Franghiz Alizadeh’s Composition ‘Wahe’ (‘Oasis’) for String Quartet and Tape Recorder

The article examines the chamber-instrumental work of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, People’s Artist, awarded the honorary title of ‘Artist of Peace’ by UNESCO. The article also highlights the characteristics of the musical and harmonic language, original timbre combinations, unusual dynamics, methods of using modern musical techniques of chamber-instrumental works of Franghiz Alizadeh, which is an area of her creative work that combines East-West music synthesis. The article analyzes Franghiz Alizadeh’s composition ‘Oasis for tape recorder and string quartet and gives specific features of the work. The article emphasizes that Franghiz Alizadeh’s presentation of Oriental thought in a synthesis of modern methods in the composition ‘Oasis’ is a unique feature of the work. The purpose of the research is to analyze the composition of Franghiz Alizadeh’s ‘Oasis’ and to determine the individual stylistic features of the composer. The interpretation of important innovations in Franghiz Alizadeh’s chamber-instrumental work and the discovery of its connection with modern music culture is especially emphasized. The basis of the research is the involvement of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, in the research work of the composition ‘Oasis’, which has not been subjected to scientific and theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that Franghiz Alizadeh’s chamber-instrumental work was formed in the context of the development of modern music, and modern technical methods were manifested uniquely. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists. The scientific novelty of the research is that for the first time, the general features of Franghiz Alizadeh’s chamber-instrumental creative work were studied within the framework of Azerbaijani music science, and the composer’s composition ‘Oasis’ was analyzed in detail. At the same time, based on the analysis, the article presents a detailed scientific study of the composition ‘Oasis’, which is of great importance in the work of the composer. Conclusions. The comprehensive analysis of Franghiz Alizadeh’s chamber-instrumental work and especially the composition ‘Oasis’ in the presented article allows drawing important conclusions about the features of the composer’s creative style. Franghiz Alizadeh is a modern Azerbaijani composer distinguished by her original creative style, and it was noted that the deep content of her works, distinguished by her unusual style of performance, is important in our national music art. It was noted that the East-West synthesis is dynamically manifested in the composer’s work, and this feature is directly felt like her works. From this point of view, F. Alizadeh’s camera-instrumental work is distinguished by the difference of modern writing techniques with rich images, and she has achieved great success not only in her native Azerbaijan but also far beyond its borders. It should be noted that Franghiz Alizadeh’s works, which combine East-West synthesis, have been performed in many countries and met with success. From this point of view, the composition of ‘Oasis’ differs by its rhythmic structure, artistic content, and texture form. It is especially emphasized that the unusual performance of the composition ‘Oasis’ was used to reveal a certain image. It is noted that the composition has a different musical language, along with deep content and non-traditional features. The combination of serial technique and mugam elements gives the composition ‘Oasis’ originality. It is noteworthy that the tape was used as an integral part of the camera-instrumental work. It was noted that the composition "Oasis", as a work of synthesis of theatre and music, has a theatrical effect. Franghis Alizadeh is currently living the period of wisdom in her work and enriches the professional music of Azerbaijan with her unusual works of modern type, which combine East- West synthesis.

Intersubjectivity in Artistic Translation

The present article deals with the problem of defining the essence of artistic translation as the specific type of discourse and conducting such interpretation of intersubjectivity as the principle of discourse theory refers to the translator’s role and importance (‘translator icon’) within the scope of artistic translation. As the object of this study, artistic translation differs from the other types of translation by its creativeness. Creativeness of artistic translation should be considered as the interrelation of the concepts of ‘translator icon’ as well as translation style. ‘Translator icon’ is believed to be precisely revealed in translation style. According to the fact, that the research is being conducted on the basis of interdisciplinary methodology, it is very important to determine more precisely the research aspects related to the artistic translation as discourse phenomenon. ‘Translator icon’ and translation style concepts are implied here, of course. While determining translation as well as artistic translation, the modern theory of discourse should be taken into account. Correspondingly, translation should be considered as the type of discourse and artistic translation as the sub-type of this latter one. Thus, in the research process, it is very necessary to highlight the discourse principle such as intersubjectivity that implies the communicative relation between the addresser (the sender of information) and the addressee (the recipient of the information). In conclusion, it is possible to be said, that a) artistic translation differs from the other types of translation with its creativeness, b) according to the fact, that creative act implies the creator’s individual style, artistic translation is characterized with its individual creative style as well, c) it was essential to connect the concept of translation style to the concept of ‘translator icon’; d) artistic translation differs from the other types of discourse with its very peculiarity of specific realisation of the principle of intersubjectivity: within its frame the translator is at the same time the adressser and the addressee as well.

Marking Space: a Literary Psychogeography of the Practice of a Nurse Artist

<p>The thesis as a production of disciplined work presented in a creative style is congruent with performance and presentation best practice in community arts. As a practising nurse artist I create spaces of alternate ordering within the mental health field environment. I also inhabit the marginal space of the artist working in hospital environments. This Other Place neither condones nor denies the existence of the mental health field environment as it is revealed. Yet, it seeks to find an alternative to the power and subjectivity of the [social] control of people with an experience of mental illness that inhabit this place both voluntarily and involuntarily. I have used a variety of texts to explore the experience and concept of Otherness. The poems are intended to take you, as a reader where you could not perhaps emotionally and physically go, or might have never envisaged going. They also allow me as the author to more fully describe the Otherness of place that is neither the consumer story nor the nurse’s notation, but somewhere alternately ordered to these two spaces. Drawing on the heuristic research approaches of Moustakas and literary psychogeography , particularly the work of Guy Debord, this thesis creates the space to explore the possibilities of resistance and change and the emergence of the identity of the nurse artist within the mental health field environment.</p>

Marking Space: a Literary Psychogeography of the Practice of a Nurse Artist

<p>The thesis as a production of disciplined work presented in a creative style is congruent with performance and presentation best practice in community arts. As a practising nurse artist I create spaces of alternate ordering within the mental health field environment. I also inhabit the marginal space of the artist working in hospital environments. This Other Place neither condones nor denies the existence of the mental health field environment as it is revealed. Yet, it seeks to find an alternative to the power and subjectivity of the [social] control of people with an experience of mental illness that inhabit this place both voluntarily and involuntarily. I have used a variety of texts to explore the experience and concept of Otherness. The poems are intended to take you, as a reader where you could not perhaps emotionally and physically go, or might have never envisaged going. They also allow me as the author to more fully describe the Otherness of place that is neither the consumer story nor the nurse’s notation, but somewhere alternately ordered to these two spaces. Drawing on the heuristic research approaches of Moustakas and literary psychogeography , particularly the work of Guy Debord, this thesis creates the space to explore the possibilities of resistance and change and the emergence of the identity of the nurse artist within the mental health field environment.</p>

On specificity of the literary-jargonizing type of speech culture in newspaper texts

This article analyzes the newspaper texts from the perspective of specificity of manifestation of the literary jargonizing type of speech culture &ndash; one of the relevant tasks of modern speech studies, substantiated by the state of modern journalism and linguistic problems of mass media. This paper complements a range of linguistic research that determine the attributes of the types of speech culture. The object of this article is the journalistic speech of the popular weekly newspaper &ldquo;Komsomolskaya Pravda&rdquo;, the linguistic peculiarities of which (intentional inclusion in the texts of colloquialisms and jargon elements) are substantiated by the thematic orientation of publications. The subject of this article is the texts of articles written by the correspondent A. Meshkov in their ration with the specificity of manifestation of the markers of literary-jargonizing type of speech culture. Special attention is given to the peculiarities of creative style of the journalist, which allow tracing the goals of jargonization of the own speech. The analysis of speech culture of A. Meshkov is based on the anthropocentric approach, as well as linguostylistic, communicative and discursive methods of modern Russian studies. The conclusion is made that the literary-jargonizing type cannot have an unambiguous assessment, since it characterizes different types of the users of jargon speech. The novelty of the study consists in the attempt to extend the boundaries of literary-jargonizing type by determining two variations with the common and distinguishing features. Analysis of the articles authored by A. Meshkov allows attributing his speech culture to the second type of literary jargonization, which is characterized by appropriateness and expediency of using extraliterary linguistic units for delivering the author&rsquo;s message, professional degree, experience, creative individuality, and unique style.

The specifics of the formation and development of the artistic style of Mykola Malyshko (1961–1967)

The purpose of the article. The article identifies the main factors that influenced the formation and development of Mykola Malyshko’s artistic style in the context of the cultural and artistic processes of the 1960s. Methodology. The following scientific methods are combined: analytical, systematic, historico-cultural, contextual, comparative, and art analysis. The use of these methods allowed us to investigate the period of study of Mykola Malyshko at the Kyiv State Art Institute in 1961–1967, to outline the circle of communication of the artist, as well as to determine the characteristic features of his creative style. Scientific novelty. The work is the first fixation of unknown facts from the creative biography of Mykola Malyshko. Conclusions. During the studied period, Malyshko tries himself as an easel painter, monumental painter (mosaic), sculptor. After analyzing the currently existing information, namely «Svoboda, yak vyiavliaietsia, – tse volia dlia svavoli… : [besida Oleny Yehorushkinoi ta Pavla Hudimova z khudozhnykom M. O. Malyshko ta yoho druzhynoiu N. M. Denysovoiu], s. Maliutianka, Kyivskoi obl., 2012–2013 rr.», we can confidently assert that the main factors that influenced the formation and development of Mykola Malyshko’s artistic style in the 1960 s, were active participants in the activities of the club of creative youth «Suchasnyk» and attempts to move away from the methods of socialistic realism in art. This is clearly illustrated by: a mosaic portrait of T. G. Shevchenko made in 1961; exhibitions at the Taras Shevchenko Kiev State University 1963–1964; the development in 1967 of scenography on the occasion of the 70th anniversary of Les Kurbas, which he implemented together with colleagues Viktor Grigorov and Viktor Ponomarev during his studies at the Kiev State Art Institute and in sketches from summer student practice in 1962 and 1964,that the artist himself considers significant in the formation of personal creative style.

AUTHOR AND HERO’S PARALLELISM IN ENGLISH AND UZBEK LITERATURE

The article examines the creative personality and his parallel construction with the literary hero and the use in Western and Eastern literature. The concept of a creative personality is a literary category, where there are leading the biographical and psychological factors. Nevertheless, the author is one of the factors in the perception of life events, their expression in high poetic and prosaic forms unlike “I”, especially in the choice of images and the formation of artistic heights in their expression. The creative personality is reflected through the artistic image (a character, a hero) and the characteristics of the creative style of the personality are stable. In this regard, emphasizing that a creative person is an artistic image, it is possible to determine the presence of a creative person in different cases of images, portraits and characters, as well as in a series of events in which the character participates. In English, the concept of a creative person translates as “creative person” and means a more creative, skilled person. This phrase is used more as a psychological term and in literature it is not understood as a writer. The concept of a writer is called “writer” or “author”. A creative person is a representative of a talent capable of creating high artistic patterns, unlike the author and writer in terms of terminology. The terms “writer” and “author” can be applied to any author of a work, but a creative person differs from ordinary authors and writers in terms of worldview, sense of poetic principles and power of expression. The “personality” of the writer, his expression is not only a peculiar view of life, its aesthetic development, but also a certain attitude towards it. These are also ideas, artistic concepts that form an integral part of literary works. This article also discusses the use of concepts such as creative “I” and biographical “I”. It reflects the problem of the creative personality and the hero in the works of English authors George Byron, Walter Scott and the most prominent representatives of Uzbek jadid literature Cholpon, Kadyri and Fitrat.

Symphonic Creative Activity of Rufat Ramazanov

The article analyzes several works related to the symphonic work of Rufat Ramazanov, a middle-aged representative of the modern Azerbaijani school of composition. The article also examines Ramazanov’s symphonic works against the background of the development of Azerbaijani music culture and examines his symphonic works in terms of genre diversity. Also, the article considers the characteristics of music and harmonic language in the symphonic works of the composer, the methods of using orchestration. The article emphasizes the unique stylistic features of Rufat Ramazanov’s symphonic works, their connection with folk art, and his tendency to modernize within the traditions. The purpose of the research is to analyze certain symphonic works of Rufat Ramazanov and to study the individual stylistic features of the composer. The main touches are the emergence of the characteristic features of the composer’s symphonic work and the discovery of its connection with modern Azerbaijani music culture. The basis of the research is the involvement in detailed scientific research of several valuable symphonic works of R. Ramazanov, a worthy representative of the modern generation of Azerbaijani composers, which have not been subjected to scientific and theoretical analysis. From this point of view, the research is based on the method of complex theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that the composer’s work has undergone stylistic changes in the process of development, and modern technical methods have uniquely manifested themselves. At the same time, based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists, the article forms the methodological basis. The scientific novelty of the research is that for the first time as special research work, the article is devoted to the symphonic work of R. Ramazanov, a representative of the modern school of the composition of Azerbaijan, and the study of general creative features associated with it. The presented article for the first time scientifically analyzes the symphonic works of R. Ramazanov, which are important in his work but have not been studied so far. Conclusions. A comprehensive analysis of Ramazanov’s symphonic works in the presented article allows one to draw important conclusions about the features of the composer’s creative style. It was noted that the richness and deep content of the musical language of the bright and individual symphonic works created by Ramazanov, one of the modern Azerbaijani composers distinguished by his original creative style, in various years of his creative life are important in our national music art. It was noted that the composer’s insistence and seriousness towards himself are also felt like his works. From this point of view, Ramazanov’s symphonic music and modern writing techniques with rich images were chosen from his contemporaries and recognized in our music society and were welcomed not only in his homeland but also far beyond its borders. It should be noted that several of Ramazanov’s works have been successfully performed not only in his native Azerbaijan but also in Turkey, England, Norway, Israel, Canada, Georgia, and other countries. Ramazanov is currently experiencing a period of growth in his creativity, enriching our professional music art by creating new modern works.

“Romantic Concert” for Piano and Orchestra by Joseph Marx in the Aspect of Aesthetics of Late Romanticism

There is considered the “Romantic Concert” for piano and orchestra in E major (1919) by the Austrian composer, pianist, teacher, theoretician and public figure Joseph Marx (1882–1964). The “Romantic Concert” was included in the repertoire of such pianists as W. Gieseking, J. Bolet, M.-A. Hamelin and D. Lively. The relevance of the study consists not only in the absence in Ukraine publications devoted to the study of the “Romantic Concert”, but also in the need to introduce this work into the creative practice of native performers. The main objective of this study is to explore how the realization of the traditions of the piano concerto genre in the opus of J. Marx is combined with the composer’s thinking as a late romantic and his individual creative style. Scientific novelty lies in an attempt to spread the scientific understanding of the existence of late romanticism in the musical art of the early twentieth century and to determine features of its embodiment in the genre of a concert for piano and orchestra on the example of the “Romantic Concert” by J. Marx. The research methodology is based on the methods of holistic and stylistic analysis described in the works by M. Mikhaylov and Ye. Ruch’yevskaya. Also this article is based on the concept of late romanticism by L. Nebolyubova, which is supplemented by the theses set forth in the works of Russian musicologist O. Sheludyakova.All three parts of the “Romantic Concert” were analyzed in detail, which made it possible to produce the findings set out in article. In his work, J. Marx reproduces in detail the type of piano concerto of the Romantic era, using almost all possible genre-compositional and style parameters. “Romantic Concert” is an example of an instrumental concert of a symphonic type, where the soloist and orchestra act as a comprehensive whole, and the cycle itself is based on the dramatic basis of the symphonic work. The musical fabric of the concert is based on a huge number of style allusions to the work of composers of different eras and styles, which is a vivid manifestation of the synthetic, conclusive character of the late stage of musical romanticism. Piano concert of J. Marx played a part in the formation of “romantic-centric” trends in the musical art of the twentieth century.

Modern Interpretations Of The Creative Style Of Kamoliddin Behzod In The Works Of Artists Of Uzbekistan

The article discusses about the artists who in their works used the tavorik style of the artist's miniature K. Behzod and used them and used the things created in their works in modern solutions. They solve the compositional structure and artistic solution of their works in an unexpected way. They also manage to express free creative space and time directly in these works.