Classical philosophy in Novosibirsk Scientific Center. The pages of history

Novosibirsk school of Classics is the most eastern Russian center for the study of the intellectual heritage of the Ancient civilization. At the same time, classical scholars of the Novosibirsk scientific center is well known beyond its borders. The interest of Novosibirsk philosophers covers many areas of classical problems, mainly focusing on their philosophical aspects as well as on ancient history, culture, and science. Among the topics and directions of research are ancient mythopoetic tradition, sophistic movement, Socrates, Plato and the Academy, Platonism in general, Aristotle and the Peripatetic tradition, Hellenistic philosophy, and Late Antiquity. Among the interests characteristic of the Novosibirsk community of classical scholars is the analytical approach to the study of Antiquity, as well as the exceptional attention to such rare for the Russian science topics as ancient music, navigation, and medicine

La terminología musical en Las ranas de Aristófanes

Aristófanes resulta ser una pieza clave para el conocimiento del léxico musical griego. La abundancia de testimonios que ofrece, sus apreciaciones técnicas y la creación de nuevos términos musicales le convierten en un importante eslabón en el campo de la música antigua. Su gusto por el detalle se evidencia en la descripción que realiza de los cantos y, sobre todo, de los instrumentos musicales. Aristophanes is a key piece for the Greek musical lexicon. The plenty of testimonies that he gives, his technical appreciations and the creation of new musical terms make him an important link in the scope of the ancient music. His interest in the detail is made evident in the description concerning songs and, especially, musical instruments.

George Petrie (1790–1866) as a collector of Irish song

This chapter considers the contribution of George Petrie as a collector and publisher of Irish song. His upbringing, his professional career first as an artist and subsequently as an archaeologist, and his role as a leading figure in the Royal Irish Academy, all provided important contexts for his collection of traditional song. As the head of the orthographical and etymological section for the Memoir of the Ordnance Survey of Ireland he worked closely with two of the most important Irish scholars of the time, Eugene O’Curry and John O’Donovan, and their influence proved invaluable when he was made president of the Society for the Preservation and Publication of the Music of Ireland in 1851. The various sources of the songs he collected and his approach to their notation are considered, as are the characteristics of the contents of the only completed publication of the Society for the Preservation and Publication of the Music of Ireland, The Petrie Collection of the Ancient Music of Ireland in 1855.

Ancient Music in the Piano Transcriptions by Serhii Yushkevych

Relevance of the study. A new wave of creative interest in the piano transcription combines the constructive and destructive vectors of the development. In the performing sphere the former stimulate the search for original ways of presenting the personal “I”. The destructive influence is connected with the possible hyperbolization of any artistic ideas. The presented problematic situation determines the relevance of the topic of the article: the transcription legacy of the renowned Kharkiv pianist-pedagogue Serhiy Yushkevych still remains little studied in domestic art history.Main objective of the study. The objective of the research is concluded in comprehending the stylistic dominants of S. Yushkevych’s transcriptional approach.Methodology. The research is based on the principles of an integrated approach that motivates appealing to the genre, stylistic, intonation, structural-functional, compositional-dramaturgical and comparative-interpretative methods of analysis. The biographical method is used to provide additional important informational data Results and conclusions. Transcriptions demonstrate not only the aesthetic preferences and stylistic guidelines of a particular era (according to B. Borodin), but also the individual performing and interpreting tendencies of the transcriptor himself. This allows considering transcriptions as the key to understanding a musician’s artistic credo. S. Yushkevych’s transcriptional interests include the works of composers of the Baroque and Romantic eras, Soviet-era music, and Ukrainian folklore; he is attracted by various samples of orchestral, organ-harpsichord and vocal music. The transcriptions of the “Badinerie” collection can be divided into three groups: 1) ancient music; 2) the compositions which in the original are intended for the voice with accompaniment; 3) Ukrainian music. A significant role in understanding the creative search is played by the interpretation of Yushkevych-pianist.The specificity of the transcriptional style of the Kharkiv maestro lies in the ability to create the “sound op-art” with the help of typical formulas of piano technique (similar to the op-art by V. Vasarely). This is reflected in his own system of means of expression, the specifics of the texture and register distribution of the artistic material, the use of polyphony as a technique of additional ornament, the embodiment of various acoustic effects and more. This creates a different type of the pianosound relief. The stylistic features of S. Yushkevych’s transcript handwriting are: the special register framing of the composition, the multi-layered nature of piano texture, the openness to timbre orchestration, the use of quartet writing peculiarities, the tessitura fragmentation of thematic complex, the intonation-motive detailing of musical fabric and a significant freedom from the author’s remarks. The pianism itself is the main “factor of influence” and is a representative of the individual style.

A new approach to enhance the appeal of the Italian territory through art: three study cases from Marche Region

Born from a desire to promote the landscape by integrating its origins and physical aesthetics with its naturalistic, cultural, and artistic heritage, we develop narratives about three locations in central Italy, telling them in the language of popular science, supported by the language of art. The different disciplines of science, poetry, and ancient music are applied to the same sites, producing emotional experiences where the encounter and interplay between different representations, and combinations of representations, become an expression of a place. The research introduces three geosites from the Marche Region, central Italy: I Sassi Simone e Simoncello, La Grotta della Beata Vergine di Frasassi, and the Infernaccio Gorge, in order to propose our multidisciplinary approach to the international public. These have been chosen for their value and charm, for their different processes of genesis and evolution, and for the cultural context and feelings they evoke. In a new approach to science communication, our study uses art in the form of music and poetry to encourage people to learn about landscapes. The paper explains the genesis and evolution of the three places, suggests trekking itineraries, includes a poem written specifically for each site, and describes a piece of ancient music and video and cultural offerings relating to each location. Our goal is to educate by fashioning a new perception of landscapes, starting with their physical beauty, and then building on scientific research in co-operation with arts, to improve what we know about their problems and weaknesses, but also about their culture and other strengths.

An overview of additive manufacturing technologies for musical wind instruments

This paper aimed to provide a foundation database for understanding the important applications of the different additive manufacturing (AM) technologies for musical wind instruments. A systematic review methodology was adopted in this study. The different AM techniques, materials used, the technical features, and processing parameters uniquely related to wind instruments were discussed. Selected heterogeneous applications demonstrate how AM techniques are being exploited in the innovation, improvement in aesthetics of the existing wind instruments, understanding the ancient music, and personalization with its capability to tune specific instrument design parameters for professional musicians.