Արտահայտչամիջոցների գործառույթները Կոմիտասի «Անտունի» երգում (Ի՞նչ է լսել Դեբյուսին «Անտունի» երգում)

2021 ◽  
Author(s):  
Daniel Yerazhisht
Keyword(s):  
20Th Century ◽  
Sacred Music ◽  
Claude Debussy ◽  
Piano Works ◽  
Gabriel Faure ◽  
Subjective Interpretation ◽  
Poetic Text ◽  
Sound Environment ◽  
The Voice ◽  
Shed Light

Հոդվածը նվիրված է Կոմիտասի «Անտունի» երգին: XX դարասկզբին Փարիզում Կոմիտասի դասախոսությունների և համերգների շնորհիվ ֆրանսիացի անվանի գործիչները ծանոթացան հայ հոգևոր և ժողովրդական երաժշտության գլուխգործոցներին: Դրանք արժանացան Ռոմեն Ռոլանի, Գաբրիել Ֆորեի, Լուի Լալուայի և այլոց բարձր գնահատականին: Ի թիվս այլ երգերի՝ հնչեց «Անտունին», որը խորապես հուզեց հատկապես Կլոդ Դեբյուսիին: Սույն հոդվածում փորձ է արվում լուսաբանելու Դեբյուսիի բարձր գնահատականի շարժառիթները: Վերլուծվում է բանաստեղծական տեքստը, մեղեդին, այնուհետև Կոմիտասի՝ երգից բխեցրած դաշնամուրային նվագակցությունը: Անշուշտ, Դեբյուսին նկատած կլիներ Կոմիտասի զգայուն, յուրօրինակ վերաբերմունքն առանձին հնչյունին, նրբերանգներին, լուսաստվերներին, ինչը բնորոշ էր հատկապես իմպրեսիոնիստներին: Օրինակ՝ «Անտունի» երգի միայն վերջին 12 տակտում Կոմիտասը զետեղել է 35 կատարողական ցուցում: Ավելին՝ հատկանշական են նվագակցության և ռեգիստրների հնչուժի հուժկու հակադրումները, բևեռացումները՝ հատկապես 37-38-րդ տակտերում: Այստեղ վոկալի հնչողությունը երկու ֆորտեից նվազում է մինչև երկու պիանո, մինչդեռ նվագակցությունը հնչում է երկու ֆորտե: Դաշնամուրի այդ «մռնչյունը», տիեզերական կոչը հոդվածագիրը համեմատում է Հրեշտակապետի փողի հետ, որը «Ցասման օրը» պիտի ազդարարի «Ահեղ Դատաստանի» սկիզբը: Նման սուբյեկտիվ մեկնաբանությունը չի բացառվում, քանի որ երգն ունի նաև գոյաբանական հնչեղություն: Բացի այդ՝ նախքան ձայնի մուտքը դաշնամուրային նախաբանը նմանակում է եկեղեցական զանգերին, ինչը ոչ միայն երգի համար ստեղծում է հնչյունային դաշտ, այլ նրան հաղորդում է խորհրդավոր բնույթ: Ահա նաև այս զանգերն են, որ կարող էին Դեբյուսիի հոգում արթնացնել իր իսկ «Զանգեր սաղարթի միջով» և «Ջրասույզ տաճարը» դաշնամուրային պիեսների կերպարները: This article is dedicated to the song Antuni by Komitas.At the beginning of the 20th century, thanks to Komitas's lectures and concerts held in Paris, famous French figures got acquainted with the masterpieces of Armenian folk and sacred music. They were highly praised by Romain Rolland, Gabriel Faure, Louis Laloy, and others. Among other songs, Antuni was performed there, which deeply touched Claude Debussy. This article attempts to shed light on the reason of Debussy’s high appreciation. The poetic text, the melody, and then the piano accompaniment are analyzed which are derived from the song itself. Debussy would have noticed Komitas's sensitive and unique attitude to individual sounds and nuances, which was especially typical of the Impressionist artists. For example, in the last twelve bars of the song Antuni, Komitas has written as much as 35 performance marks. Moreover, the strong contrasts of dynamics in different ranges in the accompaniment are to be noted, especially in the bars 37-38. Here the volume of the voice decreases from ff to pp, while the accompaniment continues sounding ff. The author of the article compares this "roar" of the piano, the cosmic call, to the trumpet of the Archangel, which will announce the beginning of the “Day of Wrath” on the “Doomsday.” Such a subjective interpretation is not excluded, as the song also has an ontological meaning. In addition, before the voice enters, the piano accompaniment imitates church bells, which not only creates a sound environment for the song, but also endows it with a mysterious character. These are the bells that could awaken in Debussy's soul the characters of his own piano works.

Argentina’s G20 Presidency: Agenda and Challenges

2019 ◽  
Vol 34 ◽  
Author(s):  
Gladys Teresita Lechini ◽  
José Marcelino Fernández Alonso
Keyword(s):  
Latin American ◽  
Emerging Countries ◽  
Window Of Opportunity ◽  
Global Forum ◽  
Argentine Republic ◽  
Global Arena ◽  
The Voice ◽  
Shed Light

The assumption of the Group of 20 (G20) rotating presidency in December 2017 has created a meaningful window of opportunity for Argentina in order to wield its influence on the international agenda and build its reputation within the global arena. In addition, the Argentinean G20 presidency has become a significant chance to project a Southern and/or developing perspective within this global forum established to debate and address the most pressing economic and political international challenges. This article aims to analyse the agenda and challenges of the Argentinean G20 presidency. In so doing, it attempts to shed light on the following questions: What mechanisms or means will the Argentine Republic deploy in order to exert its influence on the group? Will Argentina represent the voice of Latin American and emerging countries or will it have an acquiescent behaviour towards the central powers? Will the Argentinean presidency be able to ease the group’s internal tensions? Finally, might the Argentinean presidency overcome the critics regarding the G20’s legitimacy?

scholarly journals The voiceless in The Voice: A multimodal critical discourse analysis

2020 ◽  
Vol 40 (6) ◽  
pp. 705-732
Author(s):  
Ibrahim Er
Keyword(s):  
Discourse Analysis ◽  
Critical Discourse Analysis ◽  
Critical Discourse ◽  
Standard Language ◽  
Mise En Scene ◽  
Global Television ◽  
The Voice ◽  
Shed Light

AbstractThis article highlights the importance of multimodality in the study of discourse with a discussion of a segment from the Turkish adaptation of the global television format, The Voice. In the segment under discussion, a contestant is disqualified from the show by the host for her allegedly disrespectful style of speech towards the coaches. Departing from traditional (sociolinguistic) critical discourse analysis, the article seeks to unveil the deep power discourse hidden in the multimodal landscape of the show by extending the scope of discourse analysis to include both linguistic and non-linguistic modes of communication and representation such as the camerawork, and mise-en-scene. The findings shed light on the inherently asymmetrical nature of the show and how the contestant's highly non-standard language and manners are demonized (multimodally) while the coaches and the host find a relatively less judgmental environment as the “authority” in the show.

scholarly journals “CONVENTIONAL WISDOM” AND THE POLITICS OF SHINTO IN POSTWAR JAPAN

2010 ◽  
Vol 4 (1) ◽  
pp. 68-82
Author(s):  
John Breen
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Final Section ◽  
The State ◽  
Early 20Th Century ◽  
Postwar Japan ◽  
Politics And Religion ◽  
The Supreme Court ◽  
Post War ◽  
Shed Light

In January 2010, the Supreme Court delivered a historic verdict of unconstitutionality in a case involving Sorachibuto, a Shinto shrine in Sunagawa city, Hokkaido. All of the national newspapers featured the case on their front pages. As the case makes abundantly clear, issues of politics and religion, politics and Shinto, are alive and well in 21st century Japan. In this essay, I seek to shed light on the fraught relationship between politics and Shinto from three perspectives. I first analyze the Sorachibuto case, and explain what is at stake, and why it has attracted the attention it has. I then contextualize it, addressing the key state-Shinto legal disputes in the post war period: from the 1970s through to the first decade of the 21st century. Here my main focus falls on the state, and its efforts to cultivate Shinto. In the final section, I shift that focus to the Shinto establishment, and explore its efforts to reestablish with a succession of post LDP administrations the sort of intimacy, which Shinto enjoyed with the state in the early 20th century.

scholarly journals The performative manifestation of a research identity: storying the Journey through poetry

2021 ◽  
Author(s):  
Jennifer L. Lapum
Keyword(s):  
Social Science ◽  
The Voice ◽  
Insight Into ◽  
Shed Light

Cultivating a research identity is an arduous journey. We are told to situate ourselves—know where we are coming from—but it is rare that people share their experiences and provide insight into a journey that indubitably shapes your research. In this performative piece, I shed light on my journey to a research identity. I provide an intimate portrayal of the blurring and temporal nature of research identities that is sometimes avoided and often unaccepted. In doing so, I hope to awaken new understandings and provide insight into what can be a direction(less) journey that leads to a sense of positioning. My journey is a tracing rendered through poetry-enhanced prose, which provides aesthetic sensibilities and the possibility for you to enter into and become caught up in our experience. As well, poetry and photography are bestowed in a way to illuminate the performative and dynamic place of my research identity and as a way to visualize and feel the story within this poetical telling. This is a manifestation of performative social science in which the voice is never solely mine and the identity is never conclusive as it continues to unfold and shift through the spaces I inhabit.

The Catholic Church in Republican Musical Aesthetics

2021 ◽  
pp. 23-64
Author(s):  
Jennifer Walker
Keyword(s):  
Catholic Church ◽  
Sacred Music ◽  
Musical Aesthetics ◽  
Modern Music ◽  
Religious Music ◽  
French Music ◽  
Gabriel Faure ◽  
Compositional Styles ◽  
The Church ◽  
The Catholic Church

Debates concerning the appropriate nature of sacred music in France persisted throughout the nineteenth century. While many figures within the Catholic Church took the more traditional stance in their proclamation of plainchant as the genre of sacred music par excellence, other priests and church musicians insisted that more modern styles of composition were not only appropriate but necessary for French Catholics. This debate was not limited to the confines of the Church: Republican composers, for their part, also contributed their views on the matter, which largely stated that the realms of sacred and secular were not mutually exclusive. This chapter outlines the debate on both sides in order to reveal how Republican composers absorbed the numerous criteria involved in the composition of sacred music into their secular constructions of French music. It also reveals the discursive slippages between Catholic denigrations of “modern” religious music and “secular” compositional styles: more often than not, modern religious music was strikingly close to the Catholic ideal, even when it was written by a decidedly secular composer for non-liturgical use. A study of Contes mystiques, a collection of twelve mélodies written by such composers as Gabriel Fauré, Théodore Dubois, Henri Maréchal, and Pauline Viardot, reveals how Republican composers absorbed the numerous criteria involved in the composition of sacred music and how this modern music was strikingly similar to the Catholic ideal, even when written by “secular” composers for non-liturgical use.

Řečové akty omluvy u českých studentů v angličtině (L2): vybrané výsledky pilotáže

2019 ◽  
pp. 157-188
Author(s):  
Marie Vališová
Keyword(s):  
Second Language ◽  
Second Language Acquisition ◽  
Language Acquisition ◽  
Foreign Language ◽  
University Students ◽  
20Th Century ◽  
Speech Acts ◽  
Linguistic Competence ◽  
Pragmatic Competence ◽  
Shed Light

During the second half of the 20th century, there was a shift in focus in second language acquisition research from linguistic competence to communicative and pragmatic competence (Hymes, 1972; Canale & Swain, 1980; Canale, 1983; Bachman, 1990; Bachman & Palmer, 1996; Usó-Juan & Martínez-Flor, 2006). This resulted in a growing number of studies on speech acts in general. Motivated by a lack of studies on the speech acts of apology in conversations of Czech learners of English as a foreign language, my dissertation project aims to shed light on apology strategies used by Czech university students.

scholarly journals Who are the “servants” (Psalm 69:36c-37b)? A contribution to the history of the literature of the Old Testament

2003 ◽  
Vol 59 (3) ◽  
Author(s):  
Alphonso Groenewald
Keyword(s):  
Old Testament ◽  
Active Role ◽  
Special Group ◽  
Book Of Isaiah ◽  
Singular Form ◽  
Ancient Israel ◽  
Literary Heritage ◽  
History Of ◽  
The Voice ◽  
Shed Light

Psalm 69:37a refers to the "servants" in the composite "the offspring of his servants". This composite takes up a concept which already ap-peared as a self-indication of the supplicant of this Psalm, namely in its singular form "servant" (69:18a). The article aims to identify these "servants" (69:37a) who articulated themselves in the voice of the other "person" in Psalm 69. It is postulated that the connections which exist between the servants in Isaiah and the servants in the Psalter are far too distinct to simply regard them as a mere matter of coincidence. The article focuses on the book of Isaiah, as conclusions drawn from Isaiah can shed light on the identity of the "servants" in Psalm 69. Secondly, the focus shifts to the term "servants" in the Psalter, and specifically in book I and II. It shows that the term "servants" not only denotes the pious, but indicates a special group of people who played an active role in shaping the literary heritage of ancient Israel in post-exilic times.

Sound Body: The Ghost of a Program

2005 ◽  
Vol 15 ◽  
pp. 28-35 ◽  
Author(s):  
David Toop
Keyword(s):  
20Th Century ◽  
Collaborative Work ◽  
Tape Recorder ◽  
Digital Audio ◽  
Audio Technology ◽  
Analog Tape ◽  
Software Programs ◽  
20Th Century Art ◽  
The Voice ◽  
Studio Work

The author considers the importance of the voice as a transformative instrument in 20th-century art, particularly in relation to the tape recorder and digital audio technology. He examines his collaborative work with sound poet Bob Cobbing in the 1970s and compares this with a recent gallery installation created with artist John Latham. Research from the 1970s into acoustic voice masking and resonance is contrasted with the use of analog tape process-ing and the sonic potential of computer audio software programs both in studio work and in improvised performance. Finally, the author discusses the implications of these con-frontations between body and machine.

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