Representation of Game Phrase-Making Mechanisms in Educational Dictionary: Practical Lexicography

The practical experience of the vocabulary representation of the mechanisms of game phraseology is described, the difficulties of lexicography of phraseological units built on the game paradox are listed, the ways to solve the problem of etymologization of phraseological games in the educational dictionary are showed. The main positions of the innovative technology for constructing educational phraseological dictionaries in paper format are presented. The relevance of the research is due to the great developmental impact of phraseological games on the addressee-child and the need to improve the system of their lexicographic description for educational purposes. The novelty of the research lies in the appeal to the unexplored problematic of describing phraseological games and the development of a technique for etymological paraphrasing, including interpretive and plot-compositional techniques, which are implemented in a twolevel configurative structure of etymological paraphrase. Special attention is paid to lexicographic techniques that allow revealing the specifics of phraseological games built on false imagery, as well as phraseological games, the content plan of which is not opposed to the expression plan, and their actual meaning is logically justified and motivated. Examples of dictionary entries of new phraseographic projects of the Experimental Laboratory of Educational Lexicography of Pskov University are given — a quest dictionary and a phraseological puzzle dictionary, the genres of which adequately reveal the specifics of phraseological games.

TEXTILES IN THE RESIDENTIAL INTERIOR

The relevance of the study is due to new experience in architectural design, new technologies and types of materials and the need to generalize and systematize them to expand the formative possibilities of textiles in the design of residential interiors. Research in the field of interior textile design was carried out by: T.I. Isayeva, Khabibullina, E.V. Zmanovska and others. The purpose of the study is to identify areas, functions and compositional techniques of textiles in residential interiors. The historical reference of development of textile production is resulted. The structural analysis of textiles in the interior by types of textile materials, production technology, types of weave, types of ornaments; identified qualities of textile materials, which determine their widespread use and the main areas of application of textiles in modern residential interiors. According to the results of the research, the main functions of textiles in the interior are revealed: creation of a comfortable microclimate in the room; psychological comfort; space adjustment; visual isolation; protection of surfaces from damage and pollution; hygiene products; decorative; compositional component of interior space design. The description of types of textile wall-paper, curtains is resulted. The compositional function of textiles in the interior is revealed: accent, dominant, background, rhythm. The conclusion is made that at a choice of textiles and reception of placement it is necessary to consider regional natural and climatic conditions; the style decision of an interior is accepted; function, size, orientation on the sides of the horizon of the room; combination of textiles with finishing of surfaces of enclosing designs and subject filling of the room; combination of fabrics in texture, color and pattern; price segment.

ARCHIPELAGO MUSICAL ELEMENTS IN ANANDA SUKARLAN'S WORK AS PART OF BUILDING INDONESIAN IDENTITY

This study aims to examine the contribution of Ananda Sukarlan as a composer who is serious about building an Indonesian identity through the use of various Indonesian musical elements as material in composing piano and vocal works. How composers arrange various musical aspects that can work in a composition is the focus of this research. The study of musicology is used as an approach to dissect various aspects of the musical used, such as; melody, harmony, texture, tonality, scale, rhythm, timbre. Archipelago musical elements are a fundamental aspect in composing works that have 'new values' and 'different tastes' because they have uniqueness or characteristics. The complexity of the compositional techniques used in the preparation of the work shows a high level of creativity in producing vistuosic works. His works have become a repertoire for recitals, competitions, and music concerts for Indonesian and foreign pianists and soloist singers. Studying the works of Ananda Sukarlan indirectly also understands the musical diversity, the beauty of the region and the rich history of Indonesian culture.

Where Is This Now, Now?: Gertrude Stein's Literary Innovations and New Sound Media

This article addresses the largely unexplored relationship between Stein's literary innovations and the new sound media of her time. By examining these connections, this article looks at Stein's compositional techniques—in particular her concept of the continuous present and her lifelong interest in speech and dialogue—to examine how new media technologies intersected with her attempt to change the way writing was written, read, and heard. By focusing on sound, and looking specifically at her final work Brewsie and Willie (1946), this article reads Stein's innovative poetics against the backdrop of concurrent changes to audio technologies during her career. Finally, the article argues that by paying attention to the ongoing shifts in media ecologies in relation to modernist innovations, we might gain insight into the larger phenomenological and sensorial sphere that formed the backdrop to modernism.

Compositional Technique as a Tool of Political Statement in the Works of Louis Andriessen

Relevance of the study. The work of Louis Andriessen, a Dutch composer, is regarded as a significant contribution to the formation of music culture of the second half of the 20th century. Despite his influence, however, there are practically no research papers in domestic musicology that would analyze Andriessen’s work and personality or his professional musical and political activities. One of the main research topics related to Andriessen’s work is the influence of politics on music. The topic itself is quite particular and somewhat controversial because it always leaves a lot of questions that need further clarification, may require a different perspective and a new approach. One of such questions with a controversial view is a discussion of how compositional techniques can be influenced by and formed based upon the composer’s political views. Main objective of the study. Taking into consideration Louis Andriessen’s own experiences, analyze how his compositional techniques created political content of his works, and particularly the writing of the cantata “De Staat” (“The Republic”) by Plato. Methods. The following were used in the research analysis: biographical (in the analyses of the style and work of the composer); historical (in the analyses of the cultural and socio-political context); comparative (in the analyses of the political and aesthetic views and standpoints of artists); analytical (in the analyses of the musical works). Results/findings and conclusions. There were several reasons that led Louis Andriessen to appeal to minimalism. The main reason was the composer’s desire to respond to his fellow composers that themselves were searching for their own applicable techniques and style to disseminate political ideas. Minimalism was particularly attractive to the composer because it was relevant, easily accessible to the general public, and reflective. At the same time, it was politically appropriate and democratic. The musical and political activism of Andriessen was aimed at creating a new type of communication and relationships between a composer and a performer, a performer and audience, and ultimately at creating a new musical community. This new type of communication and community is reflected in the composer’s work “The Republic”. For performers in particular, “The Republic” became a practical exercise similar to the style of Lehrstück B. Brecht, which allowed performers to adapt to new musical interactions proposed by the composer. Andriessen was able to achieve this goal by using hocket techniques — i. e., by removing the role inequality among performers and emphasizing the expressive importance of each performer in a musical composition. However, Andriessen’s compositional techniques used in “The Republic” to reflect his political views did not support, but rather emphasized the composer’s contradictory political position and in particular his binary position to Plato’s views on the place of music in politics. Nevertheless, it was “The Republic” that started the creation of a unique performance and approach in musical composition called “Andriessen’s approach”, which would successfully combine minimalism with traditional European compositional techniques, modern and experimental techniques, and components of music at large. At the very end, the unique combination of the aforementioned compositional techniques is what identifies the specificity of the content of Andriessen’s music. Significance of these results consists in the point of view on the question of how a compositional technique forms political content in the music written by Louis Andriessen

Sonoric as a Compositional Technique the Attempt of Critical Analysis

Relevance of the study. Sonoric is a widespread definition in Post-Soviet countries musicology. However, it is the only one in the system of contemporary compositional techniques that does not have English analogue. This fact conditioned to a number of questions related to this technique: what English terminology should be used as an analogue of sonoric or sonoristic? Why is there no such compositional technique as sonoric in European (with the exception of Poland) and American musicology? Is sonoric a compositional technique? The actualization of these issues makes it possible to solve both terminological problems and partially approach to the creation of a complete theory of contemporary composition techniques. The purpose of the study is to attempt to identify the structural core of sonoric as a compositional technique, the parameter (or parameters) of tone or noise material, for which organization it is responsible. Methods. This article is based on the method of systemic analysis of phenomena, general methods of theoretical research (analysis of a term, its semantic boundaries, correlation with other concepts), as well as specific musicological methods of a musical text analyzing. The results and conclusions. The authors of the theory of the sonoric compositional technique (Yu. Kholopov and A. Maklygin) suggest its use both in a general (a certain quality of concords) and in a narrow sense (a compositional technique that operates with timbre mass). In the process of a critical analysis of the concept of sonoric, it was noted that there are no precise criteria for distinguishing between the sound phenomena described by sonoric. Its methodological underpinning is based more on the elements of psychoacoustics and the theory of perception (without the direct use of the methods of these sciences) than on the theory of music. This thesis is proved by comparing the concepts of sonorically colored harmony and sonoric harmony. Postulating a reliance on synesthesia, the sonoric proposes to use a set of subjective associations to describe a sound phenomenon, relying on imaginative rather than technological characteristics. The analysis of sonoric texture types showed that point, line, spot, stripe, etc. are not original ways of tone and noise sounds organization, but are based on various combinations of pointillistic, cluster, polyphonic, micropolyphonic tools. Based on this conclusion, the idea that sonoric formations are not technically unique is formed. Such sonoric texture types are created by using a certain set of methods typical for various compositional techniques.

THE CONCEPT OF THE CREATIVE METHOD. FEATURES OF THE ARCHITECT'S CREATIVE METHOD

The problem of method in architecture, as a subject of research, always appears as a result of the development of artistic life and new aesthetic needs. Each new stage of artistic development reveals the insufficiency of the previous one not because it has become irrational, but because it no longer corresponds to new ideas about social relations and the nature of the human activity. Therefore, the theoretical development of the question is closely related to certain time cross-sections in the evolution of architecture, the consideration of which allows us to build a complete retrospective picture of the development of ideas about the method. The concept of the creative method is very broad and multifaceted. This is not only a set of certain geometric proportions and compositional techniques that are systematically repeated. The creative method is the result of an original cognitive ability to solve tasks using our intellectual search, which is aimed at developing a unique product. For the first time, the concept of an artistic method was formed in the 20–30s of the XIX century. The creative method in architecture and art is defined as a system of principles that control the process of creating a work of art. Artistic methods are designed to reflect the development of reality itself and the development of public consciousness in a specific way – in an aesthetic form. The complexity of the aesthetic characterization of methods lies in the fact that most often their features are considered from the cognitive side outside of the artistic and aesthetic features of art. However, it is from the period of formation of artistic methods that the artist's aesthetic attitude to the world is established. The method is a synthesis of the artist's worldview and the originality of his artistic thinking. The main components of the creative method are: the environment, which is a constant in the creative method of the architect, socio-economic conditions, ideology and worldview of society in a certain historical era, personal characteristics of the architect, culture of project thinking, theoretical foundations of the designer, practical activity of the architect. It is established that the creative method is formed by a) a set of principles of ideological and artistic knowledge and imaginative reproduction of the world; b) a creative approach to solving the set of architectural problems; c) the results of creative activity that is expressive and unique; d) the natural repeatability of architectural techniques that become the architectural rules of the architect; e) a set of certain geometric proportions, compositional techniques and planning features; f) the creation of an architectural object taking into account the influence of the social and cultural development of the architect; g) overcoming the usual techniques and traditions; h) creating own rules.

The interaction of tonal and modal principles of mode organization in the polyphonic cycle “34 Preludes and Fugues” by V. Bibik (based on Book III)

Statement of the problem. The article examines mode organization in the polyphonic cycle “34 Preludes and Fugues” by Ukrainian composer Valentin Bibik. The scientific novelty. The article explores modality and tonality as modeorganazing constituents in the polyphonic piano piece “34 Preludes and Fugues” by V. Bibik. The aim of the article is to indicate mode organization on the example of tonality and modality in polyphonic development of “The Third Notebook” (from the cycle “34 Preludes and Fugues”) by V. Bibik. The research methodology consists of integrated approaches to polyphonic music of the 20th century, including comparative and system-structural analyzes of musical works. Analysis of recent publications. The theoretical basis of the article is the latest publications by T. Bershadskaya (2008), N. Gulyanitskaya (1984), Yu. Kholopov (1972), M. Heinemann (2001), F. Hentschel (2006), I. Pustijanac (2016) and others. These studies investigate the compositional techniques of the twentieth century and their individual implementation into polyphonic works. When studying scientific sources, attention is focused on the interaction of polyphony and harmony since V. Bibik’s polyphonic cycle was chosen as the research material, in which polyphonic and harmonic patterns are closely intertwined, however, modal principles become the connecting factors, which is proved in the work. The presentation of the main material. The article investigates modern trends in the development of polyphonic music of the XX–XXI centuries, as well as the composer’s intention to create a mode organization in the cycle “34 Preludes and Fugues”. The article defines commonly used terms from the modern theory of musical modes regarding such phenomena as modality, tonality and their interconnection. The work presents the historiography of V. Bibik’s creative heritage in the context of the poliphony development. The work highlights the interaction of tonal and modal patterns in “The Third Notebook” (from the cycle “34 Preludes and Fugues”) by V. Bibik. Conclusions. The article argues the dominance of modality in structural organization of the cycle “34 Preludes and Fugues”. It is noted that the cycle accumulates a huge number of composer’s ideas regarding the interpretation of modern musical modes and tonal system. V. Bibik is not recognized as the author of the theoretical concepts of the mode organization in music, but the cycle itself is considered as a kind of composer’s creative manifesto, a vivid reflection of his conception of musical modes.

LINGUISTIC FEATURES OF RUSSIAN FOLK TALES

Russian folk tale surprises with its rich vocabulary, colorful turns, and unusual stylistic methods. In order to plunge into the world of the Russian folk tale, in this article, we will analyze each feature separately and highlight more indicative features in each. The tale has a generalizing idea that has been developed over the centuries. In a fairy tale, artistic thought itself plays a huge role, and this unity is created thanks to certain means: repetitions, epithets, hyperbole, antithesis and other stylistic and compositional techniques. From the point of view of their stylistic specifics, Russian folk tales are taken a particular interest. Ergis G.U. argued that not only their content but also the stylistic features of the text serve as a means of moral education of the reader. The grammatical properties of units consist of: forms of words, phrases, sentences, order of units, grammatical meanings of forms, etc.

Deciphering Flavio Pereira’s Reading of Dostoevsky after the The House of the Dead

This article provides a “dechiffrage” of the form, style, compositional techniques, and referential musical meanings employed by the Brazilian composer and pedagogue Flavio Santos Pereira in the composition of a seven-part suite entitled Reading of Dostoevsky, written in 2016 and based on the book The House of the Dead by Fyodor Dostoevsky. This chamber work is a premonitory work about the present pandemic time, which tests not only the human existential instincts and fears but also the spiritual, philosophical, and moral values upon which a mature and complete personality is built. The author manages to turn the economic structure of a dodecaphonic material into a source of polyphonic, polyrhythmic, stylistic, and timbre diversity. Oscillating and incremental textures, often reaching four-voice overlays, find their counterbalance in the asymmetric movements that synthesize complex subharmonic timbre combinations. The work can be classified as program music, as it employs characteristics of expressionist and impressionist styles mixed with free improvisatory polyphonic techniques. This paper also aims at inducing young performers to consider the paradigmatic model of “dechiffrage” for interpretation supported by stylistic and formal analysis based on classical and modern models. The article includes the full score of Reading of Dostoevsky by Flavio Santos Pereira.