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Journal articles on the topic 'Folk tale (Ballet)'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Sorokina, Svetlana P. "Folklore Fairy Tale in the First “Russian” Ballet of S. Diaghilev’s Entreprise." Studia Litterarum 8, no. 4 (2023): 250–71. http://dx.doi.org/10.22455/2500-4247-2023-8-4-250-271.

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The article analyzes the assimilation of the Russian folk tale in the ballet “The Firebird” created in 1910 by M. Fokin, I. Stravinsky, A. Golovin for S. Diaghilev’s Russian Seasons. The history of the composition of the ballet demonstrates that its main sources were fairy tales from the collection of A.N. Afanasiev “Folk Russian Tales,” such as “The Tale of Ivan Tsarevich, the Firebird and the Gray Wolf,” “The Firebird and Vasilisa the Princess,” “Koschey the Immortal.” To develop individual nuances, they could involve “The Tale of the Daring Young Man, Rejuvenating Apples and Living Water,”

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2

Долгова, Д. К. "Folk Ural Melodies in Sergei Prokofiev’s Ballet “The Tale of the Stone Flower”." OPERA MUSICOLOGICA 16/2, no. 2024 (2024): 138–65. http://dx.doi.org/10.26156/operamus.2024.16.2.008.

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Последний балет С. С. Прокофьева «Сказ о каменном цветке» отражает итог работы композитора в данном жанре. Связи с народной культурой в балете проявляются на различных уровнях — сюжетном, музыкально-тематическом, драматургическом. В настоящей статье установлены народно-песенные источники музыкального тематизма балета, представленные в архивах и публикациях, приведены нотации. Прокофьев включает в партитуру напевы уральского фольклора, что указывает на понимание им своеобразия локальных традиций. Уточнен жанровый состав используемых образцов: свадебное причитание, лирические и хороводные песни.

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Jing, Chen. "The Role of Ballet Scenes in the Magic Opera “Ilya Bogatyr” by C. A. Cavos and I. A. Krylov." Университетский научный журнал, no. 75 (August 25, 2023): 140–48. http://dx.doi.org/10.25807/22225064_2023_75_140.

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. The article is devoted to the opera “Ilya Bogatyr” created by composer C. A. Cavos and playwright I. A. Krylov in line with Pre-Romantic trends characteristic of the Russian art of the early 19th century. The performance refl ected the authors’ desire to create a national sample of the magic opera genre. The undoubted advantage of the opera “Ilya Bogatyr” was a variety of dance scenes: a comic ballet of heroes; light dances of nymphs and geniuses focused on ancient images; character dances in the Russian folk style; fairy-tale dances of evil spirits and oriental maidens. All ballet scenes ar

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4

O.O., Tarantseva. "ESTABLISHMENT AND DEVELOPMENT OF NATIONAL FOLK STAGE CHOREOGRAPHY." Collection of Research Papers Pedagogical sciences, no. 90 (November 4, 2020): 119–23. http://dx.doi.org/10.32999/ksu2413-1865/2020-90-19.

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У статті проаналізовано джерела та історичні передумови розвитку національної народно-сценічної хореографії. Визначено етапи становлення й розвитку виконавської школи народно-сценічного танцю та балету в Україні, відповідно, проаналізовано зміст та форми народної хореографії, визначено місце і роль танцювального мистецтва у культурному надбанні українців.Визначено плеяду видатних балетмейстерів, які внесли значний вклад у розвиток та пропаганду хореографічного мистецтва. Зокрема, відзначається праця Б. Ніжинської «Рух і школа руху», в якій висвітлюються педагогічні й естетичні погляди авторки

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Brūzgienė, Rūta. "Folk Tale “Eglė, the Queen of Serpents” [Eglė Žalčių Karalienė] on the Soviet Stage as a Representation of Lithuanian Culture." Contemporary Issues of Literary Studies - International Symposium Proceedings 16 (December 11, 2023): 249–58. http://dx.doi.org/10.62119/cils.16.2023.7553.

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A folk tale “Eglė, the Queen of Serpents” is one of the most exceptional Lithuanian mythical tales, which has received a lot of attention from researchers of Indo-European mythology. After a Lithuanian poetess Salomėja Nėris (1904–1945) wrote a poem following the plot of the fairy tale, it became extremely popular on the Lithuanian stage during the Soviet period. Performances based on this tale or poem not only received several productions on different puppet theater stages, but there was also a ballet written by the composer Eduardas Balsys (1919–1984) which went through several different ada

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6

Makarova, Zoia, and Olha Bilash. "The Snow Queen Ballet in Interpretations of Ukrainian and Foreign Ballet Masters." Dance Studies 6, no. 2 (2023): 191–99. https://doi.org/10.31866/2616-7646.6.2.2023.295185.

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<strong>The purpose of the article </strong>is to identify the peculiarities of choreographic interpretations of The Snow Queen created by Ukrainian and foreign choreographers based on the fairy tale of the same name by Hans Christian Andersen in 2007–2023. <strong>The research methodology </strong>is based on the chronological principle and the use of analytical and comparative methods. <strong>The scientific novelty </strong>of the article lies in the fact that it is the first to identify the ideological, compositional and lexical features of the interpretation

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7

Чэнь, Цзыжань. "Music as a space for the dialogue of Russia and China: on the “Chinese trail” in the works of composer Klimenty Korchmarev." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 2(297) (October 31, 2022): 165–71. http://dx.doi.org/10.53598/2410-3489-2022-2-297-165-171.

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В статье исследуется присутствие китайской темы в творчестве русского композитора К.А. Корчмарёва. Обосновывается идея о том, что, будучи учеником В.О. Малишевского, входившего в «беляевский кружок» и овладевающего композиторским ремеслом под руководством Н.А. Римского-Корсакова и А.К. Глазунова, Корчмарёв выступает продолжателем традиций, заложенных в русской музыкальной культуре его предшественниками, по-своему разрабатывая тему Востока. Наряду с первым туркменским балетом «Веселый обманщик», акцентируется внимание на таких творческих достижениях композитора, как создание музыки к мультфильм

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8

Makiіenko, Stepan. "The stylistic originality of Yurii Shevchenko’s instrumental works on the example of “ThreeUkrainian Songs” for string orchestra." Aspects of Historical Musicology 33, no. 33 (2023): 156–72. http://dx.doi.org/10.34064/khnum2-33.09.

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Statement of the problem. The musical language of Ukrainian composers of the XX–XXI centuries is a complex and rather poorly studied field in modern musicology. This phenomenon raises many questions due to the diversity of styles, forms, and individual expressive systems of composers. Music for chamber ensemble vividly reflects the significant transformations in the artistic perception owned to our era. This musical context includes the work of the Ukrainian composer Yuriі Valentynovych Shevchenko (1953–2022), an outstanding figure in the national musical culture. The composer’s work is consid

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9

Boiko, Olha. "CULTURAL ALLUSIONS IN TEXT CREATION OF UKRAINIAN AND RUSSIAN FANTASY." Odessa National University Herald. Series: Philology 26, no. 2(24) (2022): 17–29. http://dx.doi.org/10.18524/2307-8332.2021.2(24).251833.

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The article is devoted to the analysis of allusion as an element of intertextuality, which plays an important role in the text - making of Russian and Ukrainian fantasy texts. Scientific investigations are analyzed, in which there are definitions of allusion as a stylistic figure and stylistic reception, hint and indirect reference. The origin of allusion as borrowing of a pretext, and also its semantic-compositional role in expression of constructive intertextuality (according to N. Fateeva) is characterized. It is determined that allusions, according to A. Tyutenko, work to increase the cont

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10

Kalenichenko, O. M. "Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)." Aspects of Historical Musicology 17, no. 17 (2019): 148–62. http://dx.doi.org/10.34064/khnum2-17.10.

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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose

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11

Limanskaya, Olga, Irina Kriventsova, Vadym Altukhov, et al. "The development of female students’ flexibility engaged in choreography." Physical education of students 26, no. 2 (2022): 54–63. http://dx.doi.org/10.15561/20755279.2022.0202.

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Background and Study Aim. Choreographic exercises for the development of flexibility are a complex component of training students of the department of folk dance in the specialty "Choreography". Among such exercises are exercises of ballet gymnastics, which take into account the specifics of mobility of the joints. The aim of the study was to identify the level of general and special mobility (“en dehors”) in students who are engaged in choreography. Material and Methods. The study involved students (n = 20) of 1 year of study in the specialty "Choreography" (Faculty of Arts, Department

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12

Ting, Liu. "Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour." Aspects of Historical Musicology 27, no. 27 (2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.

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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicolog

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13

Arifoğulları, Ömer, Günce Keziban Orman, and Gülfem Işıklar Alptekin. "Enhancing Hotel Recommendations through Feature- based Clustering." Bilecik Şeyh Edebali Üniversitesi Fen Bilimleri Dergisi 12, no. 1 (2025): 233–41. https://doi.org/10.35193/bseufbd.1513170.

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This paper addresses the challenge of sparse interaction data in recommendation systems for the hotel industry. Due to the infrequent nature of hotel stays (often once or a few times annually), customer-product interaction data is typically sparse, hindering the effectiveness of traditional collaborative filtering techniques. We propose a novel hybrid recommendation framework specifically designed for this scenario. Unlike conventional systems that rely solely on user preference similarity, our framework leverages hotel clustering based on binary attributes to segment the product space. User i

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14

Yuhan, Qin. "Du Mingxin’s solo piano works: genre-style and performance aspects." Aspects of Historical Musicology 37, no. 37 (2024): 167–81. https://doi.org/10.34064/khnum2-37.08.

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Statement of the problem. The article examines the piano works of the famous Chinese composer, pianist, violinist and conductor with international prestige Du Mingxing. The composer is known primarily as the author of large-scale symphonic works, ballets, choral, vocal and instrumental works, numerous arrangements of folk songs. Solo piano works of the composer are analyzed – the suites “Red Women’s Battalion”, “Mermaid”, “New Century”, the piece “Etude”, and the arrangement of folk tune "Lotus Dance". The genre component of the composer’s piano works is studied and their stylistic features ar

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15

Zharkova, Valeriya. "Music by Claude Debussy and Maurice Ravel: a Modern View of the Problem of Style Identification." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 24–51. http://dx.doi.org/10.31318/2522-4190.2021.130.231181.

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The relevance of the article is determined by the appeal to the debatable issues of stylistic differentiation of the works by Claude Debussy and Maurice Ravel as the French musical culture leading representatives of the late 19th and the first third of the 20th centuries. The research reflections about the connections betwen Debussy and Ravel on the principle “for / against” have not subsided for more than a hundred years. This testifies to the special urgency of this problem and the need to search for modern approaches to understanding the artistic identity of two brilliant contemporaries.Sci

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16

Prokaeva, O. N. "Древняя Русь в отечественном декорационном искусстве конца ХIХ – начала ХХ века". Nasledie Vekov, № 4(20) (30 грудня 2019). http://dx.doi.org/10.36343/sb.2019.20.4.005.

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Настоящая статья посвящена декорационному искусству конца ХIХ начала ХХ в., характеризующемуся обращением к культуре прошлых эпох, в частности Древней Руси. В указанный период в качестве декораторов сцены выступали многие отечественные живописцы первого ряда. Автор статьи, изучив образцы декорационного творчества таких художников, как В. М. Васнецов, М. А. Врубель, Н. К. Рерих, И. Я. Билибин и Н. С. Гончарова, попыталась разобраться в том, почему источником вдохновения для них стало именно древнерусское искусство, а также указала на общие черты и специфику их художественных подходов к сценичес

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Wiebe, Eric N. "Message from the Editor." Engineering Design Graphics Journal 68, no. 3 (2009). https://doi.org/10.18260/edgj.v68i3.72.

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Dear Members: The three articles in this issue reflect themes common to the Engineering Design Graphics Journal: a selection of graphics technology, techniques for the use of this technology, and issues with the integration of technology into the classroom. While graphics technology has been part and parcel of this Division since its inception, the challenges of effective use and integration have not abated. The first article by Smith takes a look at the last theme: the integration of technology into the classroom. While stereoscopic viewing technology has been with us since the Victorian era,

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