POLARITY OF S. SLONIMSKY'S STYLISTIC GUIDELINES IN THE INSTRUMENTAL CONCERTS "PRIMAVERILE" AND "TRAGICOMEDY"

2021 ◽  
Vol 1 (3) ◽  
pp. 141-147
Author(s):  
Zhang Kailin ◽  
Keyword(s):  
Chamber Orchestra ◽  
Sound Production ◽  
String Orchestra ◽  
The Novel ◽  
Violin Concerto ◽  
Avant Garde ◽  
Crime And Punishment ◽  
Compositional Approach ◽  
Comparative Description

This article is devoted to the comparative description of two string concerts by Sergei Mikhailovich Slonimsky (1932–2020): the violin "Concerto Primaverile" (1983), focused on the Romantic style of the XIXth century, and the viola "Tragicomedy" (2005), related to the avant-garde line of the composer's work. Each of the opuses embodies different types of programmaticity: a generalized one in "Concerto Primaverile" for violin and string orchestra, and more concretized one in the concert on "Crime and Punishment" by F. Dostoevsky for viola and chamber orchestra. Thus, Slonimsky also turned to both types of programmaticity in solo compositions for these instruments, for example, figurative specificity becomes the main characteristic in the dramaturgy of the final piece for violin "Legend" (based on the novel by I. Turgenev). On the contrary, the Viola Sonata and Variations for a solo instrument rather address a generalized compositional approach. Comparison of the two concert scores follows the lines of their stylistic difference: programmaticity, specificity of dramaturgy and technical implementation, and in particular problems such as complex melodic figuration, contrapuntal saturation of homophonic monodic texture, the role of micropolyphony, the introduction of third and quarter tones and other non-standard principles of sound production.

scholarly journals The Logical Basis of a Literary Text, or What Does Porfiry Petrovich Hide in F. M. Dostoevsky’s “Crime and Punishment”?

2020 ◽  
Vol 27 (1) ◽  
pp. 239-259
Author(s):  
Valentina E. Vetlovskaya
Keyword(s):  
Literary Text ◽  
Crime Fiction ◽  
The Novel ◽  
Crime And Punishment ◽  
Logical Basis ◽  
The Aesthetic ◽  
The Individual

<p>The article explores the role of logical connections in an epic text. It is these connections, according to the author of the article, that connect the individual components of the narrative (motifs, complexes of motifs) and make up in the reader&rsquo;s perception for the missing elements. The reticence and failures to mention, common in fiction, appear in the narrative for various reasons. Sometimes due to the aesthetic principles of the writer who prefers ambiguity to a completed statement depriving readers of the opportunity to finish thinking over a vague idea. And sometimes, due to the author&rsquo;s conviction that there is no need to explain the idea implied by what has been earlier said. But it also happens that the omissions in the narrative are engendered by the requirements for the presentation of a chosen topic, for example in crime fiction. But these reasons may go together as it occurs in Crime and Punishment. These ideas are illustrated by the analysis of one of the themes of the novel Crime and Punishment.</p>

Gruber's Concertos

Tempo ◽  
1991 ◽  
pp. 22-27
Author(s):  
Paul Driver
Keyword(s):  
Chamber Orchestra ◽  
Double Bass ◽  
The Self ◽  
String Orchestra ◽  
Tenor Saxophone ◽  
Late 20Th Century ◽  
Violin Concerto ◽  
Popular Songs ◽  
Solo Violin ◽  
Desperate Attempt

The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.

scholarly journals Raskolnikov on the Way to ‘Holy Russia’: Hermeneutics of Raskolnikov’s Image in F. M. Dostoevsky’s Crime and Punishment

2021 ◽  
pp. 43-57
Author(s):  
Sergei Pavlov ◽  
◽  
Svetlana Koroleva ◽  
Keyword(s):  
Common Good ◽  
The Novel ◽  
Crime And Punishment ◽  
The New Testament ◽  
Social Unity ◽  
Christian Love ◽  
Intertextual Connections ◽  
Russian Idea ◽  
The Way

The image of Raskolnikov in F. M. Dostoevsky’s novel Crime and Punishment has been widely researched and commented upon. However, suggesting a particular approach to the material — that of hermeneutic linguistics — and focusing on the problem of holiness (two essential principles of this article) provide new results in understanding the content of Raskolnikov’s image, the direction of its development, and the inner plot of the novel’s epilogue. The paper focuses on defining markers of the idea of ‘Holy Russia’ in the image of Rodion Raskolnikov as well as the role of ‘holy’ symbols both in its own development, and, through it, in the novel’s overall plot. Particular attention is paid to intertextual connections of the novel with the New Testament and established prayers, as well as to temporal and topic religious symbols referring to the hero. The paper argues that both the ideals of ‘Holy Russia’ and Dostoevsky’s ‘Russian idea’ play a significant role in the development of the plot and the hero’s character. It also analyzes the connection of the hero’s inner journey (his spiritual and moral fall and his later rebirth) with embodying the ‘Russian idea’ in the image of an intellectual in the novel. The hermeneutic research demonstrates that Dostoevsky, bringing his hero through the abyss of ‘theoretical’ temptation, inner schism, and jail, discovers in him those powers that can become sources of transformation for his soul and his life, putting him on the way to holiness. The image of Raskolnikov appears to be charged with meanings connected with the ideals of ‘Holy Russia’ both in terms of individual transformation (the way to holiness) and in terms of social unity (the way to self-sacrificial service, mutual Christian love, and the common good).

scholarly journals THE CONCEPT ‘TEA’ IN THE NOVELS ‘THE HOUSE OF THE DEAD’ AND ‘CRIME AND PUNISHMENT’ BY FYODOR DOSTOEVSKY

2021 ◽  
Vol 13 (2) ◽  
pp. 81-88
Author(s):  
Ivan V. Burdin ◽  
Keyword(s):  
Mental State ◽  
Internal Clock ◽  
The Novel ◽  
Absolute Value ◽  
Fyodor Dostoevsky ◽  
Life And Death ◽  
Crime And Punishment ◽  
The Dead

The article deals with the concept ‘tea’ in two works by Fyodor Dostoevsky – the novels The House of the Dead (1860–1861) and Crime and Punishment (1865–1866).In these works, the concept ‘tea’ includes both traditional representations – ‘tea as an element of everyday life’, ‘tea as part of a meal’, ‘tea as an attribute of friendship and communication’ – and new ones created by Dostoevsky, such as ‘tea for thought’, ‘tea as medicine and a source of strength’, ‘tea as a source of spiritual balance’). An important representation for the psychological line of the works is ‘tea as a chronometer’ – when the heroes check their internal clock with the tea time, as well as with the temperature of tea as it is becoming cold. The paper gives particular attention to the representation ‘tea as a marker of wealth’. In the novel The House of the Dead it is presented through the scenes where guests are being entertained to tea and through descriptions of the quality of the drink, in the novel Crime and Punishment – through the representation ‘tea as luxury’.The paper establishes the role of the concept ‘tea’ in conveying the main author's idea in the works by Dostoevsky. Along with other concepts presented in the text, such as wine, tobacco, food, cards etc., tea in The House of the Dead is intended to show readers the contrast between freedom and prison, contributes to the translation of the idea of freedom as absolute value. Meant to depict a special state of life – on the border of the light and darkness, life and death, wealth and poverty, the representations of the concept ‘tea’ in Crime and Punishment greatly contribute to the depiction of Raskolnikov's mental state, fit into the semantics of St. Petersburg of Dostoevsky.

scholarly journals “CINQ PRELUDES FRAGILES” FOR PIANO BY A. LOURIÉ: THE ATTEMPT OF COMPOSITIONAL AND DRAMATURGICAL ANALYSIS

2021 ◽  
Vol 58 (58) ◽  
pp. 53-64
Author(s):  
Maryna Pierova
Keyword(s):  
Human Life ◽  
Compositional Style ◽  
Theoretical Understanding ◽  
Silver Age ◽  
Avant Garde ◽  
Piano Works ◽  
Compositional Approach ◽  
Man And Nature ◽  
Depth Study

Background. The article identifies the stylistic principles of composer’s thinking of A. Louri&#233; on the basis of the “Cinq preludes fragiles” for piano op. 1. The musical science works of recent years, which include the articles by M. Gorodilova, L. Sitsky and D. Gojowy, deal with the problem of repressed Russian avant-garde. Objective. The purpose of the research is to reveal the specifics of individual composer style of A. Louri&#233; on the basis of the “Cinq preludes fragiles” for piano op. 1. Methods. Achieving the goal of the research involves using the following methods: stylistic approach, genre approach and compositional approach. Results and Discussion. Exposition of the main material of the study includes the compositional, dramaturgical and stylistic analysis of the cycle, which is recognized as the first piece by A. Louri&#233;. The analysis of the intonational dramaturgy of the cycle by A. Louri&#233; is a necessary stage in the theoretical understanding of the composer’s artistic thinking and the stylistic features of his heritage. Prelude No. 1 (Lento, es-moll) is a kind of introduction to the holistic “plot” of the cycle, as it represents the world of the lyric hero. It can be assumed that this is the image of the Poet, which is characteristic of the romantic tradition. Prelude No. 2 (Calme, pas vite, es-moll) is also lyrical in nature, with a touch of melancholy, but more active and strong-willed. Prelude No. 3 (Tendre, pensif, B-dur) is the lyric center of the cycle. This is a musical pastoral. In this prelude, various psychological modes are combined: the union of man and nature (contemplation), the thoughts of a man alone with himself (reflection), an internal conversation with the creator (prayer). Prelude No. 4 (Affabile, F-dur) is recognized as a bright intermezzo. The miniature is imbued with states of exultation, delight, joy of being. The general mood of the prelude is supported by the author’s remark “joyeux, capricieusement” (“fun, capriciously”) and corresponds to the intermezzo compositional function. The character of Prelude No. 5 (Mod&#233;r&#233;, gis-moll) is melancholic and detached. This miniature is very close to the Prelude No. 1, with which it creates an arch of images of the dialectic of the protagonist’s soul. It seems that the hero had lost his life goals again. The dramaturgical author’s intention is realized as follows: Preludes No. 1 and No. 2 represent a double exposure, which reveals the figurative dichotomy of «melancholia – activity» as two hypostases of a lyrical hero; Prelude No. 3 shows the picture of nature and a man’s attitude to it; Prelude No. 4 is the bright culmination of the image of a dream; in Prelude No. 5, a lyrical hero returns to reality. The results of the research support the idea that the main features of A. Louri&#233;’s individual compositional style are the semantics of “fragility”, the principle of thematic concentration and miniaturism of intellection. The semantics of “fragility” is manifested in the poetic aura of the symbolism of the “silver age”, which represented an idea of beauty as the ultimate, vanishing state. The principle of thematic concentration is manifested in the saturation of events in a unit of musical time. The miniaturism of thinking is the ability to model and reflect global ideas of human life in the performing process in a chamber chronotope. Conclusion. In the article the unity of the content and form-building levels of the cycle “Cinq preludes fragiles” for piano op. 1 is revealed. The refraction of the romantic tradition of interpreting the piano in the works of A. Louri&#233; was studied. The role of the miniature genre in the context of the composer’s piano heritage is described. The specificity of metro-rhythm, harmonic and intonational semantics of A. Louri&#233;’s piano works is revealed. The prospects for further researches include the necessity of in-depth study of composer heritage of A. Louri&#233;.

ROLE OF THE NOVEL INTRODUCED PAN-INTESTINAL CAPSULE ENDOSCOPY SYSTEM IN CELIAC DISEASE

2019 ◽  
Author(s):  
F Foerster ◽  
K Mönkemüller ◽  
PR Galle ◽  
H Neumann
Keyword(s):  
Celiac Disease ◽  
Capsule Endoscopy ◽  
The Novel

Patterns: Rosamond Lehmann

2018 ◽  
Author(s):  
Vike Martina Plock
Keyword(s):  
Coming Of Age ◽  
Public Image ◽  
Market Forces ◽  
The Novel ◽  
Fashion Industry ◽  
To The Lighthouse ◽  
Fashion Magazines ◽  
Female Authorship ◽  
Rosamond Lehmann

This chapter analyzes the role of fashion as a discursive force in Rosamond Lehmann’s 1932 coming-of-age novel Invitation to the Waltz. Reading the novel alongside such fashion magazines as Vogue, it demonstrates Lehmann’s awareness that 1920s fashion, in spite of its carefully stylized public image as harbinger of originality, emphasized the importance of following preconceived (dress) patterns in the successful construction of modern feminine types. Invitation to the Waltz, it argues, opposes the production of patterned types and celebrates difference and disobedience in its stead. At the same time, the novel’s formal appearance is nonetheless dependent on the very same tenets it criticizes. On closer scrutiny, it is seen to reveal its resemblance to Virginia Woolf’s To the Lighthouse (1927). A tension between imitation and originality determines sartorial fashion choices. This chapter shows that female authorship in the inter-war period was subjected to the same market forces that controlled and sustained the organization of the fashion industry.

SARS-COV2 virus and Coronavirus disease (COVID-19)

2020 ◽  
Vol 11 (SPL1) ◽  
pp. 977-982
Author(s):  
Mohamed J. Saadh ◽  
Bashar Haj Rashid M ◽  
Roa’a Matar ◽  
Sajeda Riyad Aldibs ◽  
Hala Sbaih ◽  
...  
Keyword(s):  
Close Contact ◽  
Antiviral Agents ◽  
Health Concern ◽  
The Novel ◽  
Global Public Health ◽  
Fatal Disease ◽  
Mild Disease ◽  
Life Threatening ◽  
Novel Coronavirus

SARS-COV2 virus causes Coronavirus disease (COVID-19) and represents the causative agent of a potentially fatal disease that is of great global public health concern. The novel coronavirus (2019) was discovered in 2019 in Wuhan, the market of the wet animal, China with viral pneumonia cases and is life-threatening. Today, WHO announces COVID-19 outbreak as a pandemic. COVID-19 is likely to be zoonotic. It is transmitted from bats as intermediary animals to human. Also, the virus is transmitted from human to human who is in close contact with others. The computerized tomographic chest scan is usually abnormal even in those with no symptoms or mild disease. Treatment is nearly supportive; the role of antiviral agents is yet to be established. The SARS-COV2 virus spreads faster than its two ancestors, the SARS-CoV and Middle East respiratory syndrome coronavirus (MERS-CoV), but has lower fatality. In this article, we aimed to summarize the transmission, symptoms, pathogenesis, diagnosis, treatment, and vaccine to control the spread of this fatal disease.

THE ROLE OF ARTISTIC PSYCHOLOGY IN THE METAPHORICAL HARMONY OF MAN AND THE REALITY OF LIFE

2020 ◽  
Vol 2 (3) ◽  
pp. 19-23
Author(s):  
Shakhlo Botirova ◽  
Keyword(s):  
The Novel

In this article , in the novel “Rebellion and obedience” by Ulugbek Hamdam, the author analyzes the artistic psychological description of a person on the path of development in the center of an integral complex metaphorical system of being. The novel “Rebellion and obedience” is based onthe method of metaphorization of reality. In it, a personexperiences vertigo about who he is and what powerful being he possesses. The reason for this is a riot. After much agony, he obeys. Allegedly thus proves its existence. Finds answers to certain riddles

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