Genre and style specifics of Sonata for Double Bass and Piano by Paul Hindemith

Statement of the problem. The works of Paul Hindemith, one of the most outstanding composers of the twentieth century, is distinguished by its universality. P. Hindemith is known as the author of a large number of sonatas for various instruments, among which is Sonata for Double Bass and Piano. The genre and style specificity of P. Hindemith’s chamber sonatas cannot be considered in isolation from the peculiarities of the instruments chosen by the composer, the sound image of which contributed to the formation of certain specific genre features. Sonata for Double Bass and Piano, which became the culmination of the development of double bass music in the composer’s work, can be considered indicative in this respect. Analysis of recent research and publications. There is a great deal of research works devoted to P. Hindemit’s compositions, particularly chamber sonatas, as well as to the peculiarities of his style. One of the most fundamental works is the monograph by T. Levaya and O. Leontieva (1974), which deals with the works of the composer. Among other researchers who turned to the work of Hindemith, we should mention B. Asafev (1975), V. Polyakov (1987), T. Morgunova (2000), V. Batanov (2016). Despite the fact that the stylistic and genre principles of P. Hindemith’s work are outlined in detail in the works of domestic musicologists, most researchers have overlooked the Sonata for Double Bass and Piano by P. Hindemith, which certainly deserves a detailed analytical understanding both in the context of the genre and in terms of the development of double bass performance. Main objective of the study. Today, Sonata for Double Bass and Piano by Paul Hindemith, the performance of which requires significant technical and artistic skill from double bass players, occupies an important place in the double bass repertoire, which is why this article is relevant. The purpose of the article is to determine the genre and style specifics of Sonata for Double Bass and Piano by P. Hindemith in order to further understand the development of solo and orchestral double bass means of expression and rapidly increase the repertoire for double bass in modern art. The scientific novelty of the article lies in the insufficient study of P.Hindemith’s double bass work in the context of Ukrainian double bass school. As a result of the structural-compositional and genre analysis it was possible to conclude about the uniqueness of Sonata for Double Bass and Piano by P. Hindemith as a vivid example of the composer’s search for non-standard means of expression, which lies in choosing the timbre of the solo instrument and the specifics of formative factors. The research methodology includes the following scientific methods: ● historiographic approach (in the aspect of clarifying the data on the double bass compositions by P. Hindemith); ● stylistic approach (in connection with the study of the composer’s work); ● genre approach (which is necessary for referring to certain genres of P. Hindemith’s work); ек ● structural and functional approach (which is used in analytical descriptions); ● comparative, which is applied in connection with the study of different editions of Sonata for Double Bass and Piano by P. Hindemith. Results. In the course of the study, a detailed structural and compositional analysis of P. Hindemith’s Sonata for Double Bass and Piano was carried out, as well as a comparative analysis of two editions of this sonata. The filling of the classical sonata form with modern musical language, the appeal to the means of polyphonic music, the introduction of the genre features of the instrumental concerto, the traditional German song Lied and operatic intonations make this work a vivid example of neoclassicism in the repertoire of double bass players around the world. The varied palette of lines and the flexibility of the imaginative sphere of the Sonata generalize the long-term composer’s search for individual means of expression in contrabass music. Conclusions. The result of the evolutionary path traversed by the double bass from a modest instrument of a symphony orchestra to a brilliant solo instrument was Sonata for Double Bass and Piano – a vivid example of P. Hindemith’s chamber work, which embodied the features of the composer’s mature period. Sonata for Double Bass and Piano by P. Hindemith poses difficult technical and artistic tasks for the performers, the solution of which must be associated not only with the use of all the skills and abilities of the musician, but also with a deep understanding of the internal structure and specifics of the compositional and dramatic solution of the author’s intention.

Simulation of the Dynamic and Thermodynamic Structure and Microphysical Evolution of a Squall Line in South China

A squall line that occurred in south China on 31 March 2014 was simulated with the Weather Research and Forecasting model. The microphysical processes had an important influence on the dynamic and thermodynamic structure of the squall line. The process of water vapor condensation (PCC+) provided heat for the ascending movement inside the squall line. The forward movement of the heating area of PCC+ was an important reason for the squall line’s tilting. The convergence of the outflow of the cold pool and the warm and wet air constantly triggered new convection cells in the front of the cold pool, which made the squall line propagate forwards. The cooling process of graupel melting into rain corresponded closely with the rear inflow jet. During the mature period of the squall line, the effect of cooling strengthened the rear inflow jet. This promoted low-layer inflow and a convective ascending motion, thus further promoting the development of the squall line system. During the decay period, the strong backflow center of the stratospheric region cut off the forward inflow of the middle and low layer towards the high layer, and cooperated with the cold pool to cut off the warm and wet air transport of the low layer, making the system decline gradually.

The images of foreigners in I. S. Shmelyov’s stories of the earlier period in the context of the theme of childhood

The subject of this research is the images of foreigners in I. S. Shmelyov’s stories of the earlier period “On the Seashore” and "Hassan and His Jeddi". The stories mark a neo-realistic period in the writer’s creative path, oriented towards depicting the social and everyday realities contemporary to the writer. The goal of this article lies in classification of the characters in the context of the theme of childhood. The belonging of the Turk Hassan and the Greek Dimitraki to a different ethnic and confessional culture, on the one hand allows conducting stylistic experiments to create a speech portrait of the Russian-speaking foreigner, while on the other hand figuratively indicates the diversity and unity of the universe. The novelty of this research consists in referring to the previously undeciphered and unpublished draft materials of the stories. The relevance of the selected topic is substantiated by the need for a more in-depth analysis of I. S. Shmelyov’s works of the earlier period, as namely them lay the foundation for the artistic philosophy and development of his writing style. Based on the comparative method and textual analysis, the article reveals the similar features of the foreign characters, which testifies to the fact that Shmelyov sought for the particular traits. The connection of foreign characters with the world of childhood (blood relationship or spiritual closeness with the child-character, retained childishness of perception of the world) resembles in their images the features of the chactachers of a righteous man and mentor, which were most fully described in Shmelyov’s works of the mature period.

Publitsistika in Creative Work of I.A. Bunin

The article discusses the issue of refraction of the categories “publitsistika” (publicism) and “publitsistichnost” (with the elements of publicism) in the work of I. A. Bunin. It is shown that the definition of “publitsistika” in the categorical sense is applicable, first of all, to his works of the period of emigration, which are of a socio-political nature. Particular attention is paid to the origins of literary-critical and memoir publitsistika, outlined in Bunin’s early articles and essays, in which signs of “publitsistichnost” are found, expanding the boundaries of the declared topic to the level of social problems. The author dwells on certain features characteristic of the future publiсistic manner of the writer: a tendency to polemics, a straightforward position, open attacks towards opponents, the use of artistry. The relevance of the study is due to the need to consider early literary critical articles, essays by Bunin, his «Speeches on the anniversary of the newspaper “Russkie vedomosti”» and publiсistic of the mature period as an integral creative process that has its own dynamics. The novelty of the research is seen in the proposed approach to considering the specifics of the writer’s publicistic heritage, which consists in a systemic and holistic understanding, the involvement of integrative humanitarian knowledge as a context and comments. It is proposed to use mathematical and informational research methods approved by the author in the textual analysis of Bunin’s publicistic works.

Valentyn Bibik: reaching artistic maturity

The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bartók. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.

Untargeted Metabolomics Reveals Alterations in the Primary Metabolites and Potential Pathways in the Vegetative Growth of Morchella sextelata

Morchella sextelata, one of the true morels, has recently been artificially cultivated with stable production in China. Analysis of the variations in primary metabolites during the vegetative stages of M. sextelata is critical for understanding the metabolic process. In this study, three developmental stages were categorized based on morphological and developmental changes, including the young mushroom period, marketable mature period, and physiological maturity period. Untargeted metabolomics-based mass spectrometry was used to analyze the change of metabolites during the growth stages of M. sextelata. The result showed that the metabolites’ content at the different growth stages were significantly different. The relative contents of linoleic acid, mannitol, oleamide, and betaine were higher at each growth stage. Flavor substances were significantly metabolizable during commodity maturity, while amino acids, organic acids, and lipids were significantly metabolizing at physiological maturity. Pathway analysis of the most significant changes involved Pyrimidine metabolism, Vitamin B6 metabolism, Arginine biosynthesis, Lysine biosynthesis, and Lysine degradation. The results can provide a theoretical basis for further clarifying the metabolic regulation mechanism and lay the foundation for optimizing the cultivation process of M. sextelata.

Effect of passivator DHJ-C on the growth and cadmium accumulation of Brassica napus in Cd-contaminated soil

The farmland polluted by cadmium is increasing drastically, which seriously threatened agricultural production and food safety. Nowadays, efficient and convenient way to solve the problem is urgently needed. In this experiment, a particular compound passivator DHJ-C was applied for soil remediation by pot experiment and the effect on both soil and plant was evaluated. The DHJ-C reduced the toxicity of Cd on soil enzyme activity and growth inhibition on Brassica napus. The soil urease and sucrase activity were significantly increased. The dry weight of mature oilseed rape increased by 14.6–36.0% and the yield of seeds increased by 14.1–52% per plant, which suggested that the passivator effectively reduced the detrimental effects on rape. Similarly, the results of physiology and biochemistry also indicated that DHJ-C can distinctly alleviate the inhibitory effect of Cd on plant growth. Such as the MDA content in plant was reduced by 52.1% in 10 mg/kg Cd treatment. Compared with control, Cd accumulation in seedling stage and mature period was significantly reduced as the concentration of Cd in aboveground part even decreased by 18.4 and 32.0% respectively. Overall, DHJ-C hold sufficient ability to be applied as an excellent passivator to reduce Cd toxicity in contaminated soil and significantly increase the yield of rapeseed.

SEMANTICS OF UNREALITY IN THE WORKS OF V. PELEVIN: THE PERCEPTUAL ASPECT

Введение. Представлено исследование семантики восприятия, возникающей в процессе описания ирреальности как объекта чувственного опыта в творчестве В. Пелевина. Языковые единицы с перцептивной семантикой, обладая функционально-эстетической нагрузкой, играют важную роль в реализации формальных и смысловых аспектов организации художественного текста. Цель – изучить особенности языковой репрезентации феномена ирреальности в творчестве В. Пелевина на основе структурно-семантических моделей высказывания и лингвистических средств выражения семантики восприятия. Материал и методы. Исследование осуществляется при помощи метода лингвистического моделирования, нацеленного на изучение базовых компонентов структуры высказывания, и лингвостилистического анализа. В качестве материала выбран постмодернистский текст, который отражает активные процессы, происходящие в языковой системе, в частности романы В. Пелевина «Чапаев и Пустота» и «Generation „П“» (1990-е гг.). Результаты и обсуждение. Установлено, что семантика восприятия реализуется на различных уровнях организации художественного текста. На структурно-семантическом уровне высказывания, помимо базовой модели перцептивной ситуации, выявлены модели, позволяющие актуализировать ирреальные объекты, которые становятся доступными чувственному восприятию персонажей. Для замещения позиции объекта чаще используются абстрактные и конкретные имена существительные и местоимения. Имена прилагательные и причастия, выступающие в качестве квалификатора, описывают разнообразные характеристики воспринимаемого. На уровне формальной организации текста репрезентация семантики ирреального обусловила усложнение синтаксического строя произведения (использование различных типов сравнительных конструкций, сопоставительных и противительных бессоюзных предложений, сложноподчиненных предложений с придаточными места и времени и др.). На стилистическом уровне семантику ирреальности реализуют средства художественной выразительности (метафора, метонимия, сравнение, персонификация и др.), в состав которых входят языковые единицы с перцептивным значением. Заключение. Репрезентация семантики ирреальности в творчестве В. Пелевина тесно связана с изображением перцептивных процессов. Особая роль отводится объектам восприятия, которые, обладая необычными качественными характеристиками, становятся предметом языковой актуализации на разных уровнях художественного текста. Introduction. The article presents the study of the semantics of perception, which is observed in the process of describing unreality as an object of sensory experience in the works of V. Pelevin. Language units with perceptual semantics having a functional and aesthetic meaning play an important role in the implementation of formal and semantic aspects of the organization of a literary text. The purpose of the article is to study the linguistic features of the representation of the semantics of unreality in the work of V. Pelevin on the basis of the identified structural and semantic models of the statement and linguistic means of expressing the semantics of perception. Material and methods. The research is carried out using the method of linguistic modeling aimed at identifying the main components of the utterance structure and linguistic and stylistic analysis. The material chosen is a postmodern text that reflects the active processes taking place in the language sys-tem in particular V. Pelevin’s novels «Chapaev and the Void» and «Generation “P”» which relate to the mature period of the writer’s work (the 1990s). Results and discussion. In the course of the research, it was revealed that the semantics of perception is implemented at various levels of the organization of a literary text. In addition to the basic model of the situation of perception at the structural-semantic level of the utterance, there are models that make it possible to actualize unreal objects. In such circumstances, these objects become accessible to the sensory perception of characters. Abstract and concrete nouns and pronouns are more often used to replace the position of an object. Adjectives and participles that act as qualifiers describe various char-acteristics of the perceived. At the level of the formal text organization, the representation of the se-mantics of the unreal caused the complexity of the syntactic structure of the work (the use of various types of comparative sentences, complex sentences, adverbial clauses of place and adverbial clauses of time, etc.). At the stylistic level of the text, the semantics of unreality are implemented by stylistic devices and expressive means which include language units with perception meaning. Conclusion. The study allows us to conclude that the representation of unreality semantics in the work of V. Pelevin is closely related to the image of perceptual processes. A special role is assigned to perception objects with unusual qualitative characteristics which become the subject of language actualization at different levels of the literary text.

Five preludes of Mykola Roslavets in the reflection of academic and avant-garde trends of his time

The article considers a set of problems related to the study of piano art of the early XXth century and, in particular, the piano work of Mykola Roslavets. It provides the characteristic of the main vectors of piano miniature development, its genre and construction diversity. It emphasizes the composers' creative search in the early XXth century, the desire to embody new, not yet tested compositional techniques. The article notes the influence of traditional and avant-garde trends on the compositional style of that time and their synthesis in a single author's style. It describes five preludes for piano by Mykola Roslavets as one of the most significant achievements of the mature period of the artist's work, which fully reveals the key features of the composer's sense and desire for syntheticity and a new, intellectual, system of sound organization. The five preludes are stated to not have an accidental cycle structure reflecting the influence of many styles and compositional techniques, accumulating the achievements of previous musical epochs and sprouts of the latest, quite important musical trends in piano music. The author notes undoubted influence of Mykola Roslavets' work on the further development of musical art, its relevance and modernity. The proposed analysis should contribute to a more complete understanding of the history of piano music of the first third of the XXth century, elucidate the origins of innovative composers, undeservedly overlooked by musicologists, performers and listeners, and replenish the performing repertoire with piano works by Mykola Roslavets.