Compositional Technique as a Language Mechanism: from Rule to Sound

Relevance of the study. lies in study of the concept of “compositional technique”, identifying its specificity as a linguistic mechanism. The technique of composition is functioning between language and text and thereby finds its concretization at the level of the composer, his thinking and style. In the typological similarity of the elements of each technique and, at the same time, in constant renewal, the understanding of the composition technique as a tradition is manifested, which seems essential for understanding the development of music in the 20th — early 21st centuries. The analysis of technique reveals its participation in the process of transition of language into speech at the moment of creating a certain work, which is also extremely important in modern musical culture. Scientific novelty. For the first time in Ukrainian musicology composition techniques have been analyzed in the aspect of language and the functioning of technology as a linguistic mechanism has been investigated. The purpose of the study is to analyze the specifics of the composition technique as a linguistic mechanism, the peculiarities of its functioning in the creative process in the linguistic aspect, to consider typical techniques in well-known established techniques as the corresponding rules for the embodiment and development of the material. Methods. The research is based on systemic and functional methods. The results and conclusions. The study of the composition technique in the aspect of the musical language allows us to renew our understanding of its specifics. The moment of selection of parts and the rules for their further combination emphasize the “general” nature of the composition technique. Being between language and text, technology functions as a linguistic mechanism, out of all the variety of a huge number of elements of the language, choosing only “its own” number, limits and concretizes the possible combination of these elements. The systemic nature of the compositional technique determines the functionality of the parts of each technique. With all the difference in established techniques, it is the functionality of the elements that reveals the general nature and similarity of processes in each technique. Significance of these results consists in the statement of the fact that reception in technology due to repetition and recognizability becomes the rule, offering options for its embodiment. The typing of techniques is very important for the composition technique. Simultaneously, each new incarnation of this technique renews and develops it.

Genre-communicative specificity of V.M. Shukshin’s works: compositional and syntactic aspect

The paper offers a look at the specifics of genres in the literary V.M. Shukshin’s works. The patterns of scenario transformation of his cinematic prose are analyzed. An original or secondary tales are set in the center of his genre system. They were created mainly for semiotic translation. The tales for theater and cinema reveal the syncretism of these art forms. The stories were the primary texts for the secondary scripts-tales. The main feature of their scenario transformation is the increase in its volume. It’s not so much due to the introduction of new episodes, but rather due to a change in the volume-pragmatic division, compositional and syntactic focusing of the perceptual visual field, and variation of the image plans. The main feature of the novel’s scenario transformation is the reduction of its volume. It’s due to the elimination of optional text fragments and statements and the diverse montage-driven composition technique. Shukshin’s work on scenario self-interpretation of prose was carried out not only at the macrotext level, but also at the statement’s microcomposition. It was associated with the change in their punctuation-graphic arrangement, with the choice of union or non-union syntactic connection and the means of its expression. The genre-communicative specificity of Shukshin’s works was motivated by his goal setting for their semiotic translation for theater or cinema, his deep understanding of the screenplay as a new kind of literature.

Analisis Komposisi Soundtrack Epic “You See Big Girl” Karya Hiroyuki Sawano dalam Serial Animasi Attack on Titan

Action-fantasy are some movie genres that has the most expansive franchises in film industry and tend to use cinematic music to correlate the atmosphere and emotions of the movie’s imaginary universe. The analysis of You See Big Girlis due to its majestic cinematic music arrangement, its suitability in accompanying the battle scene, and also can be enjoyed as an independent track despite of its role in accompanying the scene. This qualitative descriptive research aims to analyze the musical composition technique by describing the epic musical element. This research contains of literature study, discography, and observation as the research methods, along with the approach of Lehman and Derrick Werlé’sexamine on epic music to analyze the epic element. The result shows that the You See Big Girl is one of the various epic music with the use of battle and war instrument, as well as tension built gradually from a section to the following by the use of polyrhythm, marcato accent, big crescendo, sequence, sudden silence to ends the musical phrase, ostinato, and abstract theme, to portray a majestic, vibrant, war and battle scene, and the greatness through the music. Keywords: analysis, composition, animation, epic soundtrack, You See Big Girl

Examination of Zeki Atkoşar's Sazkâr Mevlevi Ritual in terms of pattern and aruz prosody

Mevlevi Ceremony has an important place among Turkish Music and Turkish Religious Music forms in terms of Turkish Music theory and pattern. The examination of the works in this form written in a rich composition technique and having a comprehensive and wide functioning is very important for Turkish Religious Music. In this study, it has been aimed to explain in detail the whole of the Sazkar Mevlevî Âyîni, which were composed by Zeki Atkosar, one of the composers of today's Mevlevî rituals, in terms of relation with pattern and Aruz prosody and in the methods used in rituals, the relationship between Aruz measures in which the songs are written. Within this direction, the concept of ‘Mevlevî Âyîni Şerîf’ has been explained in the first title of the study. In the second title of this work, the concepts of pattern and aruz prosody being the basis of analysis studies have been mentioned. In the third chapter; the life, art and works of composer Zeki Atkosar have been explained. In the last part; the syllabic distribution of the song of ‘Sazkâr Mevlevî Âyîni Şerîf ’ chapters was examined by placing the main patterns and velvele beats in the templates.The aruz prosody meters of the song were determined and their shape features and meanings were explained. In this context, it was found that the syllable distributions of the song were mostly placed regularly. ​Extended English summary is in the end of Full Text PDF (TURKISH) file. Özet Mevlevî Âyînleri, Türk Mûsikîsi ve Türk Din Mûsikîsi formları içerisinde Türk Mûsikîsi nazariyatı ve usûlleri açısından büyük formlar arasında önemli bir yere sahiptir. Zengin bir besteleme tekniğiyle yazılmış, kapsamlı ve geniş işleyişi olan bu formdaki eserlerin incelenmesi Türk Din Mûsikîsi için önem taşımaktadır. Bu çalışmada, günümüz Mevlevî Âyîni bestekârlarından Zeki Atkoşar’ın bestelemiş olduğu Sazkâr Mevlevî Âyîninin tamamının usûl-arûz vezni ilişkisi yönünden incelenmesi ve Âyîni Şerîflerde kullanılan usûllerle, güftelerin yazıldığı arûz kalıpları arasındaki ilişkinin ayrıntılı olarak ortaya konulması amaçlanmıştır. Bu doğrultuda çalışmanın ilk başlığında ‘Mevlevî Âyîni Şerîfi’ açıklanmıştır. İkinci başlıkta analiz çalışmasının temeli olan ‘usûl’ ve ‘arûz’ konularına değinilmiştir. Üçüncü başlıkta bestekâr Zeki Atkoşar’ın hayatı, sanatı ve eserleri hakkında bilgi verilmiştir. Son olarak Sazkâr Mevlevî Âyîni Şerîf’e ait Selâmların güftelerinin vezne bağlı hece dağılımları ile hazırlanan usûllerin ana kalıp vevelvele darpları şablonlarına yerleştirilerek incelenmiştir. Güftelerin arûz vezinleri tespit edilip, şekil özellikleri ve anlamları açıklanmıştır. Bu bağlamda güftelerin hece dağılımlarının çoğunlukla düzenli olarak yerleştirildiği tespit edilmiştir.

IMPROVING STUDENTS’ READING COMPREHENSION THROUGH COOPERATIVE INTEGRATED READING AND COMPOSITION TECHNIQUE TO THE EIGHT GRADE STUDENTS OF SMP SWASTA KATOLIK BUDI MURNI 1 MEDAN

Reading is not only about pronouncing written words correctly but also comprehending the text. It is not surprising the students have difficulties in reading comprehension because they do not understand the language. Therefore the teacher must try to help the students comprehend the text. One thing the teacher can do is to find a technique to teach this reading comprehension. Cooperative Integrated Reading and Composition can help the students to improve their reading comprehension and to arouse their motivation. The aim of this study is to find whether Cooperative Integrated Reading and Composition Technique works effectively on improving students’ reading comprehension and to know what students’ responses after being taught by using this technique. The subject of this study is the eighth grade students of SMP Swasta Katolik Budi Murni 1 Medan in the Academic Year of 2018/2019 were consist 25 students of class VIII C. This study was conducted by applying Classroom Action Research (CAR), which was performed in two cycles ( cycle I and cycle II). The instruments of collecting data were Quantitative data (reading comprehension test) and and qualitative data (field notes,obervation sheet,questionnaire)The result of reading comprehension tests showed that the mean of the students’ score increased from pre-test (20 %), formative test (52 %), post-test (76 %). The field notes, observation sheet and questionnaire showed that the students are interested in the learning teaching process through CIRC Technique and this study run well. It was found that this technique could improve students’ reading comprehension. It is suggested that English teacher should apply this technique in teaching reading comprehension.

Between Heart and Mind

The paper presents in a synthetic way the phenomena characteristic of Marta Ptaszyńska’s music, and the key qualities of her output. I focus on those topics that have not been sufficiently explored in existing studies, and those that call for a polemical discussion. These include the ideas that underlie Ptaszyńska’s music, the inspirations of her creative process, problems of composition technique, sound language, her style and aesthetic, with particular reference to her supposed links to sonorism. Finally I present an attempt to define the place and significance of Marta Ptaszyńska’s oeuvre in 20th- and 21st-century music.