Հոգևոր մոնոդիան հայ կոմպոզիտորական արվեստում․Հարո Ստեփանյանի առաջին սիմֆոնիան

Հայ հոգևոր երգաստեղծության նմուշները կոմպոզիտորական ստեղծագործության նյութ են դարձել դեռևս XIX դարավերջին։ Հոգևոր մոնոդիայի մուտքը հետկոմիտասյան շրջանի հայ կոմպոզիտորական արվեստ տեղի ունեցավ 1944 թ.․ նորարարական գաղափարի հեղինակը Հարո Ստեփանյանն էր, որն իր Առաջին սիմֆոնիայում ներառեց «Այսօր ժողովեալ» շարականի թեման։ Սույն հոդվածում քննվում են՝ ա․ Հ․ Ստեփանյանի Առաջին սիմֆոնիայում մոնոդիայի գործածման կերպը և զարգացման սկզբունքները, բ․․ շարականի և օրիգինալ թեմատիզմի հարաբերակցությունը ստեղծագործության երաժշտական հորինվածքում, գ․ մոնոդիայի դերն ու նշանակությունը երկի երաժշտական դրամատուրգիայում։ The samples of the Armenian Sacred music tradition became the subject of musical composition at the end of the 19th century. The sacred monody entered into the Armenian composing art of the post-Komitas era in 1944. The author of the innovative idea was Haro Stepanyan, who included the melodic theme of the “Aysōr žōłōveal” šarakan in his First Symphony. This article examines: a) the manner of usage of the monody and the principles of its development in H. Stepanyan’s First Symphony; b) the correlation between the šarakan and the original theme in the musical composition; c) the role and the importance of the monody in the musical dramaturgy of the artwork.

A Triumph of Musical Order? Multiple Sources of Inspiration in “Prelude and Canon,” Forty-Four Duos no. 37

It has been a hot topic in Bartók literature whether he followed some particular order, or relied on creative intuition when he composed. His own statem ents appear to be ambiguous, that is, he occasionally stressed that he consciously worked out his musical language, but on other occasions he emphasised the role of intuition. A contrapuntal short piece from the Forty-Four Duos, namely no. 37 “Prelude and Canon”, can be considered an appropriate material in order to examine how these different viewpoints are applied in an analysis (and to evaluate how appropriate the application of these viewpoints is). From a technical point of view, the Canon part of this piece deserves special attention, as it contains three different types of canon one after another. While the dux always remains in E, each comes is on different degrees (G, A, then B) and different temporal distances (one, two, and three crotchets). This can be regarded as a kind of compositional virtuosity; especially because it is not easy to write such canons on an original theme, much less on an original folk tune. Thus, this piece might be considered an example of how Bartók rationally and consciously worked out his compositions. Such a view can be refined, or possibly superseded by the examination of the original folk tune. The genre of the original folk tune, “párosító” [matchmaking song], as well as the way of its actual performance on the original recording gives us an insight into how an apparently systematic application of the compositional technique is nevertheless related to what we would call a secret programme. Thus, it was probably not only a particular folk song but also the people's life surrounding the folk song which fascinated the composer, and he tried to vividly encode a typical village scene into a piece of art music.

10. Famous Pianists Perform Beethoven 32 Variations on an Original Theme in C Minor According to the Pianists Daniel Barenboim and Evgeny Kissin

Year 2020 constitutes an incredibly significant landmark in the classical music history as it is the year celebrating 250 years since the composer Ludwig van Beethoven was born. The “32 Variations on an Original Theme in C minor” are deemed to be some of the most brilliant pianistic works marking the second period of Beethoven creation. The interpretative visions of Daniel Barenboim and Evgeny Kissin are equally interesting, the two great pianists putting their personality, sensitivity, and culture mark. All these elements confer upon the piece “32 Variations on an Original Theme in C minor” particular expressive valences highlighting Beethoven’s creative genius.

Qualitative Study of Health System Preparedness for Successful Implementation of Disaster Exercises in the Iranian Context

ABSTRACT Objectives: Implementing disaster exercises in different parts of the health system is one of the important steps in providing and developing disaster risk management plans. Considering the importance of promoting health system preparedness through exercise, the present study aimed to identify and explain necessary and original components for successful implementation of preparedness exercises of the health-care system in disaster. Methods: The study was a qualitative content analysis. Data were collected by purposeful sampling through in-depth and semi-structured individual interviews with 25 health professionals in disaster. Directed content analysis was used to analyze the data, which extracted the initial codes after performing the recorded interviews on paper and immersing them in the data analysis. Results: The data analysis resulted in the production of 100 initial codes, 14 subcategories, 6 main categories of “coordination and information management,” “standards and indicators,” “conduction and control of the process,” “logistic management and supplies,” “management of treatment operation,” and “management of health operation,” under the original theme of “implementation of exercise.” Conclusions: The findings of this study can greatly increase the attention of senior managers to preparedness in all areas of the health system, especially managers of prehospitals and hospitals who are the forefront of the response to the disaster. The findings of this study can be considered as a guideline for the implementation of principle and standardized health system preparedness exercises.

COVID-19, the Food System and the Circular Economy: Challenges and Opportunities

This paper analyzes the causes and effects of the COVID-19 crisis, with a specific focus on the food system. Food consumption and production has not only been impacted by the crisis, but it may have also contributed to causing the pandemic. After providing a brief introductory framework, the paper presents the results of a pilot study on the link between COVID-19 and the food system, as indicated by the social media activity of selected European Union (EU) Twitter accounts, measured using an original “theme popularity” metric. Thereafter, a systematic review of the literature is proposed to identify the causes of the rise in popularity of a sustainable food system theme, the potential consequences of the COVID-19 crisis for the food system (targeting the production, consumption and waste disposal phases) and possible solutions, focusing on the circular economy. Challenges and opportunities for policymakers in the short and long term are discussed. A holistic approach is advocated, as the global food system is intimately connected with society and requires deep cooperation among nation states and economic actors.

B. Britten’s “Guide to the Orchestra”: to the Question of the Unity of the Artistic and Pedagogical Aspects of the Composer’s Plan

The article presents an analysis of one of the most interesting orchestral compositions intended to familiarize listeners of symphonic concerts with instruments – compositions by Benjamin Britten “Guide to the orchestra. Variations on Purcell’s theme” The composer created his opus in such a way that it could be played in educational programs. At the same time, the composition has a great artistic value. This allows us to consider it in purely musical and pedagogical aspects. The problems of the variation cycle as a dynamically developing flow of diverse images are determined by intonation segments emanating from the theme borrowed from Henry Purcell, in which the initial idea of the master of the XVII century is deeply rethought. The pedagogical task is connected with the demonstration of the timbres of all instruments in solo, ensemble, orchestral sounds, expressing different semantic facets of the original theme, transformed in the process of development into its own antipode. B. Britten found an organic solution to the problems. The article outlines the options for the use of this work in music lessons in secondary school and in the system of additional musical education in the study of instruments of the Symphony orchestra. For this purpose, the comparative characteristics of the performance of the “Guide” by major conductors of different generations are involved, including the interpretation of the composition by the author of the music, which can be assessed a reference. The characteristic of the film for which the music and contemporary videos of the performance of Britten’s opus are written is given.

Opening Statements: Theme Singing and Shifting Paradigms for Voicing Feminine Subjectivities as Television Music

This article argues that more scholarly attention should be paid to women’s contributions to the practice of “theme singing,” or the textual and industrial practices of using vocalists as sonic proxies for television characters by articulating programs’ thematic concerns and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers. These professionals help cultivate television programs’ aural sensibilities by literally giving voice to a show’s premise and, in so doing, raise the volume on women’s place in television storytelling as otherwise marginalized subjects. This essay identifies three different types of theme singing that are especially common in television storytelling: theme singing as declaration of selfhood, theme singing as expression of kinship, and theme singing as assertion of community. Further, it analyzes Solange’s and SZA’s involvement with Insecure (HBO, 2016–) as music consultant and soundtrack contributor, respectively, to identify an emerging pattern within contemporary television production of shifting the tonal and thematic properties of theme singing onto licensing by dispensing with original theme music altogether while potentially amplifying more women’s voices as source music.

Music for a French Piano

In late 1803, Beethoven acquired a new piano from the French firm of Sébastien Erard. This piano differed from the one built by Anton Walter that he owned in the late 1790s, most notably in its heavier construction, English-style action rather than the lighter Viennese action, triple stringing, four pedal stops (lute, dampers, buff, una corda), and five-and-a-half octave range from FF to c4. The piano’s influence on Beethoven’s compositional process is apparent in his Thirty-Two Variations on an Original Theme, WoO 80 (1806), a quasi-systematic exploration of piano techniques, textures, and sonorities that exploits both the capacities and limitations of the Erard.

Beethoven 1806

Between early 1806 and early 1807, Ludwig van Beethoven completed a remarkable series of instrumental works including his Fourth Piano Concerto (Op. 58), “Razumovsky” String Quartets (Op. 59), Fourth Symphony (Op. 60), Violin Concerto (Op. 61), Thirty-Two Variations on an Original Theme for Piano (WoO 80), and Overture to Collin’s Coriolan (Op. 62). Critics have struggled to reconcile the music of this year with Beethoven’s so-called heroic style, the paradigm through which his middle-period works have typically been understood. Drawing on theories of mediation and a wealth of primary sources, Beethoven 1806 explores the specific contexts in which the music of this year was conceived, composed, and heard. Not only did Beethoven depend on patrons, performers, publishers, critics, and audiences to earn a living, but he also tailored his compositions to suit particular sensibilities, proclivities, and technologies.

A Missing Link in Gloss et al. (“From Handmaidens to POSH Humanitarians”)

Among many salient shifts in international development research over the last few decades has been growing legitimacy in recognition/documentation of the “rise of the South” as noted in the UNDP Human Development Report (2013). This has redirected both research and practice beyond just Northern (read “Western”) approaches, opened up new resource flows for “Southern” institutions, and initiated a whole new set of initiatives around “South–South” cooperation (Malik, 2014). To Mahbub ul Haq's original theme of “enlarging people's choices” were added new dimensions of looking beyond just western economies (and solely “economistic” analysis and prescriptions) for solutions to existential threats to sustainable development among the world's poorer nations (UNDP, 1990, p. 9). Fundamental shifts such as these, epitomized in Mahbub's well-known statement on human capacity, provide the basis for the focal article by Gloss, Carr, Reichman, Abdul-Nasiru, and Oestereich (2017) that builds skillfully on a framework, which of course also calls on Amartya Sen's work (so closely aligned with and influential in the Human Development Report series). The result is an original, carefully argued, and, perhaps some will agree, long overdue article synching the broad discipline of modern industrial and organizational (I-O) psychology into a more realistic awareness of how the majority of the world's populations sustain their livelihoods. However, there is a crucial “space” that I-O psychology seems to be still missing, and one barely touched on by this article, and that is the macropolicy environment that brings institutions in government and civil society together in more strategic approaches to developing human “resourcefulness.”