The Composer's Hand: An Analysis of Selected String Orchestral Works by Arvo Pärt

<p>Arvo Pärt’s music has received little attention from theoretical scholars, in part, because it is often labelled as minimalist or process music. This is due primarily to his use of limited sets of musical materials and predetermined repetitive melodic and rhythmic procedures. In this sense, it is implied that authorial decisions play little role in the compositional process of his music. In addition, the confluences of multiple M-voice/T-voice pairings, which create a rich array of harmonically non-functional chord progressions, do not lend themselves to traditional approaches to musical analysis, thus acting as a further deterrent to analysts and theorists. This investigation postulates that the presence of the ‘composer’s hand’ is much more significant in Pärt’s music than has been previously realised by those who label his music as minimalist or process music; and by engaging in a multimodal methodology, this thesis demonstrates that Pärt’s music does, in fact, respond to post-tonal analytical approaches. It also shows that a non-traditional application of post-tonal analytical techniques can yield valuable and productive insights into Pärt’s compositional system, and that there is actually much for theorists and analysts to discover in his music. The approach to the investigation is based on drawing from and combining several post-tonal analytical methods, any one of which would be insufficient on its own, given the uniqueness of Pärt’s sound world and the fact that such approaches have been developed to enlighten very different repertoires. The methodology incorporates the following post-tonal analytical methods: descriptions of the ‘musical fabric’ of each work; a detailed analysis of how each composition appears to have been constructed; new approaches to visualising the relationships between the pitch classes of particular works; and mappings of each work’s pitch-class and interval-vector content. This investigation demonstrates, through multimodal analysis of six selected string orchestral works by the composer, that hidden beneath the seemingly ‘minimal’ surface layers of Pärt’s music are carefully crafted musical constructions that result from intersecting procedures and multifaceted rules, as well as what appear to be intentional exceptions to those rules – thus revealing the composer’s hand. An awareness of these hidden constructions and the careful craftsmanship that went into their creation can provide the informed listener with the critical foundation from which the aesthetic value of Pärt’s music can be assessed and appreciated.</p>

The Composer's Hand: An Analysis of Selected String Orchestral Works by Arvo Pärt

<p>Arvo Pärt’s music has received little attention from theoretical scholars, in part, because it is often labelled as minimalist or process music. This is due primarily to his use of limited sets of musical materials and predetermined repetitive melodic and rhythmic procedures. In this sense, it is implied that authorial decisions play little role in the compositional process of his music. In addition, the confluences of multiple M-voice/T-voice pairings, which create a rich array of harmonically non-functional chord progressions, do not lend themselves to traditional approaches to musical analysis, thus acting as a further deterrent to analysts and theorists. This investigation postulates that the presence of the ‘composer’s hand’ is much more significant in Pärt’s music than has been previously realised by those who label his music as minimalist or process music; and by engaging in a multimodal methodology, this thesis demonstrates that Pärt’s music does, in fact, respond to post-tonal analytical approaches. It also shows that a non-traditional application of post-tonal analytical techniques can yield valuable and productive insights into Pärt’s compositional system, and that there is actually much for theorists and analysts to discover in his music. The approach to the investigation is based on drawing from and combining several post-tonal analytical methods, any one of which would be insufficient on its own, given the uniqueness of Pärt’s sound world and the fact that such approaches have been developed to enlighten very different repertoires. The methodology incorporates the following post-tonal analytical methods: descriptions of the ‘musical fabric’ of each work; a detailed analysis of how each composition appears to have been constructed; new approaches to visualising the relationships between the pitch classes of particular works; and mappings of each work’s pitch-class and interval-vector content. This investigation demonstrates, through multimodal analysis of six selected string orchestral works by the composer, that hidden beneath the seemingly ‘minimal’ surface layers of Pärt’s music are carefully crafted musical constructions that result from intersecting procedures and multifaceted rules, as well as what appear to be intentional exceptions to those rules – thus revealing the composer’s hand. An awareness of these hidden constructions and the careful craftsmanship that went into their creation can provide the informed listener with the critical foundation from which the aesthetic value of Pärt’s music can be assessed and appreciated.</p>

Effects of Awareness of the Beauty Master Compositional System on Job Satisfaction and Turnover Intention of Beauty Workers

As the beauty industry grows and the level of beauty technology increases, companies must deploy highly qualified workers, among whom beauty salons are certificates obtained by the best technology hairdressers in the beauty field, but they require high technology, time and cost, but have low acceptance and recognition. Therefore, in this study, we sought to investigate the effect of beauty salon perceptions on compositional systems, job satisfaction and turnover intentions for general hairdressers, and analyzed a total of 289 copies using SPSS21.0 as a self-entry survey. First, female managers in their 40s, who earn more than 5 million won with more than seven years of experience, and secondly, the necessity, adequacy, complement, job satisfaction, and turnover were derived in a single dimension. Third, due to the effect of recognition of beauty functional systems on the composition of beauty functional testing systems, the higher the propensity for recognition, the higher the propensity for appropriateness, and the higher the propensity for subsidiarity. Fourth, job satisfaction showed a fifth definition relationship with a higher propensity for awareness, and a higher tendency for turnover meant a definition relationship with a higher propensity for awareness. As such, it is very important to raise awareness of beauty salons in order to develop the beauty industry and improve advanced technology, and efforts should be made to establish a system to revitalize the beauty salons' system on-site.

FEATURES OF FORMATION OF VIEWING STREETS AND PLATFORMS OF LVIV

The article investigates the species streets and squares of Lviv, highlights the principles of their location and establishes their significance for the perception of the urban environment. Particular attention is paid to the formation of streets during the reconstruction. Emphasis is placed on the importance of viewing platforms for the formation of the city's silhouette and the perception of its image. Viewpoints are an integral part of the spatial composition of the city. With their professional location, the city acquires greater aesthetic perfection. The environment becomes more comfortable and attractive from an aesthetic point of view. Accordingly, the architectural value of the space grows, the city acquires compositional expressiveness, a unique image is created. At the beginning of the study, the viewpoints of the city were divided into two main groups: viewing streets and viewing platforms. Each of these groups is important for the formation of the overall composition of the city. Several viewing streets were explored and the focus was on their visual connections. Species sites in Lviv were analyzed in the following locations: Vysokyi Zamok mountain; the tower of the church of St. Olga-Elizabeth; Town Hall Tower; ferris wheel in B. Khmelnytsky Park. Their significance for the perception of the image of the city is determined. Lviv has a unique history and architecture. The location on a hilly terrain adds to the city's attractiveness and charm. For centuries, our architects have made sure that the city is perceived as a holistic compositional system with its dominants and visual connections. Now Lviv is being renewed and developing at a very fast pace as a European city. Therefore, it is very important that the new building does not distort what was created by many generations of architects, but only adds attractiveness and individuality. View points are important for the formation of the attractiveness of the image of the city, so special attention should be paid to the preservation of existing view streets and areas and the organization of new ones. During the formation of species points, the following features should be taken into account: 1) When forming new elements of the city it is necessary to take into account the location of existing viewing streets and areas. It is very important that the new objects do not obscure the existing visual connections that have been formed over the centuries and play the most important role in the perception of the image of the city. 2) When building the areas under inspection - to coordinate the form with the environment. So that the high-rise buildings of the new areas do not distort the view of the city from the historic environment. 3) When placing new observation decks, take into account the orientation relative to the sides of the world, so that the observer can inspect the color picture, not just the silhouette. The spatial organization of viewpoints will not only improve the aesthetic qualities of the city, highlight individual features, improve the perception of the image as a whole, but can also be used to attract tourists.

THE FORM OF THE SUITE IN BALLET AND ITS METRORHYTHMIC ORGANIZATION

The article reveals the peculiarities of metrorhythmic organization of the classical dance cycle (suite), typical for Russian ballet of the XIXth century and its evolution in the early XXth century under the influence of innovations in the field of rhythm in the ballets by Igor Stravinsky. The purpose of this article is to find mechanisms of interaction between dance and music based on coordination of their temporal parameters. The material of analysis is the classical dance cycle that performs both compositional and dramaturgical functions in the ballet. Apart from the metrorhythmic and compositional system of organizing time in ballet music, other types of time can be distinguished: real, psychological (subjective) and conceptual, artistic time organizing the processes of the characters' life cycle and the development of action in the virtual time of the artwork. In a classical dance cycle in each number, real time predominates, but when the numbers alternate, subject to the principle of contrast, the conceptual time has a corrective effect. The alternation of musical and choreographic numbers in a ballet determines the rhythm of the form or "compositional rhythm" (according to V. P. Bobrovsky). The correlation of temporal proportions of numbers is considered on the example of ballets "Swan Lake" by P. Tchaikovsky and "Petrushka" by I. Stravinsky. The compositional unit is the duration of the stage segment of the musical form, the change of which creates the rhythm of the form.

TENDENCIES AND ART TECHNIQUES IN CONTEMPORARY COMIC BOOK GRAPHIC DESIGN

Purpose. Exploring of the distinctive features of modern comics, their artistic and compositional solutions, types, main trends in American, European and Asian culture. Definition of the original formation of modern Ukrainian comics. Methodology. The basis of the research methodology includes integrated use of historical and comparative methods, system analysis, synthesis, generalization. Results. Basing on the analysis of modern comic book content, the history of comics and its perception by the audience as a modern media text are revealed, characteristics of individual elements in comics are systematized. The specifics of the artistic and compositional system of modern comics, the nature of figurative and stylistic techniques, graphic features of American, European, Asian, Ukrainian comics are determined. Patterns which are inherent in comics as visual narratives of different socio-cultural parts of the world, as well as aspects that shape modern Ukrainian comics, are considered. Scientific novelty. Characteristics of comics as an object of graphic design are determined: features of artistic and compositional design solutions in different regions of the world are systematized; leading trends in the development of specific types of comics in the United States, Europe, Asia and Ukraine are revealed. Practical significance. Based on art analysis of comic book types and by identifying trends in their development within modern art the specifics of the further development of comics are determined and ideas for future creative projects are presented, features that have both artistic and commercial value are indicated.

The stylistic and poetical-compositional system of a fairy tale. Volume 1 : Oral stylistic foundations of a fairy tale. Experimental study on the Abkhaz material

In the present edition “The stylistic and poetical-compositional system of a fairy tale” in 2 volumes, the author's works in the field of the study of the stylistic system of a fairy tale, carried out within the framework of an experimental direction in folklore studies, are combined. The study of the problem in this direction was undertaken by the author on the initiative of the outstanding scientist V.M. Gatsak, Doctor of Philology, Corresponding Member RAS, and was conducted over a number of years. The monograph “Oral stylistic foundations of a fairy tale. Experimental study on the abkhaz material”, which constituted 1 volume of this edition “The stylistic and poetical-compositional system of a fairy tale”, is devoted to topical problems of folklore studies, dictated by the urgent need for a comprehensive audio-visual study of folklore style. The work was carried out according to a special methodology, providing for the study of samples of oral poetry in their living existence in the light of the requirements of the experimental direction in folklore with the obligatory use of repeated recordings of fairy texts at different times, as well as film and photo documents. The aim and task of the research is to reveal the peculiarities of the style of fairy tale narration in their conditionality by the laws of preservation and transmission of traditions. The section “Appendices” contains samples of tabular analysis and intonation recording of typed repetitions, a package of film and photographic documents, a disc with a recording of the text being executed and rhythmic segments.

The stylistic and poetical-compositional system of a fairy tale. Volume 2 : Poetic-compositional and stylistic system of a fairy tale in comprehensive

In the present edition “The stylistic and poetical-compositional system of a fairy tale” in 2 volumes, the author's works in the field of the study of the stylistic system of a fairy tale, carried out within the framework of an experimental direction in folklore studies, are combined. The study of the problem in this direction was undertaken by the author on the initiative of the outstanding scientist V.M. Gatsak, Doctor of Philology, Corresponding Member RAS, and was conducted over a number of years. In the monograph “Poetic-compositional and stylistic system of a fairy tale in comprehensive coverage of the problem. Experimental research based on abkhaz material”, which compiled the 2nd volume of this edition, the author highlights aspects of the heritability of a fairy tale and its recreation by folklore performers. The levels and factors of the compositional and stylistic structure of a fairy tale as a morphological reality with a comprehensive study of the stylistic (verbal and non-verbal) of its manifestations are analyzed. The section “Appendices” contains synopsis sheets of the narrative space of the investigated text collections of fairy tales.

A stepping stone to compositionality in chimpanzee communication

Compositionality refers to a structural property of human language, according to which the meaning of a complex expression is a function of the meaning of its parts and the way they are combined. Compositionality is a defining characteristic of all human language, spoken and signed. Comparative research into the emergence of human language aims at identifying precursors to such key features of human language in the communication of other primates. While it is known that chimpanzees, our closest relatives, produce a variety of gestures, facial expressions and vocalizations in interactions with their group members, little is known about how these signals combine simultaneously. Therefore, the aim of the current study is to investigate whether there is evidence for compositional structures in the communication of chimpanzees. We investigated two semi-wild groups of chimpanzees, with focus on their manual gestures and their combinations with facial expressions across different social contexts. If there are compositional structures in chimpanzee communication, adding a facial expression to a gesture should convey a different message than the gesture alone, a difference that we expect to be measurable by the recipient’s response. Furthermore, we expect context-dependent usage of these combinations. Based on a form-based coding procedure of the collected video footage, we identified two frequently used manual gestures (stretched arm gesture and bent arm gesture) and two facial expression (bared teeth face and funneled lip face). We analyzed whether the recipients’ response varied depending on the signaler’s usage of a given gesture + face combination and the context in which these were used. Overall, our results suggest that, in positive contexts, such as play or grooming, specific combinations had an impact on the likelihood of the occurrence of particular responses. Specifically, adding a bared teeth face to a gesture either increased the likelihood of affiliative behavior (for stretched arm gesture) or eliminated the bias toward an affiliative response (for bent arm gesture). We show for the first time that the components under study are recombinable, and that different combinations elicit different responses, a property that we refer to as componentiality. Yet our data do not suggest that the components have consistent meanings in each combination—a defining property of compositionality. We propose that the componentiality exhibited in this study represents a necessary stepping stone toward a fully evolved compositional system.