Leonīds Vīgners – komponists

2021 ◽  
pp. 352-360
Author(s):  
Inese Žune
Keyword(s):  
20Th Century ◽  
Practical Method ◽  
Creative Work ◽  
Piano Sonata ◽  
Extensive Form ◽  
Musical Education ◽  
Composition Class ◽  
Percussion Instruments ◽  
Instrumental Works

The aim of the article is to highlight the creative work of the outstanding 20th- century Latvian conductor and pedagogue Leonīds Vīgners in the field of composition. The facts are based on the materials of Leonīds Vīgners’s archives found in the Museum of Literature and Music, which allows tracing the entire, versatile activities of the musician. Leonīds’s understanding of music, much like that of his sisters Beatrise, Meta, and prematurely deceased brother Vitālis, developed early in childhood, when they became the examples of the success of the new practical method of absolute musical hearing championed by their father Vīgneru Ernests. Later, the talented musician received a comprehensive musical education at the Latvian Conservatory. In addition to conducting the orchestra, playing the organ and percussion instruments, he also graduated from the composition class of Jāzeps Vītols. In the 1920s and 1930s, Leonīds Vīgners composed a range of instrumental works, from simple minuets to an extensive form of a piano sonata. In total, the museum’s collection contains 16 manuscripts of his instrumental works. The largest part of Leonīds Vīgners’s work consists of his solo and choir songs composed or reworked in different periods of time. He has mentioned that he has composed about 80 solo and 300 choir songs, but some of them perished during the war. Examining the manuscripts of Leonīds Vīgners’s songs, as well as many drafts that have been included in the collection of the Museum of Literature and Music, it can be concluded that he attached great importance to the words that evoked his musical ideas. Leonīds Vīgners always remained himself, with his own views on music and Latvian nationalism. However, behind his seemingly harsh exterior, there was a sensitive and fragile soul, which is truly revealed in his compositions with the plastic, bittersweet sense of melody characteristic to the Romantics and at times the impressionistic freshness and subtlety of his harmonies.

«The Forties, Fateful…» in David Samoylov’s Poetry: a Lingvo-stylistic Analysis of Three Poems about War (To the 100th Anniversary of the Birth)

2020 ◽  
Vol 81 (3) ◽  
pp. 63-69
Author(s):  
E. A. Frolova
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
100Th Anniversary ◽  
Stylistic Analysis ◽  
Creative Work ◽  
Creative Activity ◽  
War Poetry ◽  
Artistic Manner ◽  
Different Levels ◽  
Linguistic Means

The article presents an analysis of three poems about war («The Tale of Our Lady and Russian Soldiers» («Slovo o Bogoroditse i Russkih Soldatah»), «The Attack» («Ataka»), «The Forties» («Sorokovye»)) written by D. Samoylov in different periods of his creative activity. On the basis of the existing research of the creative work of the famous poet of the 20th century, a multilevel characteristic of his war lyrics is given. The aim of the article is to characterize the specific features of the poetic language of such an original author by means of a lingvo-stylistic analysis of D. Samoilov’s poems, to reveal the richness and diversity of his artistic manner. The following research methods were used: analytical reading, comparative analysis, ontological method, a multilevel analysis of poetry. The author accentuates reminiscences in D. Samoilov’s war poetry, the contrast and contrast means, repetition as an artistic device, paronomasia in the stylistic mixture of linguistic means belonging to different levels. A multidimensional poet’s approach to the theme of the war is the conclusion of the article.

scholarly journals The creative work of Sergey Paradzhanov as an event of Postmodernism

2009 ◽  
Vol 1 (1) ◽  
pp. 124-132
Author(s):  
Anna Georgievna Lukashova
Keyword(s):  
20Th Century ◽  
New Method ◽  
Past Century ◽  
Creative Work ◽  
The Past

In this article a new method of analysis of S. Paradzhanov's creative work is suggested: the works of Paradzhanov-artist and Paradzhanov-director are examined as a united paradigm, which gives an opportunity to present the phenomenon of his art in the context of art culture of the 20th century in the most adequate way, and deine the connection of the aesthetics of his work and the basic tendencies of the past century.

The Influence of Far Eastern Culture on the Creative Work of S.M. Eisenstein

2018 ◽  
Vol 10 (3) ◽  
pp. 45-54
Author(s):  
Joon Il Song
Keyword(s):  
20Th Century ◽  
Far East ◽  
Historical Context ◽  
Traditional Culture ◽  
Early 20Th Century ◽  
Creative Work ◽  
Eastern Culture ◽  
Chinese Traditional Culture ◽  
The Far East ◽  
Far Eastern

The article investigates the influence of Japanese and Chinese traditional culture on Sergey Eisensteins theory of artistic thinking, his activity as a film director. The author explores the origin of Eisensteins interest for the Far East in the historical context of the late 19th - early 20th century. Special attention is paid to his reflection on the nature of Japanese and Chinese drama, painting and poetry as well as its results manifested in his montage theory.

scholarly journals Muzyczno-synestezyjna przestrzeń Mariny Cwietajewej w eseju autobiograficznym „Matka i muzyka”

2020 ◽  
Vol 1 (XXII) ◽  
pp. 149-170
Author(s):  
Grzegorz Ojcewicz
Keyword(s):  
Young Child ◽  
20Th Century ◽  
Lyric Poetry ◽  
Negative Experiences ◽  
Musical Education ◽  
Significant Period ◽  
Music Making

The author presents Marina Tsvetaeva’s musical and synaesthetic space on the basis of My Mother and Music, her autobiographical essay. Synaesthesia, although present in the life of Tsvetaeva as a young child and adult poet, is not especially depict-ed in this particular piece of work. The writer chose her memories which encompass a significant period of time from her birth to her 42nd birthday as her main narrative focus. The musical sphere of the young child was presented through the piano and its attributes (the keyboard, pedals, music stand, metronome, notes, piano stool), which were a source of various – both positive and negative – experiences for this sensitive girl. Marina Tsvetaeva’s mother, unfulfilled as a pianist, undoubtedly played a toxic role in her musical education. Maria Tsvetaeva “drowned and killed her daughters with music”, making them feel an organic resistance towards required physical and mental efforts far too great for their age. The situation changed after her mother’s death when Marina could pour all her love for music into incredibly original lyric poetry, becoming one of the greatest writers of the 20th century.

scholarly journals Land art u dječjem vrtiću – studije slučaja

2021 ◽  
Vol 15 (2) ◽  
pp. 135-150
Author(s):  
Marija Brajčić
Keyword(s):  
20Th Century ◽  
Contemporary Art ◽  
Negative Impact ◽  
Good Effect ◽  
Land Art ◽  
Creative Work ◽  
Traditional Art ◽  
Art Works ◽  
The Sixties

Land Art is a principle in contemporary art that developed in the sixties and seventies of the 20th century, as a reaction to commercialization in art. The art of Land Art abandoned museums and galleries and develops monumental projects in free space and landscapes, which in an artistic way are changing and adapting without having any negative impact on the environment. Knowing and evaluating contemporary art in practice is as important as observing and evaluating traditional art works, which is also based on the development of subtle perception of art. For this reason, this case study examines the possibility of implementing contemporary art in this case Land Arta in pedagogical work with children in Kindergarten. Land Art is, in its essence, quite suitable as an incentive for creative work for interaction with nature, the use of natural materials that are close to children, has a good effect on the psyche of the child and contains an educational ecological component. The results showed that the children who participated in this research were creatively responsive and created interesting artworks inspired by land art.

scholarly journals THE CREATIVE INFLUENCE OF PABLO PICASSO ON THE WORKS OF LATVIAN ARTISTS

2017 ◽  
Vol 4 ◽  
pp. 15
Author(s):  
Diāna Apele
Keyword(s):  
Research Methods ◽  
20Th Century ◽  
Main Topic ◽  
Pablo Picasso ◽  
Common Denominator ◽  
Creative Work ◽  
New Work ◽  
Modern Culture ◽  
Internet Resources ◽  
The Common

Pablo Picasso is one of the Western modern culture creators of the first part of the 20th century. Picasso has influenced numerous artists directly or indirectly – both the followers of Western school and artists here, in Latvia. The main topic of this research is Pablo Picasso's influence on Latvian artists, specifically – Visvaldis Ziediņš, Rūdolfs Pinnis and Aleksandrs Dembo. Picasso stands out for exceptionally virtuosic style – it was characteristic of him to begin each new work as an individual wholeness, experimenting with graphic forms, colours, textures, lines, volumes, playing with relations of dark and light and work's emotional atmosphere. Similarly, in the works of all three artists, the experiments with graphic forms and textures and virtuosic plays with relations of dark and lights and emotions are perceptible. Sharp sense of epoch, refined means of expression, depth of thinking, pictoriality, freedom of inspiration, nonconformity, intellectually difficult practice, lyrism, lightness and looseness, expressivity, spirituality – this is the common denominator of the artists – V. Ziediņš, R. Pinnis and A. Dembo. For all these prominent artists, Picasso’s creative work was not an object of imitation, but rather a launch pad to start acquiring the experience they were fascinated by. Research aim: to characterize creative work of the great Spanish artist Pablo Picasso and analyse his creative influence in the works of Latvian artists. Research methods: theoretical: the analysis of the study fields literature and internet resources.

scholarly journals Spiritual and semantic approach to studying a musical composition

2018 ◽  
Vol 49 (49) ◽  
pp. 4-18
Author(s):  
Oksana Aleksandrova
Keyword(s):  
20Th Century ◽  
Semantic Analysis ◽  
Cognitive Model ◽  
Musical Composition ◽  
Creative Work ◽  
Semantic Approach ◽  
Theoretical Concepts ◽  
Scientific Cognition ◽  
Time Space ◽  
The World

Background. Under the new conditions in Ukraine, a new wave of interest in the work of the classic of the music culture of the 20th century Georgiy Sviridov is being observed, and it actualizes the search for the methods of scientific cognition corresponding to the spiritual depth of creativity. The artistic and aesthetic content of his vocal and choral compositions reveals the biblical image of the “inner man” and through it awareness of culture as a universe, where the man and God coexist in synergy. In the post-secular period, the world of music created by the outstanding artist was marked by the document of the individual and artistic experience of overcoming the crisis phenomena in society. The urgency of the present article is due to the need to find analysis methods appropriate for the style of vocal and choral compositions by G. Sviridov and for the upgrade process of methodology knowledge of the philosophical principles of composing activities of the 20th century as a whole. Objectives. The object of research is a musical composition; its subject is presented by the principles of the spiritual-semantic approach, determined by the worldview and style of the composer’s thinking. The purpose of the article is to substantiate the spiritual-semantic approach as a cognitive model of cognition of musical compositions on the material of vocalchoral genres by G. Sviridov. Methodology. The basis of the spiritual-semantic analysis is the concept of spiritual analysis of music by V. Medushevsky. A. Belonenko was the first to express the opinion that religious themes penetrated the entire creative work of the composer. L. Shapovalova offered methods of cognition of the spiritual reality of a musical composition and defined the liturgy as an “archetype” of the creativity of the believing man (homo credens). N. Varavkina-Tarasova highlighted the issues of the symbolic meaning of the spiritual content of G. Sviridov’s creative work on the example of “Three Choirs to the Tragedy by O. Tolstoy "Tsar Fodor Ioannovich"”. O. Tevosyan revealed a numerical symbolism of certain compositions by the composer. The development of the predecessors’ ideas is the author’s definition: the spiritual-semantic approach is a way of scientific cognition of the ontology of creativity. The “style of thinking” is evident through the system connections of the composer’s text with ideological traditions and the cultural environment. Presenting the main material. One of the criteria of the spiritual-semantic approach is the adequacy of thinking and language: the semantic function of the sign, multiplied by its presence in the material and spiritual plane of the composition, becomes a meaning-creating factor. The first level of the spiritual-semantic analysis of a musical composition is the first-element signs as an expression of the manifestation of the Being: preintonation, rhythm-intonation, harmonic tunes, timbre-complexes, in which the generalized archetypes of culture are contained in the concentrated (“curtailed”) form. The second level reveals a compositionally-designed meaningful image that originates from the first element (motive, theme). Since the symbol is a dynamic phenomenon, its further “germination” in the musical form is connected not only with the immanent-musical syntax. The symbolization of the sound-image is most clearly manifested in the third level of the spiritual-semantic analysis, which characterizes the type of musical dramaturgy (taking into account the world attitude of homo animus – the lyrical universe, according to M. Arkadyev). The fourth, metaphysical, level characterizes the complete meaningful image. The immanent-musical quality of the sound of a composition does not simply create a holistic gestalt, but with its help point to the invisible world (the Bible, the Life of the Saints, the Liturgy). At the highest fifth level, there is the outcome of consciousness, that perceives a musical composition, into the broad context of the existence: music creates spiritual values of a universal human meaning, "bridges" its meaning with the civilizational processes of the mankind (hence it gets the definition of “culture creating one”). We indicated the methodological role of the philosophical category of “the picture of the world”, the content of which synthesizes the deep ideas about the Universe. In the national picture of the world, the most significant laws of the existence of culture are recorded. Results. The category of the “composer’s style” contains such components as the creator’s worldview and the system of principles of his artistic thinking, expressed in the semiotic structure, the laws of composition and dramaturgy of compositions. The phenomenon of G. Sviridov is that from the sphere of the secular interpretation of the poetry by A. Pushkin, S. Yesenin, A. Blok, which corresponded to anthropocentrism of musical and poetic thinking, he implemented “modulation” to the Orthodox spirituality. The spiritual-semantic approach has a general methodological value, since it broadens the theoretical concepts of the cognitive science of stylistic phenomena in music. Its content, constituents, and objectives provide the perspective of the further substantiation of ideological positions; serve as tools for improving the methodology for analysing liturgical compositions (through signs and symbols of the spiritual time space). Conclusion. The three groups of semantic signs of the vocal-choral style by G. Svyrydov have been distinguished: anthropocentric, sound-imaging (nature, native land) associated with them, metaphysical (time, eternity, way of spiritual ascension), liturgical (Christ, Gate of the Lord, pure Thursday, bell-sound, prayer songs).

scholarly journals Peculiarity of Implementation of the National Cultural Code in Tatar Poetry and Prose of the Second Half of the XX Century

2019 ◽  
Vol 9 (1) ◽  
pp. 7421-7424
Keyword(s):  
20Th Century ◽  
Practical Interest ◽  
Creative Work ◽  
Spiritual Values ◽  
Cultural Codes ◽  
History Of ◽  
Cultural Code ◽  
National Poetry ◽  
Main Components ◽  
The Given

The study of the specifics of the manifestation of cultural codes in Tatar poetry and prose of the second half of the 20th century is of great scientific and practical interest. The timeliness of the chosen topic is conditioned by the need to identify the uniqueness, originality of Tatar national poetry and prose of the given period. At the same time, it should be noted that Tatar poetry and prose of the period of returning to national origins has not undergone comprehensive, holistic, detailed, structural study in terms of reflecting national identity. The goal of research: systematic and comprehensive study of the creative work of Tatar writers of the second half of the 20th century in respect of the aspect of the specifics of the manifestation of the national cultural code in them, identifying the nature of literary interactions and interrelations with Russian literature. The article deals with the specifics of the implementation of the Tatar national cultural code in the works of Amirkhan Eniki, Mirgaziyan Yunys, Ravil Bukharaev, Zulfat, Robert Minnullin, Renat Haris, Hassan Tufan and Ildar Yuzeev. The works under study reflect the Tatar national worldview and contain its main components: the image of homeland and native land, national holidays, moral and spiritual values and the history of the Tatar people. They also reflect the organic connection of the creative work of these writers and poets with the Tatar national culture and literature.

Cardew, Cornelius (1936–1981)

2018 ◽  
Author(s):  
Edward Venn
Keyword(s):  
Twentieth Century ◽  
Royal Academy ◽  
Experimental Music ◽  
Piano Sonata ◽  
Avant Garde ◽  
Musical Education ◽  
Political Activist ◽  
Hit And Run ◽  
The 1960S ◽  
The Relationship

Cornelius Cardew was a leading figure in British experimental music in the 1960s and a committed political activist in the 1970s. His earlier music, particularly that inspired by Cage, demonstrates on going concerns with the relationship between composer and performer, not least in the emphasis placed on improvisation. His later politically motivated music abandoned avant-garde and experimental principles in favor of a direct, tonal idiom. He died after a hit-and-run incident in East London. Cardew’s musical education was conventional; first as a boy chorister at Canterbury Cathedral (1943–50) and then at the Royal Academy of Music (1953–57). He had a philosophical nature too, apparent in his enduring fascination with Wittgenstein’s Tractutus. Cardew familiarized himself early on with early-twentieth-century serialism and increasingly with the continental avant-garde: at nineteen, he gave (together with fellow student Richard Rodney Bennet) the London premiere of Pierre Boulez’s Structures I and taught himself guitar in order to participate in the 1957 London premiere of LeMarteau Sans Maître. Many of Cardew’s compositions of this era reflected such interests, as in his Piano Sonata No. 2 (1956).

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