, one could say that cinema did not properly settle in iceland until the establishment of Nýja Bíó in 1913.

scholarly journals Hryhorii Kontsevych’s Music-foikloristic activity

Ethnomusic ◽  
2020 ◽  
Vol 16 (1) ◽  
pp. 93-114
Author(s):  
Nadiya Suprun-Yaremko ◽  
Keyword(s):  
Russian Federation ◽  
Terrorist Attack ◽  
Russian Empire ◽  
Folk Songs ◽  
Folk Culture ◽  
Political Reality ◽  
The Russian Federation ◽  
The Russian Empire

Musical and folkloristic activities of the Kuban activist Hryhorii Kontsevych, Ukrainian in origin, lasted for half a century under conditions of the Russian Empire, and from 1920 – Soviet totalitarian socio-political reality, of which he became the in- nocent victim in 1937, accused of being involved in the preparation of terrorist attack against Stalin. Kontsevych’ name o and his versatile activity as a chanter, folklorist, composer, teacher and organizer of music affairs in the Krasnodar Territory of the Russian Federation have been hushed up for 52 years (until 1989). In her paper, the author, as a native of the Krasnodar Territory and researcher of folk culture of the Ukrainians from Kuban, set out an objective to draw up a creative portrait of H. Kont- sevych and review his folklore collections and papers that were reprinted or found in the libraries and archives of Krasnodar with the support of the leader of Kuban Cossack Choir, folklorist, Honoured Artist of Russia, Ukraine and Adygea Viktor Zakharchenko. The paper draws up Kontsevych’s creative portrait, examines (based on republication of 2001) the entire corpus of arranged and published in 1904–1913 276 song and analyses the collection “Musical folklore of Adygei in the records by H. M. Kontsevych”, written shortly before his death, but first published in 1997. The research essay “Chumaks in folk songs” introduced to the scientific circulation. The research essay “Chumaks in folk songs” introduced to the scientific circulation. The conclusion is drawn up that it was exactly Hryhorii Komtsevych, who made the great- est contribution to the formation of Kuban musical folklore.

scholarly journals Flowers, Bird and Insects from the Archives of F. R. Osten-Sacken

2021 ◽  
Vol 4 (5) ◽  
pp. 1269-1277
Author(s):  
Andrey M. Kulikov
Keyword(s):  
Present Article ◽  
Foreign Affairs ◽  
Geographical Society ◽  
First Time

The article offers an overview of illustrations from the archives of an employee of the Russian Imperial Ministry of Foreign Affairs, traveller and member of the Russian Geographical Society, Reinhold Friedrich Freiherr von der Osten-Sacken (Russ.: Fyodor Romanovich Osten-Saken) (1832–1916), preserved in the Russian Archive of Ancient Acts (RAAA). In total, the article describes content of four archival boxes (a Chinese popular print depicting western steamers in Tianjin; a Japanese album of 1893 with views of Tokyo; six Chinese paintings in the genre of flowers and birds (huaniao), which depict a lotus, lamprocapnos, pomegranate, dragonflies, cicadas and blue magpie; two prints from Chinese steles). Most of the paintings are published for the first time. The translation of the six explanatory texts for Chinese paintings in the genre of flowers and birds belongs to the author of the present article. The text of the article is accompanied by numerous illustrations of the items preserved in the RAAA.

scholarly journals Miodrag Vasiljevic’s margin notes on Béla Bartók’s study Morphology of Serbo-Croatian vocal folk melodies

Muzikologija ◽  
2006 ◽  
pp. 365-393 ◽  
Author(s):  
Jelena Jovanovic
Keyword(s):  
Folk Music ◽  
Work Experience ◽  
Traditional Music ◽  
Folk Songs ◽  
Great Work ◽  
Folk Traditions ◽  
First Time ◽  
Source Of Information ◽  
Insight Into ◽  
Empirical Insight

The founder of modern Serbian ethnomusicology, collector of folk songs ethnomusicologist, and music pedagogue, Miodrag A. Vasiljevic (1903?1963) was a younger contemporary of the famous Hungarian composer and ethnomusicologist B?la Bart?k (1881?1945). Bart?k was the author of the first synthetic study of Serbian and Croatian vocal folk traditions, which was also the first such study in English. During the same period and immediately after Bart?k had completed his study, Miodrag Vasiljevic, along with other pioneers of modern ethnomusicology in former Yugoslavia, started to research musical folklore on field at home. Bart?k's study was published a year after Vasiljevic's first book; by 1965 Vasiljevic's other collections, studies and articles had been published (most of them in Yugoslavia, i.e. in Serbia). Independently of Bart?k, yet almost simultaneously, Vasiljevic had written down hundreds of melodies and studied some elements of Serbian and South Slavonic traditional culture: tonality, rhythm, melodic modes and terminology. This was in addition to his great work experience on field and his empirical insight into the fundamental characteristics of musical folklore in this area,. The final result that he wished for, but unfortunately, did not manage to complete, was a synthetic study of Serbian and South Slavonic musical folklore. Vasiljevic's margin notes, handwritten comments on Bart?k's findings, published here for the first time, are considered to be a source of information about his attitude towards Bart?k's assumptions and explanations, as well as showing the results of Vasiljevic's own work, and the ambit of his study focus. Bart?k's and Vasiljevic's primary motives in their approach to South Slavonic traditional music were different. While Bart?k was interested in features of South Slavonic tradition, so that he could note the particular features of the Hungarian music heritage more clearly, Vasiljevic studied the regularities of Serbian folk music approaching it in comparison with other South Slavonic traditions. This diversity determined their approach to the material. Bart?k often leaned on his excellent knowledge of other traditions and drew conclusions from facts that were familiar to him. In contrast, Miodrag Vasiljevic paid more attention to questions relating to the wider issue of the autochthonous development of Serbian musical folklore. Many of Vasiljevic's comments on Bart?k's study are classified here in the following categories: 1) comments in which he expresses agreement with Bart?k; 2) comments in which he gives precious supplements to Bart?k's observations; 3) comments in which he expresses disagreement with Bart?k: a) argument and b) with no evident arguments; 4) comments in which an incomplete understanding of Bart?k's findings is reflected; and 5) comments which indirectly refer to a professional aspect of Bart?k's work. Some of the comments, according to their wide, still unstudied subject matter, demand greater added elaboration and thus have not been covered in detail in this paper. Insight into Vasiljevic's comments on Bart?k's study is significant for experts outside Serbia who have little information on continuity in the development of the Serbian school of ethnomusicology, and are also important because of the huge degree of disproportion in the two scholars' work display.

Richmond

Alive Still ◽  
2019 ◽  
pp. 3-14
Author(s):  
Cathy Curtis
Keyword(s):  
High School ◽  
Early Years ◽  
Drop Out ◽  
Only Child ◽  
Advertising Agency ◽  
Avant Garde ◽  
New Ideas ◽  
First Time ◽  
Evening Class

Born in 1922 in Richmond, Virginia, Nell Blaine was a rebellious only child, a loner fussed over by her mother. Her early years were plagued by serious vision problems, finally corrected in her teens. She was active in extracurricular clubs in both high school and college, where she encountered avant-garde art for the first time. Although she had to drop out of college after two years for financial reasons, she took an evening class in painting that helped her connect with new ideas in art. Meanwhile, she worked at an advertising agency, gaining experience that would stand her in good stead years later when she needed to earn a living. At age twenty, she left for Manhattan, ignoring the pleas and threats of her mother.

Hungary, philosophy in

2018 ◽  
Author(s):  
Laszlo Perecz
Keyword(s):  
German Idealism ◽  
Early Years ◽  
Educational Institutions ◽  
History Of Thought ◽  
Philosophical Language ◽  
History Of ◽  
Institutional System ◽  
Philosophical Life ◽  
The One ◽  
First Time

The situation of Hungarian philosophy can be best illustrated by two sayings: ‘there are Hungarian philosophers, but there is no Hungarian philosophy’, and ‘a certain period of Hungarian philosophy stretches from Descartes to Kant’. The two ideas are closely connected. Thus on the one hand, there is such a thing as Hungarian philosophy: there are scientific-educational institutions in philosophical life and there are philosophers working in these institutions. On the other hand, there is no such thing as Hungarian philosophy: it is a history of adoption, largely consisting of attempts to introduce and embrace the great trends of Western thought. After some preliminaries in the medieval and early-modern periods, Hungarian philosophy started to develop at the beginning of the nineteenth century. As a result of the reception of German idealism – the so-called Kant debate and Hegel debate – the problems of philosophy were formulated as independent problems for the first time, and a philosophical language began to evolve. After an attempt to create a ‘national philosophy’ – and after some outstanding individual achievements – the institutionalization of Hungarian philosophy accelerated at the end of the century. The early years of the twentieth century brought the first heyday of philosophy to Hungary, with the rapid reception of new idealist trends and notable original contributions. In the period between the two wars the development stopped: many philosophers were forced to emigrate, and Geistesgeschichte (the history of thought) became prevalent in philosophical life. Following the communist take-over, the institutions of ‘bourgeois’ philosophy were eliminated, and Marxism-Leninism, which legitimated political power, took a monopolistic position. During this period, the only significant works created were in the tradition of critical Marxism and philosophical opposition. The changes in 1989 regenerated the institutional system, and the articulation of international contemporary trends – analytic philosophy, hermeneutic tradition and postmodernism – came to the fore. Besides some works by thinkers in exile, Hungarian philosophy has produced only one achievement which can be considered significant at an international level: the oeuvre of György (Georg) Lukács.

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