Living Stereo

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Media Studies ◽  
Cumulative Effect ◽  
Dominant Mode ◽  
Musical Culture ◽  
Vast Amount ◽  
Screen Media ◽  
History Of ◽  
Advance Research ◽  
The Aesthetic

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.

scholarly journals PRESERVATION THE TRADITIONS OF UKRAINIAN SPIRITUAL CHOIR CULTURE IN MUSIC SCIENTIFIC RESEARCH BY MYRON FEDORIV

2021 ◽  
Author(s):  
Yatsiv I. V.
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Catholic Church ◽  
Scientific Research ◽  
The United States ◽  
Musical Culture ◽  
Public Figure ◽  
Spiritual Culture ◽  
History Of ◽  
Ukrainian Catholic

The article is devoted to the evaluation of scientific works of the well - known in the Ukrainian diaspora musicologist and publicist Myron Fedoriv in the context of the preservation of national song traditions outside the ethnic territory. The information on the most important theoretical achievements of the scientist is given, the place and value of activity of the cultural public figure in the history of musical and choral culture of Ukraine and the western diaspora is defined. The author notes that Myron Fedoriv lived most of his life in the United States. He left a large amount of musical material and theoretical works in the history of Ukrainian choral culture, so he stopped the destruction of song traditions and examples of canonical liturgical singing in Ukrainian churches of the diaspora. In his works, Myron Fedoriv wrote that the singing tradition is the basis of the Ukrainian national spiritual culture, and therefore it should be preserved in the Ukrainian Catholic Church in America. As a result, the musicological heritage of Myron Fedoriv is very valuable for the Ukrainian musical culture of the twentieth century. Thus, its activities deserve more detailed study.

scholarly journals POLISH AESTHETIC DISCOURSE OF THE 20TH CENTURY: INTERPRETATION OF INTERPRETATIONS

2018 ◽  
pp. 25-29
Author(s):  
E. I. Onishchenko
Keyword(s):  
Twentieth Century ◽  
Aesthetic Experience ◽  
Aesthetic Theory ◽  
Specific Nature ◽  
Theoretical Orientations ◽  
Culture Studies ◽  
National University ◽  
Aesthetic Consciousness ◽  
History Of ◽  
The Aesthetic

The article is devoted to the analysis of the Polish aesthetic discourse of the twentieth century and the prospects for its interpretation in the Ukrainian aesthetics, particularly in the works by Kateryna Shevchuk, defended at the department of ethics, aesthetics and culture studies of Taras Shevchenko National University of Kyiv. These research greatly extend the idea of the aesthetic canon of the Polish thought, classically represented by the aesthetics R. Ingarden and W. Tatarkiewicz and reveal the names of virtually unknown in Ukraine Polish scientists, including special interest is the legacy of L. Blaustein, M. Wallis, H. Elzenberg and G. Ossowski. In particular, this perspective covers traditional for the twentieth century aesthetics problems, including psychology of art, collective aesthetic experience, ratio, fantasy, and imagination. Also, new interpretive perspectives of sublime and ugly, aesthetical experience are opened. The theoretical orientations of the Polish scholars, in one way or another, were connected with the cornerstones of the aesthetic science - its subject, the conceptual-categorical apparatus, the structure of aesthetic consciousness, the phenomenon of artistic creativity, the specific nature of art, and others. In the process of conceptual concretization, in the field of Polish aesthetics a number of problems have been rather clearly distinguished, among which the special attention of practically all of its leading representatives has attracted the phenomenon of aesthetical experience. K. Shevchuk’s investigation opens up an opportunity, at least in the format of a secondary interpretation, to join the research of the Polish scholars, whose work proved to be a giant "white spot" for the Ukrainian aestheticians. Introducing actually unexplored concepts Polish scientists to the modern Ukrainian aesthetic theory not only facilitates the opening of "unknown pages" in the history of the twentieth century aesthetics, but also makes actual mark of new approaches to the analysis of classical problems, the relevance of which will never be a subject of doubt.

Praying by Numbers: An Essay on Medieval Aesthetics

2008 ◽  
Vol 104 (1) ◽  
pp. 73-91
Author(s):  
Niklaus Largier
Keyword(s):  
Twentieth Century ◽  
Religious Practices ◽  
History Of ◽  
Formal Basis ◽  
The Aesthetic

In this essay I argue that the imitation of examples of sainthood in the practice of prayer is the formal basis of a medieval aesthetics that focuses on the animation and the phenomenology of sensation and emotion. Quoting from this tradition and drawing on the mechanical character of such techniques of animation, nineteenth and twentieth-century authors and filmmakers——Flaubert, Huysmans, and Buññuel——explore the aesthetic possibilities of these religious practices. Thus, they recover and illustrate a history of the evocation of sensation and emotion through images and texts, which in the medieval context can be best described as a highly formal art of "praying by numbers."

scholarly journals Aesthetic Experience as a Spiritual Support of Homo Post-Secularis

Religions ◽  
2019 ◽  
Vol 10 (4) ◽  
pp. 250 ◽  
Author(s):  
Victor Bychkov
Keyword(s):  
Twentieth Century ◽  
Aesthetic Experience ◽  
Theoretical Framework ◽  
Spiritual Support ◽  
History Of ◽  
Secular Age ◽  
The Aesthetic ◽  
The Universe

The essay begins with an analysis of the cultural situation of humanity after its transition to secular mentality and a gradual disenchantment with secularism, which leads to the formation of post-secular mentality. It further suggests that aesthetic experience traditionally served as a bridge between the secular and the religious/spiritual and can serve in this capacity again in the post-secular age. It outlines the main traits of the post-secular person (homo post-saecularis). Two aspects of aesthetic experience are emphasized: its in-depth penetration into nature in an attempt to achieve unity with it, and the aesthetic observation of artworks. In pursuing both of these aspects, the post-secular person attempts, just as Romantics and Symbolists previously, to grasp something invisible beyond visible forms and escape from banal reality into higher spiritual realms of being, ultimately experiencing him- or herself as having a place in the universe. Aesthetic experience, if it is correctly understood and practiced, can give all this to the present-day post-secular person. The rest of the essay is devoted to a brief history of twentieth-century views of art, mainly in French and Russian thought, that foreshadow its post-secular role, and to the author’s authentic theoretical framework for understanding art and aesthetic experience, as well as his, equally authentic, program of how to achieve the post-secular function of art in practice for a present-day person.

scholarly journals The national nature of Vitaism and Vasily Barvinsky

2019 ◽  
pp. 152-170
Author(s):  
Liliya Nazar
Keyword(s):  
Twentieth Century ◽  
Conceptual Modeling ◽  
Musical Culture ◽  
Temporal Perspective ◽  
Main Method ◽  
Poetic Image ◽  
Historical Tradition ◽  
The Aesthetic ◽  
Light Rhythm ◽  
Scientific Pedagogical

The article raises the problem of one of the dimensions of national modernism in the first half of the twentieth century – Vitaism, which is manifested not only in literature, but also other forms of art, in particular, music. The synthetic nature of Vitaism, the platform of which was outlined by M. Khvylovy, answered the aesthetic requests of the development of the new Ukrainian culture at that time and proved to be in agreement with many of its representatives. Acting in correspondence with the artists of the Dnieper Ukraine, professing the ideas of the uniqueness and unity of Ukrainianness, V. Barvinsky showed vivid and vibrant vitaistic tendencies in his work The nation-building idea gathers and absorbs all the life processes of the artist, revealing deep mental roots as the basis of vitaism - the heart animation of life. The fusion of ethnogenetic origin (through intense folklorizm) with a historical tradition (broad national and European temporal perspective) occurs at the composer under the denominator of cordocentric lyrical, however, active romanticism. Numerous vectors of neo- (baroque, classicism, romanticism) as one of the centrifugal axes of V. Barvinsky's style, opens a new round of vision and renewal of tradition. Along with the bright, solid pages of the composer's music, there is also a tangible tragedy. Responsible "heart-universe" does not avoid darkness, because light and darkness are in the only indivisible heart of a person, who is responsible for the dark first, too, grasping the antithetical and contradictory life. The main method of the artist is the desire for synaesthetic fusion in the sound matter of play, plasticity, color, symbol and movement (light rhythm). Conceptual modeling based on such a synthesis gives unique Ukrainian pictures of our own poetic image of the world. The rationalism of Vitaism was manifested in the high education and professionalism of the artist, who called for responsibility for the need to build a serious national cultural school, which served as a voluminous critical journalistic and scientific-pedagogical activity. Barvinsky, as one of the central figures of Galician musical culture of the first half of the twentieth century, reveals an original and unique synthesis of the tendencies of numerous artistic and aesthetic directions of the day. However, the optic ideological axis and active romanticism that shape the composer's stylistic dominance, vital conceptualism in the artistic modeling of the artist's world, make V. Barvinsky one of the brightest representatives of Vitaism.

scholarly journals The Twentieth-Century Secularization of the Sinograph in Vietnam, and its Demotion from the Cosmological to the Aesthetic

2016 ◽  
Vol 1 (2) ◽  
pp. 275-293
Author(s):  
John Duong Phan
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
History Of ◽  
The Aesthetic ◽  
Language Ethics

This article examines David Damrosch’s notion of “scriptworlds”—spheres of cultural and intellectual transfusion, defined by a shared script—as it pertains to early modern Vietnam’s abandonment of sinographic writing in favor of a latinized alphabet. The Vietnamese case demonstrates a surprisingly rapid readjustment of deeply held attitudes concerning the nature of writing, in the wake of the alphabet’s meteoric successes. The fluidity of “language ethics” in early modern Vietnam (a society that had long since developed vernacular writing out of an earlier experience of diglossic literacy) suggests that the durability of a “scriptworld” depends on the nature and history of literacy in the societies under question.

Algorithm Machine

2017 ◽  
Author(s):  
Andreas Broeckmann
Keyword(s):  
Twentieth Century ◽  
Human Experience ◽  
The Other ◽  
History Of ◽  
Machine Art ◽  
Technical Systems ◽  
The 1950S ◽  
The Aesthetic ◽  
Determining Factor

This chapter discusses the ways in which twentieth-century artists have engaged with the aesthetic dimensions of algorithms and machine autonomy. It extends the narrative on the history of machine art from the previous chapter, beyond the program of Hultén’s 1968 “Machine” exhibition. It explains how the dialogue between art and cybernetics has evolved from the 1950s cybernetic artworks of Nicolas Schöffer, through the 1968 exhibition “Cybernetic Serendipity” and Jack Burnham’s concept of Systems Aesthetics, to the more contemporary software and robotic artworks of Max Dean, Seiko Mikami, and others. A focus is placed on the work of Canadian artist David Rokeby who has explored the aesthetics of the human encounter and interaction with technical systems since the 1980s. The analysis aims at adding two further aspects of the aesthetics of machines to the list of five such aspects developed in the previous chapter: one is the aspect of “interactivity”, which adds the dimension of a charged dialogue and exchange between human and machine; and the other is the aspect of “machine autonomy”, which becomes a determining factor in the human experience of increasingly independent and self-referential technical systems.

Touch and Go Records and the Rise of Hardcore Punk in Late Twentieth-Century Detroit

2015 ◽  
Vol 4 (1) ◽  
pp. 19-41
Author(s):  
Michael H. Carriere
Keyword(s):  
Twentieth Century ◽  
Urban Spaces ◽  
Political Transformation ◽  
Musical Culture ◽  
Art Form ◽  
Fertile Ground ◽  
History Of ◽  
Late Twentieth ◽  
Post Industrial ◽  
Late Twentieth Century

This essay uses the history of Touch and Go Records – an independent record label founded in 1981 – to show how the late twentieth-century environment of Detroit became fertile ground for the rise of hardcore punk. As the landscape of the post-industrial city was transformed by such developments as deindustrialization and white flight, a cadre of white, suburban youth transformed spaces of abandonment into places of innovation and alternative urban redevelopment, particularly in the city's troubled Cass Corridor neighborhood. Such urban spaces provided the room for musical experimentation in ways that were not possible in the postwar American suburb. Such a process was undoubtedly informed by the economic and political histories of post-industrial Detroit. Yet this essay argues that the rise of hardcore punk was more than an indicator of economic and political transformation; it was also a moment of cultural rupture. Viewed from such a perspective, one sees a group of musicians, writers, and others set on creating a new, viable art form, one that sought to critique and replace an older dominant musical culture that had come to be perceived as lacking vitality and originality. This moment of cultural realignment came to play a great role in the evolution of late twentieth century American culture.

scholarly journals The Balkan tradition in contemporary jazz. Anatoly Vapirov

2019 ◽  
Vol 20 (1) ◽  
pp. 256-264
Author(s):  
Alex Vasiliu
Keyword(s):  
North America ◽  
Classical Music ◽  
Musical Culture ◽  
The Public ◽  
The Balkans ◽  
Jazz Music ◽  
History Of ◽  
Academic Genres ◽  
The Aesthetic ◽  
Classical Mode

Abstract The folkloric character of the beginnings of jazz has been established by all researchers of American classical music. The African-Americans brought as slaves onto the territory of North America, the European émigrés tied to their own folkloric repertoire, the songs in the musical revues on Broadway turned national successes – can be considered the first three waves to have fundamentally influenced the history of jazz music. Preserving the classical and modern manner of improvisation and arrangement has not been a solution for authentic jazz musicians, permanently preoccupied with renewing their mode of expression. As it happened in the academic genres, the effect of experiments was mostly to draw the public away, as its capacity of understanding and empathizing with the new musical “products” (especially those in the “free” stylistic area) were discouraging. The areas which also had something original to say in the field of jazz remained the traditional, archaic cultures in Eastern Europe, Asia, the Orient. Compared to folkloric works from very distant areas, the musical culture of the Balkans bears the advantage of diversity, the ease of reception of melodies, rhythms and instrumental sonority. One of the most important architects of ethno-jazz is Anatoly Vapirov. A classically-trained musician, an author of concerts, stage music and soundtracks, a consummate connoisseur of the classical mode of improvisation as a saxophone and clarinet player, Anatoly Vapirov has dedicated decades of his life to researching the archaic musical culture of the Balkans, which he translated into the dual academic-jazz language, in the hypostases of predetermined scored works and of improvised works – either as a soloist, in combos or big bands. This study focuses on highlighting the language techniques, emphasizing the aesthetic-artistic qualities of the music signed Anatoly Vapirov.

The History of the Ahmadi-Caliph Relationship

2020 ◽  
pp. 32-62
Author(s):  
Nicholas H. A. Evans
Keyword(s):  
Twentieth Century ◽  
New World ◽  
World System ◽  
Dominant Mode ◽  
Early Twentieth Century ◽  
Historical Processes ◽  
History Of ◽  
Secular Politics

This chapter discusses the distinctive theology of Mirza Ghulam Ahmad, before exploring the historical processes through which the Ahmadi–caliph relationship became the dominant mode by which members of today's Jamaʻat attempt to evidence their Muslimness. In the early twentieth century, the second caliph directed a series of massive expansions to the Jamaʻat system and institutionalized key relationships of devotion, including a new scheme in which Ahmadis were encouraged to give their lives in service as waqf, an Islamic term normally reserved for endowments of property. The chapter also explores the ambivalent political aspirations of the Ahmadiyya caliphate. Described by his followers as nonpolitical, the caliph nevertheless follows a Sufi tradition of exercising a spiritual sovereignty that overlaps with and potentially encompasses worldly power. The chapter then shows that the Ahmadi-caliph relationship is understood to have its own political trajectory leading to the establishment of a new world system in which conventional secular politics are rendered defunct.

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