BOCCHETTI, CARLA (DIR.) GLOBAL HISTORY, EAST AFRICA AND THE CLASSICAL TRADITIONS. LES CAHIERS D’AFRIQUE DE L’EST (IFRA). IFRA: NAIRÓBI, SPECIAL ISSUE, N. 51, 2016. 216 p. ISSN: 2071-7245

BOCCHETTI, CARLA (DIR.) GLOBAL HISTORY, EAST AFRICA AND THE CLASSICAL TRADITIONS. LES CAHIERS D’AFRIQUE DE L’EST (IFRA). IFRA: NAIRÓBI, SPECIAL ISSUE, N. 51, 2016. 216 p.ISSN: 2071-7245 (Resenha)

INTEGRALISTIK-INTERKONEKTIF PENDIDIKAN SALAF DAN KHALAF PONDOK PESANTREN TEBUIRENG JOMBANG

Along with the development of the education system in Indonesia, pesantren are classified into two parts, namely the Salafi pesantren (pesantren that maintains classical traditions) and the Khalafi pesantren (pesantren that incorporate general knowledge or open school institutions). Not all educational institutions have integrated relationships with other knowledge, but from several Islamic boarding schools, there are many that have integrated salaf and khalaf education, such as the one in Pondok Pesantren Tebuireng Jombang. Keywords : Education, Integrated, Islamic boarding school

The modern innovative methods of musical pedagogy and the disciplines of musical performance at high school in the context of distance study

The article deals with the topic of how specialist can find and implement methods connected with the musical education. The author writes about methods of musical pedagogy, adopted to the conditions of reality. There is a translation of idea about a great importance of communication between teacher and student. There is an opinion that the most effective method of modern musical pedagogy is a synthesis of classical traditions of study and sources of innovative technologies. The perspectives of distance study are outlined and an assumption is made about what results it can have. The author also shares his own experience connected with the organization the lessons online. The author gives recommendations not only for teachers of musical academies, institutions but also for pedagogues of musical schools and kindergartens. The importance of realization the innovative and the classical methods of musical education is the main question as for as the high musical school and the educational organizations of pre-school work with children.

A LOOK AT AZER DADASHOV’S PIANO WORK

The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts to small preludes. Thus, the composer's piano music offers a wide choice for pianists of different ages. Azer Dadashov's piano works include three concerts written for piano and camera orchestra, as well as a series of small miniatures and independent plays. The composer composed three concerts for piano and orchestra. The first concert took place in 2004, the second in 2009 and the third in 2010. Miniature genres dominate Azer Dadashov's piano music. The series for young pianists is particularly noteworthy here. A.Dadashov’s “Six Preludes”, “Six Miniatures”, “For the Flower” consisting of seven dances, as well as four sonatinas, pastoral, etc. There are piano works. Taking into account the technical abilities of the young pianist, who has mastered the art of performance, the composer tried to portray the children's colorful dance power, the world of bright images and create interesting musical panels. The composer's piano series “Six Preludes” (1966), “Six miniatures” (1968), “Six melancholy miniatures” (1985), “For Flowers” (1986), and “Atmacalar” (2001) are included in the children's music teaching repertoire. These miniatures are widely included in the concert program of school and young pianists. As the name suggests, most of these sequences are programmed. In sequences of a particular genre, each instance has its own image-emotional content and is ordered within the sequence according to a certain linking principle. Azer Dadashov's piano music is also characteristic of independent plays of different volume and content. These include “Poema” (2012), “Space song” (2015), “Bagatel” (2010), “Praise”, “Funny dance” (2009), four sonatas, “Three almonds and a walnut” for piano and chamber orchestra. ”, “Sacrifice of God”, “My Flag”, “Trial”, “Grace” and others. Although the use of modern means of expression and the writing techniques of the composer are observed in A.Dadashov's piano music, the composer prefers classical traditions to embody the form. In the composer's music, each motif serves to embody the main idea down to the smallest detail, depending on its general content.

Twenty-First-Century Virtue

This chapter identifies the growing difficulty of making ethical decisions—choices that aim at the “good life”—in our present human condition, one in which the unpredictable, complex, and destabilizing effects of emerging technologies on a global scale make the shape of the human future increasingly opaque and hard to fathom. The chapter suggests that this twenty-first-century challenge for ethics, which we can identify as a state of acute technosocial opacity, is best addressed from a particular philosophical tradition: virtue ethics. It argues that the classical traditions of Aristotelian, Confucian, and Buddhist virtue ethics offer us more resources for managing this contemporary problem than do other, more modern moral theories. The chapter concludes that only the cultivation of distinctly technomoral virtues will preserve humanity’s chances to live well with emerging technologies, and flourish in an increasingly opaque future.

THE SHORT STORY CYCLE IN CONTEMPORARY BRITISH LITERATURE (BASED ON THE SHORT STORIES BY J. MCGREGOR)

The article is devoted to the poetics of the short story cycle - a genre of short narrative fiction, where classical traditions and experimental narrative techniques are used to explicate topical issues of contemporary British literature. Beside the fact that the stories are relatively short, they are characterized by semantic compression, gaps in meaning, “internal” psychological plot, intensity, expressive imagery, lyricism, implications. The consistency of the short story cycle is created by thematic complementarity, coherence of style and composition. The short story cycle by J. McGregor ‘That Isn’t the Sort of Thing that Happens to Someone like You’ is devoted to everyday life of English Fenland inhabitants and can be attributed to the ‘narrative of community’ genre, traditional for British literature. McGregor’s short story cycle embodies almost all modern tendencies of the genre: a wide palette of themes within the framework of topical issues; vivid psychological portraits and images; variety of narrative types and forms; suggestiveness, implications, specific usage of pronouns, stylistic devices of contrast and repetition.

Piano Trio by Amanda Maier in the Context of Genre Evolution

The relevance of the study. The name of Swedish composer and violin virtuoso of the Romantic era Amanda Maier-Röntgen is virtually unknown in Ukrainian musicology. Her work was forgotten for long time and rediscovered by European (particulary Swedish) and American musicians. But at one time she was the first woman who received the title of “Musik Direktor” after graduating from the Royal Academy of Music in Stockholm. She also perfected her performing and composing mastership in Leipzig, her work was praised by critics and leading European musicians: E. Grieg, J. Brahms, K. Schumann, with whom A. Maier maintained creative contacts. Existing research in European and American musicology considers basically only biography and performing activity of A. Maier, not her composer style or genre-stylistic and compositional features of her works. The main objective of the research is to consider the stylistic parameters in chamber music works by A. Maier, in particular, her interpretation of the piano trio genre. The methodology of the study is based on the main methods of music science: compositional, harmonic, polyphonic, intonation genre-stylistic analysis, historical-comparative method. The main findings and conclusions of the study. The Trio in E flat major by A. Maier embodies both the most characteristic features of this genre that have developed in the works of classical composers, and the achievements of Romantic composers of the Austrian-German school of the first half of the nineteenth century, and the latter have priority in this work. Continuity with classical traditions can be traced in the four-part structure of the cycle, which has become typical for the trio genre, beginning with the works by L. van Beethoven; in specific techniques of ensemble writing (unison presentation of the initial theme with all instruments, dialogicity — comparison of the sound of ensemble tutti and solo piano; elements of imitation in strings part; polyphonic work with themes in development). Fundamental role of lyrics, reliance on the song and romance intonations, the kinship of themes within each of the parts, end-to-end thematic development, and thematic arches between the movements in composer thinking of A. Maier comes from Romanticism. Among the individual features inherent in the Trio A. Maier — laconic composition, plasticity of melodic lines, exceptional fluidity and coherence of form, which is achieved due to intonational similarity of the themes, openness of the syntactic structures or veiling of the cadences, organicity of the modulation transitions; dynamism of the developing sections. Also, some melodic and harmonic elements of the Trio (for example, in the themes of the middle sections of Scherzo and Andante) hint at the Scandinavian national folklore. Amanda Mayer's trio represents the best achievements of the romantic stage in the evolution of the genre: your embodiment of classical traditions together with the disclosure of personal lyrical and psychological content.

Neo-Latin poetry of Ukraine: literary and stylistic syncretism

The article considers the literary and stylistic peculiarities of Neo-Latin poetry in seventeenth to eighteenth-century Ukraine. Latin poetry of that time is marked by variability and diversity of genres, for it logically continued the classical traditions and at the same time was influenced by the aesthetics and poetics of the Baroque due to the interlingual contacts. The Latin language was supposed to be the main criterion of the high style in a poetry. As for the genre peculiarities, Neo-Latin poetry tended to panegyrics as the literature "fashion" of that epoch, when the poets expressed their gratitude and admiration to the philanthropists, whereas the elegic poems were the part of poetic courses to illustrate the genre. It explains the freedom and fantazy which are present in panegyric poetry and classical canon which served for writing elegies. The period of the seventeenth to the eighteenth century was an absolutely disparate one in both the political and social life of Ukraine. Rapid development of events, dramatically changing realia and values shaped very special attitudes to life with the contemporaries, in particular with Kyiv intellectual poets who wrote a significant number of works in Latin. Analysis of these works enables to characterize the development of the Latin language in Ukraine and consider Neo-Latin poetry of Ukraine as a part of the Western European literary and language unity.

A. Karamanov’s piano concerts: “curve” of the style and language evolution

The article is devoted to the peculiarities of the concert-piano style of A. Karamanov, an outstanding Ukrainian composer, whose works have only recently become the subject of musicological discourse. The “curve” of style and language evolution is outlined, the stages of which are marked by three large-scale concerts of the composer, the last of which called “Ave Maria” has already gained worldwide popularity and entered the repertoire of outstanding performers both in Ukraine and abroad. Based on a comprehensive analysis of the genre-stylistic complex of the phenomenon of “piano concert”, a definition of the concept of “concert-piano style” is offered, which is extrapolated to the author’s style of A. Karamanov in this genre. The characteristic features of the composer’s three piano concerts are highlighted and generalized, a kind of triptych cycle, in which through the work of A. Karamanov as a composer-pianist, constant and individually innovative features of the genre are embodied, which became symphonic conceptual model not only in his work, but also in the styles of other authors of the late XX — early XXI centuries. The relevance of the chosen topic is determined by the need for a systematic consideration of the triptych of piano concerts by A. Karamanov as a significant phenomenon of Ukrainian and world pianism at the turn of the XX–XXI centuries. The purpose of the research is to reveal the peculiarities of the style and language evolution of A. Karamanov’s work, the stages of which are represented by his three piano concerts. The methodology is a combination of general scientific and special musicological approaches to the disclosure of the stated topic. Among them are: the method of deduction, which determines the movement of research from the general (concert as a principle of musical thinking) to special (piano concert) and specific phenomenon (triptych piano concerts by A. Karamanov); methods of genre and stylistic analysis used in considering the drama and form of all three concerts; methods of performance and texture analysis aimed at identifying the features of Karamanov’s concert pianism. The results of the research reveal the combination of traditions and innovations in the interpretation of the genre in the concert-piano style of A. Karamanov. All three of his piano concertos are based on different models of drama and form, but common to them is the attraction to the symphonic concept, which brings the concert forms in his music closer to the symphony as a genre of “high generalizations” (Asafiev, 1971). The scientific topicality of this research is determined by the fact that for the first time In Ukrainian musicology it presents a comprehensive review of the aesthetics and poetics of three piano concerts by A. Karamanov, which reflect the characteristics of modern interpretation of the genre with a tendency to symphonization. The practical significance of this scientific research is determined by the possibility of applying its provisions and conclusions in the further study of the laws of modern concert-piano style in the works of other composers. The article can be useful for performers who turn to interpretations of Karamanov’s piano concerts, as well as for teachers and students of piano departments and branches of art universities of Ukraine. Conclusions. The review carried out in this article showed that the concert-piano style of A. Karamanov is an original phenomenon of world piano culture, and therefore requires more in-depth study and performance attention. After all, it embodies the characteristics of a new worldview paradigm, formed on the basis of classical traditions and it is considered as a “bridge” between them and modernity.

Classical Traditions of the Piano Concerto by Ruslan Agababayev

The article is devoted to the analysis of the concert for piano and symphony orchestra by the modern Azerbaijani composer R. Agababayev. The article is very relevant from the point of view of identifying ways to implement classical traditions in a modern piano concerto of the 21st century. It must be said that in this issue we have found many such stylistic features that testify to the strong reliance of Azerbaijani composers on classical traditions. This article is devoted to the study of identifying the stylistic features of R. Agababayev’s piano concerto in the context of the historical development of this genre. Research methodology. The choice of the methodological basis for this study is due to the above goals and tasks that we set ourselves in the framework of this work. Based on the subject matter of the article, the methodological basis of this scientific work is a complex analysis, which implies the interaction of several research methods at different levels. The basis for the analytical analysis of the piano concerto was a theoretical approach, in which such aspects of the work as the problem of form formation, stylistic features of individual elements of the musical language are subject to research. The scientific novelty of the research lies in the fact that for the first time as special research work is the study and detailed analysis of R. Agababayev’s piano concerto. Conclusions. The main conclusion of our scientific research was to determine the stylistic features of the Azerbaijani piano concert created in the 21st century. Based on the data obtained during the analysis, we were able to determine the main trends and ways of development of this genre at the present stage of the development of Azerbaijani academic music. One of the important, if not decisive, aspect in achieving this kind of goal is to identify issues of preserving and transforming traditions, as well as innovative tendencies in the composer’s solution of a particular work. Single-movement piano concertos have become widespread in academic music since the beginning of the era of romanticism. And in the Azerbaijani one-part piano concerts, connections with romantic traditions are deeply felt. Moreover, in each specific work, these traditions are reflected especially. Since the concert by R. Agababayev demonstrates an interesting and original one-part interpretation, combined with an inner poly-part one, this is a typically romantic tendency associated with the composers’ desire to compress the cycle.