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1
Chonghaile, Deirdre Ní. "‘listening to this rude and beautiful poetry’: John Millington Synge as Song Collector in the Aran Islands." Irish University Review 46, no. 2 (November 2016): 243–59. http://dx.doi.org/10.3366/iur.2016.0225.
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To date, little attention has been given to the songs in Synge's The Aran Islands, items that Tim Robinson imagines are not ‘fully thought into the texture of the work’. They come from a collection of songs in Irish and in English that was created by Synge in Inis Oírr in 1901 in the company of the local poet Mícheál Ó Meachair. This essay investigates Synge's song collection and the local singers and poets whom he met, including Seághan Seoige of Baile an Fhormna, Inis Oírr and Marcuisín Mhichil Siúinéara Ó Flaithbheartaigh of Cill Rónáin, Árainn. It examines how the music of Aran impacted on Synge during his four visits between 1898 and 1901, what his collection tells us about the song tradition of Aran, and what inspired him to collect songs there. Did Douglas Hyde's Love Songs of Connacht prompt him to create his own collection? What parts did Lady Gregory and W.B. Yeats play? Considering Synge was a trained musician and composer, why did he not collect the airs that accompanied the songs? Recognising the influence of sean-nós song on Synge's dramatic oeuvre, this essay questions whether or not the songs of Aran affected his work.
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Ower, Geoffrey, Rebecca Smith, Kyle Caron, and Scott Sakaluk. "When Love Comes Calling: Measuring Sexual Selection on Sagebrush Crickets." UW National Parks Service Research Station Annual Reports 32 (January 1, 2009): 49–53. http://dx.doi.org/10.13001/uwnpsrc.2009.3747.
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Male sagebrush crickets exhibit differential mating success based on their previous mating experience: virgin males have a higher probability of obtaining a mating than do non-virgin males. Measures of lifetime mating success in male sagebrush crickets have revealed that the median mating frequency is one, with many males failing to secure a mate at all and a small minority obtaining two to four mates. The purpose of this study was to investigate the acoustic and morphological characteristics that make male sagebrush crickets attractive to females. Male crickets were captured from Deadmanâs Bar in Grand Teton National Park and their songs were recorded on subsequent evenings. Five song characteristics were measured including pulse duration, interpulse duration, dominant frequency, train duration, and intertrain duration. Multivariate selection analysis revealed significant linear and nonlinear selection on male song, with each of the five measured song characters contributing to male attractiveness. There was significant directional selection favoring longer pulse durations and shorter interpulse durations, which could be an honest indicator of male quality because these song characters likely impose high energetic costs. Significant stabilizing selection favored males with ~ 13.2 kHz calls and intermediate intertrain durations, which may be imposed by the auditory sensitivity of females.
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Skinner, Anthea. "‘I love my body’: Depictions of sex and romance in disability music culture." Sexualities 21, no. 3 (April 19, 2017): 350–63. http://dx.doi.org/10.1177/1363460716688676.
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The international disability music scene is a thriving musical subculture consisting of performers self-identifying as disabled who use their performances to explore experiences of living with disability. As a genre predominantly written by, about and for people with disabilities, it provides a space for discourse about life with disability which is largely unmediated by governmental policy, political correctness or able-bodied facilitators. As such, it is a medium through which people with disability are free to express opinions about sex and romance rarely seen in mainstream media. This article examines the ways in which the topics of sexuality and romance are explored within disability music culture. It will focus on four case study songs, I Love My Body (1988) by Johnny Crescendo, Vagina Ain’t Handicapped (2011) by Laura Martinez, Def Deaf Girls (2012) by Sean Forbes and No Goodbyes (2012) by Rory Burnside and Rohan Brooks from Rudely Interrupted. These four songs will be used to explore the themes of body image, cultural expectations of the disabled body, the benefits of dating fellow members of the disability community and relationships. This article also draws on the author’s own experience as a person with disability and a musician in a band that regularly performs on the disability music scene.
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Khoirunnisa, Ayu Rini, Idah Hamidah, and Hartati Hartati. "Analisis Stilistika Pada Lirik Lagu Album Jumping Car Oleh HEY! SAY! JUMP." J-Litera: Jurnal Kajian Bahasa, Sastra dan Budaya Jepang 2, no. 1 (May 29, 2020): 1. http://dx.doi.org/10.20884/1.jlitera.2020.2.1.2104.
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This research examines the style of language in song lyric entitled “A Stylistic Analysis of Hey! Say! Jump’s Song Lyrics in Jumping Car Album”. This research aims to find out the kinds of language style and describe the meaning of the song lyrics. Language style theory used in this research is theory proposed by Keraf. This research used a descriptive research with qualitative approach. The data collection technique employed in this research was listening and note taking technique. Collected data were analyzed by using equivalent technique and technique of immediate constituent analyst. Data source used in this research is twelve song lyrics in Jumping Car album. The kinds of language style found consists of 3 (three) metaphor, 5 (five) personification, 7 (seven) simile, 16 (sixteen) allegory, 1 (one) eponym, 1 (one) synecdoche, 4 (four) metonymy, 1 (one) epithet, 1 (one) antonomasia, 1 (one) cynicism and 1 (one) sarcasm. The dominant kinds of language in this research is allegory. All of the meaning of the kinds of language which found shows songs in Jumping Car album describing love and life story in which contain happiness and sadness.
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Stephenson, Jackson. "Love me for the Sake of the World: “Goddess Songs” in Tantric Buddhist Maṇḍala Rituals." Religions 11, no. 3 (March 12, 2020): 124. http://dx.doi.org/10.3390/rel11030124.
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The presence of Apabhraṃśa in tantric Buddhist texts has long been noted by scholars, overwhelmingly explained away as an example of “Twilight language” (saṃdhā-bhāṣā). However, when one looks closer at the vast number of Apabhraṃśa verses in this canon, one finds recurring patterns, themes, and even tropes. This begs for deeper study, as well as establishing a taxonomy of these verses based on their place and use. This paper focuses on a specific subset of Apabhraṃśa verses: “goddess songs” in maṇḍala visualization rituals. These verses are sung by yoginīs at specific moments in esoteric Buddhist ritual syntax; while the sādhaka is absorbed in enstatic emptiness, four yoginīs call out to him with sexually charged appeals, begging him to return to the world and honor their commitments to all sentient beings. When juxtaposed with other Apabhraṃśa verses in tantric Buddhist texts, these songs express an immediacy and intimacy that stands out in both form and content from the surrounding text. This essay argues that Apabhraṃśa is a conscious stylistic choice for signaling intimate and esoteric passages in tantric literature, and so the vast number of Apabhraṃśa verses in this corpus should be reexamined in this light.
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Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.
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Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is clear that at the very beginning of his work Zhu Jian’er had the skill of a versatile depiction of inner experiences and difficulties encountered in the life of the hero. The second number or. 1 No. 2 “Waves washing sand” – imbued with a lyrical and philosophical mood. In the musical-figurative sphere, the landscape poetry occupies a central place with philosophical overtones, symbolically revealing the images of waves on the sand, characterizing the lyrical experiences of the hero and his sadness. op. 1 No. 3 “Lullaby” – the lyrical center of the cycle, a song of meditation with a predominant shade of sadness and philosophical overtones – the theme of enlightenment, the general meaningful canvas corresponds to the genre of lullabies, the appeal to the child, full of tender feelings. The fourth song Or. 1 No. 4 “I want to return to my homeland”, serves as a kind of finale. The basis of the song is the topic of separation, which is very popular in the songwriting of Chinese composers. The content of the song is symbolic: it is not only dreams of a distant friend, family and friends, but also a reflection of emotional feelings of separation from the motherland. Songs “Spring, when you return” and “Dream” were created by the composer in 1944, are devoted to events from the life of the composer. Zhu Jian’er saturates the musical fabric of the song with unstable harmonies, offers a more complex texture solution to the piano part (alternating polyphonic and homophonic-harmonious presentation) and gives it greater independence as an independent layer of musical tissue. The vocal melody also acquires a new look. An arioso-declamatory by nature, it embodies all the nuances of a poetic text that is pronounced with a special sentimental feeling (“Spring, when you return”) or a joyful hope (“Dream”). The analysis completes the generalized characterization of the composer’s early song-writing, in which the inherent features are distinguished. The skill and artistic significance of his songs testify to the fact that Zhu Jian’er succeeded in original compositions with vivid national characteristics. In the early chamber-vocal works of Zhu Jian’er, musical embodiment was achieved both in luminous, lyrical, and sad, even grim character themes related to the reflection of deep emotional, indeed – philosophical aspects of being revealed through a change of experiences. The theme of many songs is associated with the embodiment of the thoughts and feelings of a person, with the chanting of a beautiful nature. Conclusions. The least studied early period of creativity, in particular, the sphere of chamber-vocal music formed the individuality of the compositional style of Zhu Jian’er. Zhu Jian’er’s songs are characterized by vivid musical images and colorful writing, vividly representing the individuality of the composer’s musical language. These works alone allow us to say that in his early years the composer Zhu Jian’er was a high-level musician.
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Mehr, Norman, and Lu Elrod. "Two! Four! Six! Eight! How do we Appreciate? Music Appreciation – Perceiving it, Understanding it." British Journal of Music Education 3, no. 2 (July 1986): 129–33. http://dx.doi.org/10.1017/s0265051700005271.
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An accountable program of elementary classroom music must have an educational function. In other words, it must perform an educational service. This involves more than the singing of songs or the attempt to hold the interest of children with ‘fun’ activities.The educational assumption behind most elementary classroom music programs is that the children through their musical experiences in the classroom will somehow learn to ‘appreciate’ music. The term ‘appreciate’, however, is vague and means different things to different people. Does it mean that children will learn to love the music of the masters by listening to great music on recordings and being told stories about the meaning of the music and the lives of composers? Does appreciating music mean identifying instruments and labeling the form? Does it mean identifying the composer and the period of the music from hearing it? Does it mean naming a certain number of composers and a certain number of the works of each? Does it have anything to do with preference for and liking of the music of the masters?
8
Neill, Lindsay, Nigel Hemmington, and Luca Sturny. "We’d love to turn you on: Considering Bakhtin and the music of The Beatles, ‘A Day in the Life’." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 81–95. http://dx.doi.org/10.1386/jepc_00002_1.
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From the Sgt. Pepper’s Lonely Hearts Club Band album, this article re-reads The Beatles’ classic song ‘A Day in the Life’. Our re-reading uses Bakhtin’s chronotope. While ‘A Day in the Life’ was released in 1967, our chronotopic perspectives of it are timely. In using the chronotope to re-read this classic, we have developed an equation linking utterance to culture, time, history, the individual and interpretation. In those ways, our article not only reveals how texts are interpreted within socio-temporal constructs, but through our equation also shows how other texts may be understood and interpreted. Indeed, our equation explains the process of interpretation. Applied to ‘A Day in the Life’, our interpretation reveals the relevance of the songs lyric and music to contemporary understanding that transcends ways of being and becoming. That understanding also reflects The Beatles’ own change from four ordinary Liverpudlians to global mega-stars. Our interpretation of ‘A Day in the Life’ shows how, through lyric, The Beatles addressed their celebrity by reinstating their ordinariness within the music and lyric of the tune. Consequently, and while we concentrate on ‘A Day in the Life’ our article provides a wider view and understanding of how text and music combine to generate a timeless understanding of both meaning and interpretation.
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Ntabo, Victor Ondara, Naom Moraa Nyarigoti, and Moses Gatambuki Gathigia. "Interpreting the Human Being Metaphors in Ekegusii Pop Songs Using the Cognitive Semantics Framework." Issues in Language Studies 7, no. 2 (July 3, 2019): 73–86. http://dx.doi.org/10.33736/ils.1612.2018.
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The paper explores the human being metaphors in Ekegusii pop songs (EPS). Composers of EPS use human being metaphors to convey their message in different perspectives. It is possible for the meaning of the human being metaphors to elude the audience of EPS because language is both embodied and situated in a specific environment. Therefore, the meaning of the metaphors need to be objectively interpreted to reveal the message of the composers. The study purposively sampled Christopher Mosioma’s (Embarambamba) EPS amasomo (education) and the late Ontiri Bikundo’s obwanchani (love) based on the songs’ richness in metaphors. The Metaphor Identification Procedure Vrije Universiteit was used to identify 54 metaphors in the EPS by four coders (including the researchers). The concept of conceptual mapping, which is a fundamental tenet of the Conceptual Metaphor Theory, was employed to understand the source domains in terms of the target domains. The identified metaphors were classified into four conceptual domains of human being, animal, plant and object using the principle of the Great Chain of Being Metaphor. The paper then identified eight human being metaphors for the present study. The research found that human being metaphors are important ways of conceptualizing other human beings in society. In addition, metaphors are important tools of communication and should be explained using a cognitive semantics framework. The findings of the study will benefit the audience of the EPS, ethnographers and metaphor theorists to conceptualise EPS and culture.
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Tortoriello, Gregory K., and William Hart. "Blurring the Dichotomy of Good and Evil: The Idiosyncratic Helping Strategies Associated with Unmitigated–Agentic and Unmitigated–Communal Personalities." European Journal of Personality 33, no. 6 (November 2019): 674–701. http://dx.doi.org/10.1002/per.2223.
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We theorized that unmitigated–agentic personality constructs (UAPs)—prioritizing ‘getting ahead’ over ‘getting along’—and unmitigated–communal personality constructs (UCPs)—prioritizing getting along over getting ahead—are associated with distinct affect–regulatory helping strategies. In Study 1 ( N = 179), UAPs, on average, related to greater negative–affect versus positive–affect induction helping tactics. In two experiments, UAPs, on average, related to a greater likelihood of selecting anger–inducing versus love–inducing or sadness–inducing songs to help a target overcome a breakup (Study 2; N = 313) and greater selection of anger–inducing and hubris–inducing messages versus authentic–pride–inducing and love–inducing messages to help a teammate struggling in a game (Study 3; N = 246). UCPs manifested the opposite patterns. Generally, these associations corresponded with helping–strategy utility beliefs and were robust to moderators of helping target (self or other; Study 2) or altruistic versus selfish motives (Study 3). Study 4 ( N = 205) provided some evidence of ecological validity in contexts of recalled everyday helping. Associations between personality constructs and relative helping strategies were about moderate in size ( rs ∼ .20) across these four studies. Findings suggest that UAPs are associated with helping strategies believed to promote ‘contemptuous’ self–enhancement relative to ‘innocuous’ self–enhancement and self–transcendence, and vice versa for UCPs. © 2019 European Association of Personality Psychology
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Mahlmann-Bauer, Barbara. "Sigmund von Birken, der Literaturbetrieb, Netzwerke und Werkpolitik." Scientia Poetica 24, no. 1 (November 1, 2020): 1–56. http://dx.doi.org/10.1515/scipo-2020-001.
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AbstractSigmund von Birken belongs to the »Trio of poets from Nürnberg«, together with Georg Philipp Harsdörffer and Johann Klaj whose posthumous fame is mainly due to their pastoral poetry with fullsounding verses in praise of peace and love. Birken started his career with an enormous upshot as organizer of multi-media spectacles during the peace ceremony in Nürnberg in 1650. Apart from his hymns and pastoral love poems, Birken’s poetry does not belong to the canon of early modern literature in Germany. If he had lived longer, he would probably have edited later all those poems which he had written on demand for special occasions and immediately published as separate brochures or leaflets in at least four huge volumes. He would have properly arranged love poems, odes in praise of friendship, poems dedicated to noblemen and civilians, hymns and secular songs, starting like his famous predecessors with his Latin verses. This ambitious publication project is outlined in his manuscript collections, but was not realized during Birken’s lifetime. To correct for this oversight, the commented edition of Birken’s complete poetic manuscripts, which was recently finished by Hartmut Laufhütte, gives a broad impression of his talents as a playful virtuoso in all kinds of genres, teacher of poetry, advisor, ›ghostwriter‹ and promotor of young poets, male and female alike. His diaries and correspondence account for his enormous productivity and versatility, thus enabling modern readers to watch him during the creative procedure more closely than any other German poet of his time. The edition of Birken’s manuscripts is on the same scale as a few other recently completed long term editions of early modern German ego-documents and poetry and sets high standards for further editions.
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Mihara, Minoru. "Shakespearean Ballads in Thomas Percy’s Reliques of Ancient English Poetry: Transition from Oral Songs to Printed Historical Documents." Textual Cultures 10, no. 2 (October 18, 2018): 107–25. http://dx.doi.org/10.14434/textual.v10i2.22840.
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Thomas Percy’s ballad collection, Reliques of Ancient English Poetry, marks a point of intersection between balladry and Shakespeareana, which both went through a transitional phase from vocal performance to literary undertaking in the eighteenth century. In the Reliques, ballads that had been orally transmitted by minstrels were changed into validated printed sources for a scholarly project. This transition helped eighteenth-century editors gain a historical understanding of Shakespeare and emend his traditionally received texts. These editors were persuaded to use the ballads in the Reliques as reliable sources for their emendation since they were printed as authoritative documents that were useful for their academic editions of Shakespeare. They gained easy textual access to the printed ballads in the Reliques to search for contextual or emendatory materials. A comparison of four Shakespeare-related ballads in the Reliques (“King Cophetua and the Beggar-Maid,” “Take Thy Old Cloak about Thee,” “Willow, Willow, Willow,” and “The Passionate Shepherd to His Love”) to their counterparts in editions of Shakespeare reveals that the ballads that were printed as historical documents in the Reliques advanced the editors’ contextual illustration of Shakespeare and that they authorized the emendation of the textus receptus. This article focuses on the effect of the historical information provided by Percy’s printed ballads on George Steevens’s and Edmond Malone’s contextualization of Shakespeare and on their emendation of Shakespearean texts. In addition, it concentrates on the possibility that Edward Capell referred to Shakespearean ballads in Percy’s Reliques combined with old Quarto editions of Shakespeare’s works.
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Khare, Mrs Asha. "ROLE OF COMMUNICATION TOOLS IN THE PROMOTION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3400.
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Hegel, a well-known scholar of Jammani, has placed music in the category of love arts. Indian music has been called the essence of all four languages. Music has been worshiped extensively in India and has been worshiped as Veena Vavadani. Sa vidya or liberation is music. In the divine period, the reins of music were in the hands of Brahmins. In this period, music flourished in religious atmosphere. Samudragupta was self-effacing. In this period, music began to develop in Rajashraya. Classical and folk music was also promoted. Kaval Das and Bhasa, the great poet and playwright of Sanskrit, wrote important texts in this period. The Rajputs were ruled after the Gupta period. Indian music, which was embedded in the thread of unity, began to be divided into two streams, the music of North India and the music of South India. Important texts of music were written. In the Muvassalam era, Sharangadee wrote a famous book of music called Sangeet Ratnakara. During this period, Amir Khusro brought a new verse in the field of music. The origins of the plants became popular for singing songs and singing ghazali. Bhagakat music was emphasized during the Mughal period. Dhrupad Dhamar singing was popular. The reign of Akbar in the Mughal period has been called the era of music. During this period, musicians and artists enjoyed royalty, and art greatly developed.
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Nisa, Khairatun. "A NOVEL 5 TITIK 1 KOMA BY MUHAMMAD KAMAL IHSAN ON PERSPECTIVE AL-GHAZALI’S SUFISM." Jurnal Ilmiah Ilmu Ushuluddin 19, no. 1 (June 30, 2020): 84. http://dx.doi.org/10.18592/jiiu.v19i1.3455.
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Based on the results of the study, it can be concluded that the novel 5 Titik 1 Koma by Muhammad Kamal Ihsan contains aspects of akhlaki and amali sufism that are in line with Sufism Al-Ghazali's thinking, especially in the stages (maqâmat) and conditions (ahwâl) by which a person sâlik. However, there are differences in the formulation of elements of happiness that must be possessed, even though basically they are interconnected in their implementation.This novel tells the story of the struggle of a mute woman who is studying in Egypt named Zaritsa through the main character named Ihsan. Zaritsa 's determination has provided extraordinary experiences for other characters in this novel, so that they become better people and are more grateful to God for all the pleasures they feel. In addition to containing stories, this novel also contains an explanation of five points and one comma itself, namely gratitude, patience, confidence, sincerity, honesty, and love.The Sufism aspect contained in this novel which is also explained by Al-Ghazali in the form of maqamat is a spiritual level that must be attained by a sâlik and ahwal, namely the mental condition of a salik. Maqâmât and ahwâl contained include: Repentance, patience and gratitude, zuhud, tawakkal, mahabbah (love), sincerity, and honesty. Everything is in accordance with what was mentioned by Al-Ghazali, but there are differences in the use of terms such as the use of sincerity in the face of all the tests that Al-Ghazali called ridha.In addition to Maqamat and Ahwal, this novel also contains the formulation of happiness that will be achieved by Jiaka humans to have gratitude, patience, confidence, sincerity, honesty, and love. The formulation of happiness is in line with Al-Ghazali's view, but Al-Ghazali uses a different language, namely knowing oneself, knowing God, knowing the world, and knowing the hereafter. By recognizing these four things, then someone will surely be grateful, patient, confident, sincere, honest, and love as mentioned by the novelist.The suggestions conveyed based on this research are novel writers, especially Islamic novels to better popularize Sufism values, given the large number of people interested in reading novels compared to reading religious books directly. Researchers are expected to enrich their studies with other methods of literary research, so as to add to the treasures for research in literature, in the form of novels, films, poems, short videos, poems, songs and so on.
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Kalinina, A. S. "Peculiarities of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 74–87. http://dx.doi.org/10.34064/khnum2-13.06.
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Statement of the problem. There are a lot of works in the national musicology focusing on the study of vocal chamber music for voice and piano by Ukrainian composers of the 20th century. Researchers cover quite a wide range of issues regarding vocal pieces and touch upon the problems of cyclocreation, dramaturgy, features of musical and linguistic means, etc. However, they rarely pay attention to translation, though there are many vocal opuses, in which composers use foreign poetry. In this case, the specifi c choice of the translated sample helps to determine the principles of the composer’s approach to the embodiment of the poetic text, especially in comparison with other works based on the same sources. Hence separate songs from D. Klebanov’s vocal cycle on the poems of H. Heine did not become an exception, thereby confi rming the relevance of the proposed topic. The purpose of the article is to determine specifi c features of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov on the basis of two romances – “In a grove, on a wild path”, “My love, lay your hand on my heart”, as compared to the works of other composers of the twentieth century . To achieve the research objectives the following methods were used: historical, structural-functional, genre-style and comparative. Results. Under consideration are peculiarities of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov, one of the founders of Kharkiv composition school. For this work the author took eight verses from the fi rst two cycles of the “Book of Songs” by the German poet. They were based on the motives of love poems with vivid images of nature; sometimes the poems are full of sadness, a sense of loneliness. When D. Klebanov was choosing certain samples from different poetic cycles, he tried to stick to the plot of the “Book of Songs”, since he ordered the poems in the same way they were written in the collection. Another indicator of the composer’s relation to Heiner’s texts is the choice of poetic works which are given in the cycle in Ukrainian and Russian languages. The composer’s individual vision of Heine’s lyric poetry is clearly seen when compared to the vocal works of other composers of the twentieth century, M. Medtner and E. Denisov, written on the same poetic texts. In cross-romances, similar musical-linguistic means are used, including the metrical principle of vocalization of the poetic text, homophonic-harmonic structure, harmony of classical-romantic type. However, each of the composers renders the fi gurative and semantic implications of the poems in their own way. M. Medtner builds his romance “My love, lay your hand on my heart” according to the crescendo principle. Beginning with a quieter dynamics, the composer gradually increases the volume of the sound, which at the end leads to a general climax that moves from the point of the golden section. D. Klebanov chose a different way – to reinforce the dramatism of the poem. This was possible thanks to various musical and linguistic means: a strict, intense melody in the bass doubled in the sixth with a chromatic motion and semiquavers at the end of each bar in the last line of the fi rst stanza, designation Meno mosso, chromaticized vocal melody. The composers’ choice of poetic translations depends on the place and role of the romance in the general structure of the cycle. The eight-part composition of D. Klebanov is based on the wave principle of the plot development. The original four romances pave the way to the fi rst climax – unrequited love in the fi rst romance (“Every morning I awake and ask”), painful memories in the second one (“In a grove, on a wild path”), a tragic image in the third one (“My love, lay your hand on my heart “), and an attempt to overcome the pain in the fourth romance (“First I was afraid of darkness”). Further on, the development is based on contrast: the image of death in the fi fth romance (“Your lovely face, so fair and dear”), a subtle feeling of love in the sixth one (“Oh, let me plunge my heart”), worries because of the marriage of a loved one to another guy in the seventh romance (“I hear the fl ute and the fi ddle”) and disappointment in her spiritual values in the last one (“The violets blue”). Such a location of the third romance justifi es the choice of translation, where the colours are thickening and the content becomes even darker. Such kind of a fi gurative and semantic plot resembles the tradition of a romantic vocal cycle, in which the emotional state of the lyrical character, his emotional collisions сome to the fore. In this perspective, “ 3 Poems of H. Heine” by D. Medtner demonstrate another relationship between the romances of the cycle. All of them have feelings of sorrow, despair circle, a no-go. At the same time, distancing from the immediate events is felt, as if it is a look at someone else’s life, which is evidenced by the storytelling from the third person in the second and third romances. Therefore, the fi rst romance, based on the poem “My love, lay your hand on my heart”, is a kind of “preface” to the cycle, which involves some personal detachment. This leads to the selection of softened content in the translated version of the poem. The second romance, “In a grove, on a wild path”, has a similar function in the vocal cycle of D. Klebanov as it became the preparation for the climax of the third one. The semantic line of his poem is based on two storylines: the external one is the “theme of the journey” that is refl ected in the image of nature, and the internal one is the “theme of sadness”, which focuses on the feelings of the lyrical hero. The composer here, like Анна in the third romance, deepens the line of inner experiences. This became possible thanks to the Tranquillo tempo, fl at minor tonality, massive discordant accompaniment chords, variable measure, melody of the recitative-oratorial type. H. Heine’s poem, presented in the work of D. Klebanov, became the basis of the fi fth romance of E. Denisov’s vocal opus. Like the Ukrainian master, E. Denisov builds his cycle in the spirit of the romantic tradition, but in revealing the fi gurative structure of the poem he goes a different way. He makes a clear distinction between two fi gurativesemantic lines. This is refl ected in the form of a romance that has the features of binarity and variability, the embodiment of the metro-rhythmic structure of the verse based on two opposing principles - metric and cantilena, as well as other means of musical expression. Thus, choosing the same poem by H. Heine, D. Klebanov and E. Denisov represent their own vision of its content. Conclusions The comparative analysis of the embodiment of Heine’s texts by D. Klebanov and other composers of the twentieth century helps to highlight the individual approach of the Ukrainian artist. Despite the fact that the composer chooses similar means of musical expression, he fi nds his own way of refl ecting the semantics of the poetic source. In the above mentioned romances – “In a grove, on a wild path” and “My love, lay your hand on my heart” – the author focuses on the inner confl icts of the lyrical hero, his experiences. Attention paid to the sensory side of the poems also determined the selected translations, since the rejection of translators from the original results in a certain deformation of its meaning and fi gurative structure, which infl uences the musical embodiment of the poetic source.
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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.
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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity
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M, Gopi. "Tiruppavai Unarttum Tiruvarutnerikal." International Research Journal of Tamil 3, S-2 (April 30, 2021): 50–55. http://dx.doi.org/10.34256/irjt21s210.
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As the man appeared in the world, the native speakers of Tamil language Originated. Humans worship God on religious grounds They went further. God divided worship according to the land Were. Vegetarian and Vaishnavas are two of the greatest religions in Tamil Nadu Both were terrifying. Worship and worship Thirumala as the God of Vaishnava Maui. In the book Nallaira Divya Prabandham sung by twelve persons Four thousand songs highlight the glory of Perumal. Andalus contributes to the Lord in the order of the subordinates Thiruppavai has sung the script for surrender. Awakened in the thread Thirty passions of love to the Lord and to the Lord Sung to surrender. Not just during the dawn of dawn She also mourned the women of the Archdiocese Invites. If the women observe the fasting of the month it is about three months It is raining and the country is thriving. Their life Have a good husband. Everybody lives and lives Should. We use 'Namo Narayana' with her tongue as we pronounce daily, the evil that comes upon us is in the fire burned ashes. Those who surrender to Tirumala for fasting. The body must regret and follow the rules regularly. Women should not eat ghee and beautify themselves. Do as much charity as possible for others. He also sang as a child of universal integrity. Andal, all fasting bearers are clean, fasting with purity in the Lord is easy to surrender. Not just his country and his people Andal Thiruppavai Various benefits of fasting Through the sense of community.
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Aniuranti, Asfi, and Putri Amalia Rizkina. "USING ‘BECAUSE YOU LOVED ME’ SONG TO TEACH PAST SIMPLE IN EFL CLASSROOMS." Tarling : Journal of Language Education 2, no. 2 (August 1, 2019): 135–46. http://dx.doi.org/10.24090/tarling.v2i2.2932.
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This study was aimed at investigating the effectiveness of an English song entitled ‘Because You Loved Me’ to teach past simple. Past simple itself is oneof the necessary yet problematic tenses for learners. The research employed was quasi-experimental pretest-post-test design was employed in this research. Thepopulation of this study was five classes of the first grade students of senior highschool. Due to the high number of the population, this research only used twoclasses as the sampling - one class as the experimental group and the other oneas the control group. This research was carried out through four stages namelypretest, treatment implementation, post-test and data analysis. The result of thedata analysis showed that ‘Because You Loved Me’ song is effective for teachingpast simple. The value of t-test was higher than the t-table. The result of t-test formula was 1.91, and the t-table was 1.67. Overall, English song entitled ‘Because You Loved Me’ is effective to teach past simple and using songs in EFLclassrooms may also provide comfortable and interesting teaching and learningprocess.
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REUS, TIM. "AN ICY FORCE BOTH FOUL AND FAIR: THE THEME OF LOVE VERSUS FEAR IN THE DUTCH DUBBED VERSION OF DISNEY’S FROZEN." Across Languages and Cultures 21, no. 1 (June 2020): 89–106. http://dx.doi.org/10.1556/084.2020.00005.
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Abstract:This study compares the songs from the original, English-language version of the 2013 Disney film Frozen to those of the Dutch dubbed version, investigating how the thematic representation of love and fear differ between these versions. To support this inherently qualitative analysis, this study employs the triangle of aspects, an analytical model that identifies certain aspects and variables central to animated musical film dubbing, allowing a quantification of differences between dubbed versions. It is found that the dubbed songs differ most strongly from the original songs in the verbal code, which covers issues such as semantic sense and register, and least in the musical code, which concerns matters of rhyme scheme, rhythm, and singability. The effects of the changes are a slight backgrounding of the theme of love versus fear: whereas the source version presents and explores a clear dichotomy between love and fear, the dubbed version concentrates more on love as the ultimate goal of life, eliminating much of the importance of fear. These results show that quantitative data can be useful in qualitative analyses, presenting an important step in the development of the field of animated musical film dubbing within translation studies.
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Anfi, lovaS G. "In the shade of “beautiful style”: talking about the chamber vocal music pieces by G. Donizetti." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 99–118. http://dx.doi.org/10.34064/khnum2-15.05.
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Background. In 2018, the 170th anniversary of the death of Gaetano Donizetti (1797–1848) was commemorated. G. Donizetti created 74 operas of various genres and themes. He was the head of the Italian opera school in the second half of the 1830s, picking up the baton from G. Rossini and V. Bellini and anticipating G. Verdi’s searching. Having an apparent melodic gift, excellent skills of composing, knowledge of musical theatre, he created his works extremely quickly and easily – up to 3–4 operas per year, which caused repeated critical attacks. Opera works by G. Donizetti got a hard futurity. This music laid hold of audience in the 1830s–40s, but practically got out of the repertoire by the end of the 19th century, giving way to the masterpieces by G. Verdi and R. Wagner. Its revival began in the 50s of the 20th century, thanks to remarkable interpretations of great performers, in particular Maria Callas, Joan Alston Sutherland, Montserrat Caballé (since 1965), and others. A new success of opera masterpieces arose due to the fact that performing concepts restored the original author’s conception. Among the researchers and listeners, G. Donizetti’s operatic works eclipsed other spheres of his creativity, such as instrumental and chamber vocal music. But at the same time, G. Donizetti lived in the times of the widespread distribution of the romance, and the rapid growth of its popularity in the amateur and professional performing environment. He was an outstanding expert of vocal music and could not ignore this genre. Naturally there is a need for a more attentive approach to such a little-studied topic, as the composer’s chamber vocal music. Objectives. Gaetano Donizetti’s chamber-vocal creativity is the object of this study. The subject is the song cycle “Summer Nights in Posillipo” (“Nuits d’été à Pausilippe”) in terms of individual composer style. The objectives of offered article are not so much fi ll existing gaps on this issue, as taking a closer look at the romance genre, which is eclipsed by the composer’s opera compositions. The author of this work uses classical methods of analysis of historical and theoretical musicology. Results. Studies on the composer style of G. Donizetti in the Russian and Ukrainian languages are very limited in both quantitative and thematic terms. Most sources, including in other languages, consider opera works by the composer. The exact number of Donizetti’s romances is still unknown (from 250 to 270). The song cycle “Nuits d’été à Pausilippe” / “Summer Nights in Posillipo” (1836), consisting of 12 songs, is also not considered in the scientifi c literature. Typical for the fi rst third of the 19th century is the chronotope of this cycle, in which the poetics of the geographical toponym and the symbolism of the night are combined. Posillipo is a distinctive place in the northern part of the Gulf of Naples, with its unusually picturesque landscape and artifacts of ancient culture. The name of the song collection by G. Donizetti corresponds to the popular literature formula of the 1830s – “Florentine Nights” (1833) by H. Heine, “Egyptian Nights” (1835) by A. S. Pushkin, and others, in which the genre of the “night” novelistic cycle embodied. The musical implementations are “Night Pieces” op. 23 (1839) by R. Schumann, song cycle “Summer Nights” op. 7 (1841) by G. Berlioz, which were created in the period of composition writing (1836) by G. Donizetti. The novella-like character of “Summer Nights in Posillipo” is represented by incompleteness of lyric utterance, free alternation of fragments within the boundaries of a given topic, the variability of timbre solutions, varied choice of authors of poetic texts. Six solo numbers (Nos. 1–6) are supplemented by six duets for various timbre sets (Nos. 7–12, for 2 sopranos, soprano and mezzo-soprano, soprano and tenor, tenor and bass). The poems by four poets of Romanticism are involved: Leopoldo Tarantini (Nos. 1, 8, 10, 12), Carlo Guaita (No. 2), Michele Palazzolo (Nos. 7, 11), Francesco Puoti (No. 9), Victor Hugo (No. 6). Also the poems of the anonymous poet (No. 3) and the folklore text (No. 5) are used here. The cycle is “multilingual”, the Italian language coexists with the Neapolitan and French. The love theme prevails. We can talk about creation of a poetic-collective image entitled Homo amore. Solo songs (Nos. 1–6) form conditional self-contained cycle, which is distinguished by genre diversity. This is evidenced by both the designations of the composer himself (Barcarolle – No. 1, Romance – No. 2, Arietta – No. 3, Ballade – No. 4, Neapolitan song – No. 5), and signs of other genres (opera monologue – No. 1, Chivalric romance – No. 2, Serenade – No. 3, Alba – No. 6). The second little cycle is formed by the duets Nos. 7–12. The composer designates Nos. 7–11 as nocturne, while Nos. 12 as brindisi, or drinking song. G. Donizetti’s nocturnes are glad and lyrical, motile, virtuosic, theatrically spectacular. Life and earthly pleasures are glorifi ed in sounding. The atmosphere of a brilliant ball evening is felt here. The unifying factor in duets are the principles of the texture organization of vocal parts. The fi rst one is associated with the interaction of voices-parts with each other according to the principle of anti-phoning singing (Nos. 7, 9, 11). The second principle is associated with the simultaneous sounding of two voices (Nos. 8, 10, 12). The role of intonation relatedness at the songs is signifi cant. The thematism of twelve songs can be divided by the type of melodic core. As a result, there are three groups: I – themes Nos. 1, 2, 5, 8, 10; II – Nos. 3, 6; III – duets Nos. 7, 9. Conclusions. The applying of the “intonation vocabulary” of the epoch is refl ected in numerous allusions between the melodies of the romances by G. Donizetti and the works of his contemporaries (M. Glinka, F. Schubert) and successors (R. Hahn). The biggest interest is the composer work with the form. Acting within the framework of the repeatability (melodic and structural) and stanza form, G. Donizetti seeks to overcome this necessity in every possible way by various means. The structure of his romances “lives”, naturally unfolds in time, obeying the laws of vocal music. The results of “Summer Nights in Posillipo” analysis allow us to conclude about the originality of G. Donizetti’s creative decisions in the genre of romance.
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Khakimyanova, Aigul M. "Cовременное состояние песенного фольклора башкир (по экспедиционным материалам XXI в.)." Oriental Studies 14, no. 2 (July 20, 2021): 409–19. http://dx.doi.org/10.22162/2619-0990-2021-54-2-409-419.
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Introduction. At present, people’s interest in the historical and ethnocultural heritage has increased, and the desire to preserve traditional values for future generations has grown stronger. Song recordings made in the 19th – 20th centuries are evidence of the developed musical and song tradition of the Bashkir people. Due to the collecting efforts of M. A. Burangulov, A. N. Kireev, S. A. Galin, N. D. Shunkarov and others, a whole layer of folk songs has been preserved. During expeditions that have been intensified since the beginning of the 21st century by the Institute of History, Language and Literature of the Ufa Scientific Center of the Russian Academy of Sciences, folklorists are working hard to multifacetedly cataloguize folk knowledge, on the basis of which one can judge the state of traditional modern folklore of the Bashkirs. In our understanding, ‘modern folklore’ is folklore that has existed since the middle of the 20th century to the present, regardless of the environment of existence. Goals. This work aims to consider the genres of traditional musical folklore of the Bashkirs that have survived today, to give a brief description of them, and also to analyze them from the viewpoint of assessing the modern spiritual state of the ethnos. Unlike other genres, musical genres are well preserved in the memory of the population. It is the song and takmaks that are the main genres of modern Bashkir oral and poetic creativity, which makes it possible to reveal the dynamics of the development of folklore. Materials and Methods. The research is based on the author’s expedition materials collected in the 21st century in different regions of the Republic of Bashkortostan and beyond, where the Bashkirs live compactly. They retain collective axiological attitudes and serve as a way of expressing shared emotions. These genres have a high level of demand among the population and therefore quantitatively prevail in expedition records. Folk songs are kept in the memory of people — bearers of folk musical culture, and are not recorded by them in writing. The transmission of musical and folklore works occurs orally. This means that any folk song is perceived and absorbed by each new generation by ear directly at the moment of sounding. Occasionally, songs can be recorded along with their stories and legends. The availability of songwriting histories is a characteristic feature of Bashkir folk songs. Many songs lose their names over time, but they do not completely disappear from the memory of the people, as evidenced by the comments of informants characterizing these works in expressions, such as ‘my mother’s song’, ‘this song was performed by my father’, etc. This phenomenon reflects the strong cultural connection between generations, when performers with special trepidation cherish the memory of their relatives and can reproduce the tune once performed by their father or mother. Along with drawling songs, short four-line songs without a title, drinking songs and takmaks are also common. Takmaks, in turn, are distributed not only orally but also in writing. Modern takmaks are distinguished by great mobility and efficiency, they instantly respond to urgent problems. In the light of recent events, takmaks have appeared on the topic of a pandemic, self-isolation, and online training. Results. A review of folklore materials collected in recent decades shows that the musical genres of Bashkir folklore continue to exist, which means that it is necessary to study not only the current state of the Bashkir song heritage but also its evolution. The folk song, folk singing traditions must be passed on to the younger generation, and only then the folk culture will develop and be preserved for future generations.
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Garcia Busquets, Anna. "A primera sang: batalles nupcials en la Catalunya barroca. Els epitalamis al galant Alba de Francesc Fontanella." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 229. http://dx.doi.org/10.7203/scripta.10.11081.
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Resum: A l’antiga Grècia i Roma els epitalamis actuaven com a preludi eròtic de la nit nupcial. Claudià, a l’antiguitat tardana, va tractar el motiu del desflorament com a pugna amoris amb lasciu refinament. A partir del Quattrocento italià, l’Europa moderna va reprendre amb profusió aquesta tradició laudatòria d’erotisme estilitzat amb cants consagrats a la unió de les famílies il·lustres. El poeta barroc Francesc Fontanella (1622-1682/83) va compondre quatre magnífics epitalamis dedicats a les noces d’un enigmàtic personatge: el ‘galant Alba’. Diversos estudis han intentat, sense èxit, desvelar-ne la identitat. En aquestes composicions, Fontanella va emprar un llenguatge refinat i metafòric per descriure gradualment els estadis que porten a la unió carnal entesa com a lluita amorosa: els versos, rics en imatges florals i minerals, s’han de reconvertir al seu sentit concret a través d’una doble lectura. L’estudi inclou l’edició crítica dels textos i la contextualització del cicle dins del corpus epitalàmic europeu, així com una argumentació sobre la possible identitat dels protagonistes. Paraules clau: literatura catalana moderna; poesia barroca; epitalami; Francesc Fontanella Abstract: In ancient Greece and Rome, epithalamia acted as an erotic prelude to the wedding night. In Late Antiquity, Claudian explored the theme of deflowering as pugna amoris with lascivious refinement. As of 15th century Italian poets, modern Europe recommenced this laudatory tradition of stylised eroticism with songs devoted to the union of illustrious families. The Baroque poet Francesc Fontanella (1622-1682/3) composed four magnificent epithalamia dedicated to the wedding of an enigmatic character: ‘gallant Alba’, of whom several studies have tried, unsuccessfully, to reveal his identity. In these compositions, Fontanella employed refined, metaphorical language to gradually describe the stages of carnal union understood as a love battle: the verses, rich in floral and mineral imagery, must be transformed into their particular meaning through double reading. The study includes the critical edition of the texts and a contextualisation of the series within the European corpus of epithalamia, as well as an argument on the possible identity of the protagonists. Keywords: Early modern Catalan literature; Baroque poetry; epithalamium; Francesc Fontanella
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.
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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Berenson, Frances. "What is this Thing Called ‘Love’?" Philosophy 66, no. 255 (January 1991): 65–79. http://dx.doi.org/10.1017/s0031819100052852.
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‘What is this thing called “love”?’, asks Cole Porter in his well known song, echoing our own doubts and confusions. Well, certain things can be said immediately in answer to his question: ‘Love’ is a four letter word but of the respectable variety describing a human emotion. Everybody wants it, seeks it, hopes for it but some are incapable of giving it; some doubt its existence, others are just confused, still others accept substitutes for the real thing. Often we find ourselves arguing about it, implying the possibility that love just means different things to different people. So while we all agree that love is desirable, very important, a good worth having and so on, our discussions of it reveal all kinds of inconsistencies in our understanding. This is a state of affairs which philosophers have tried to combat in various ways but always focusing on producing objective, general accounts of emotions which include love. Very few have concentrated on love independently of other emotions although love is a very popular example in general accounts. This practice, at the very least, tends to distort the importance of the concept and, at worst, kills dead its formidable significance.
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Mosusova, Nadezda. "Prince of zeta by Petar Konjovic: Opera in five/four acts on the 125th anniversary of the composer's birth." Muzikologija, no. 8 (2008): 151–63. http://dx.doi.org/10.2298/muz0808151m.
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Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the second and final 1929-1939), followed by Kostana (1928), Peasants (1951) and Fatherland (1960). Konjovic's mature operas are characterized by his masterful handling of form, both in close-ups and in detail, as well as his deeply individual assimilation of musical folklore into his work. The Prince of Zeta is not to be understood as a folk opera, but some main themes are directly derived from folk music, precisely from the Montenegrin folk songs quoted in the Mokranjac's Ninth Garland and treated in Konjovic's post-romantic, almost expressionistic way, interwoven with some Italianate leitmotifs, so as to present the opera's two worlds, Montenegrin and Venetian. In the process of forming Konjovic's operatic style, with vocal parts based mainly on the principle of declamation, the opera Prince of Zeta (first performed in Belgrade, 1929, conducted by Lovro von Matacic) proved to be a work of great impact. Hardly anyone grasped then the wide sweep of inspiration which allowed the composer to set and to solve several important problems connected with music drama, essential also in his subsequent stage works. First of all, Konjovic had to handle in his own way the verbal drama the prototype of his opera, Maxim Crnojevic by the Serbian poet Laza Kostic (1841-1910). Permission came from the playwright in the first decade of the 1900, Prince of Zeta being partly set musically, but from then on with new interventions in the poet's text. Being a highly skilled writer, poet musicologist and essayist (he wrote four books and a great number of articles on music and the theatre, and translated opera librettos of Wagner and Moussorgsky), Konjovic felt free to introduce some daring alterations to the literary works he used for his music dramas. So it was with the play Maxim Crnojevic, premiered in Novi Sad in 1870 (printed in the same place in 1846 and 1866). On the other hand, the young poet Kostic (he was in his early twenties when he wrote Maxim Crnojevic) had the prototype for his play in the folkpoem The Marriage of Maxim Crnojevic, turning a naturalistic folk-story into a Hellenic-Shakespearian drama of friendship and love, full of chivalrous deeds and emotions. The once handsome Maxim, his face ruined by heavy disease, can no longer make his marriage with the doge's daughter Angelica (with whom he was already acquainted). The nobles of Montenegro particularly Ivo Crnojevic, who in the meanwhile, proud of his son, boasted in Venice, conspire a doublecrossing plot (with another man, Milos resembling Maxim as bridegroom) which works in the folk-poem, in some ways in drama, but not in the opera, with the story changed by Konjovic. The difference between drama and folk poetry is essential: in Montenegro Maxim murders Milos for the doge's daughter's dowry, on their way back. In the play, too, the tragic event takes place in Montenegro: on the way home Maxim kills Milos, thinking Milos is going to keep the beautiful Angelica for himself (the agreement was that he will hand over the bride to Maxim immediately after the wedding in Venice), then commits suicide realizing his fatal mistake. The girl, deeply disappointed leaves Montenegro. In the opera Maxim reveals the truth to Angelica in Venice, before she is to be wedded with Milos, and stabs himself. She chooses death also, drinking poison - a dramatically and musically very capturing finale in the style of Romeo and Juliet! In some recently performed versions of the opera (1989) the director (Dejan Miladinovic) and conductor (Oskar Danon) returned to the playwright's original denouement, avoiding the Shakespearian end of Konjovic (although in the spirit of Kostic who was also appreciated as a skillful translator of Shakespeare into Serbian language). In the opera Prince of Zeta Konjovic focuses on Ivo Crnojevic, making his role dominant to that of Maxim. The unhappy father, the tragic Hellenic figure, is with his son Maxim the main historical personality in both opera and drama. Zeta forms part of present-day Montenegro but was independent for a short period, then came under Byzantium, and eventually Rashka-Serbia. After the fall of last remnants of the Serbian vassal state in 1439, Zeta was partly independent protected by Venetians under the ruler Ivo Crnojevic, before the Turks grasped Montenegro. Serbian drama, which is usually trochaic, took an iambic course in Kostic's play. The composer preserved the poet's iambs, following the musically accented flexions of spoken language, which remains the main feature of his style. The impressive vocal parts, especially those of Ivo Crnojevic, starting from the Prologue and the first act, are supported by the dynamic and highly symphonized orchestra. For effective choral music the monks' ensemble in the second act (in the final version) and the dramatic Venetian carnival scene with the stylized Montenegrin folk-dances should be noted in both versions. With Prince of Zeta the author definitely made a distinguished name as a composer in Serbian culture, with a strong influence on younger generations of Serbian musicians.
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Liping, Chen. "Analyzing Interpersonal Metafunction through Personal Pronouns in Song Ci Jiang Cheng Zi. Ji Meng." Studies in English Language Teaching 5, no. 1 (February 20, 2017): 71. http://dx.doi.org/10.22158/selt.v5n1p71.
Full textAbstract:
<p><em>Interpersonal metafunction has been studied in the four translated versions of Song Ci Jiang Cheng Zi. Ji Meng through </em><em>contrastive analysis</em><em> with the focus on personal pronouns. It aims to find out that the use of different personal pronouns connotes different interpersonal meaning and test the</em><em> feasibility and applicability of Systemic Functional Grammar to discourse analysis.</em><em> It also helps people who love Song Ci better appreciate this Ci-poem from a different angle.</em></p>
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Filmer, Alice A. "Discourses of Legitimacy: A Love Song to Our Mongrel Selves." Policy Futures in Education 7, no. 2 (January 1, 2009): 200–216. http://dx.doi.org/10.2304/pfie.2009.7.2.200.
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In an intervention that blurs methodological boundaries traditionally separating the researcher from the researched, history from poetry, and the personal from the political, the author weaves a narrative account of her Euro-American family's early history in California into a larger set of social and historical events taking place during the nineteenth century. She employs the metaphor of ‘legitimacy’ to trace her growing awareness of the physical, psychological, and political parallels at work in the colonization of lands, cultures, and bodies in the ‘New World’. Providing context for the mid-nineteenth century war between the USA and Mexico, she analyzes discursive constructs such as hybridity, impurity, and ‘mongrelization’ as they are evoked in the legend of Malinche – the sixteenth-century, indigenous translator and lover of the Spanish conquistador, Hernan Cortés. Four centuries later, echoes of that ‘intermarriage’ and the transgression of many other kinds of boundaries can be heard in the author's unconventional relationship with her son's Mexican father. She offers a ‘post-critical’ perspective in the conclusion by bringing her own voice into dialogue with those of several post-colonial theorists. This ethnography integrates autoethnography, voices from history, and textual analysis into seldom-heard conversations about the conventional and unconventional workings of power and identity. In so doing, both the fixity and fluidity of concepts such as culture, nation, family, language, social class, race, and gender are revealed.
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Hashem, Mazen. "Four Works on Women in Islam." American Journal of Islam and Society 10, no. 4 (January 1, 1993): 550–53. http://dx.doi.org/10.35632/ajis.v10i4.2480.
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This book is a penetrating study of several of the Qur'anic verses andhadiths used to construct and justify a "skewed" understanding of femininity:"He created you from a single soul, and then He created fromit/like-nature its mate" (4:1); " ... mighty is your snare" (12:27); "Fair inthe eyes of men/people is the love of things they covet: women and sons..." (3:14); the concept of shahawiit (earthly desires); and the hadith"she was created from a rib."The discussion is based on a close reading of several tafasir. One noticesimmediately that many of these sources dignify women and do notadvocate the conventional view prevaling in contemporary Muslim societies.The book makes no apology to any author or source that presentsa stereotypical view of women; instead, it criticizes their methodology onthe ground that they followed the traditions of the Bible and the Jews.In the second section, the discussion departs from a direct analysis oftexts to elaborate on an Islamic typology of modem Muslim women. Theauthor, now writing as an activist, no longer argues with others, but isconcerned with getting his own understanding across. Therefore he is notconcerned with nonnative understanding, but rather seeks the best Islamicjudgment, within the context of present circumstances and world culture,on this issue. The book is totally progressive, straight to the point, anddoes not make compromises to please traditionalists.Al Mar'ah bayna Ta'lim al Din wa Taqalid al Mujtama'By Hasan al Turabi: Jeddah: al Dar al Sa'udiyah li al Nashr waTawzi, 1984 ...
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Yau, Amy, and Sofia Christidi. "Shackles of care." European Journal of Marketing 52, no. 12 (November 12, 2018): 2378–404. http://dx.doi.org/10.1108/ejm-11-2017-0838.
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Purpose A growing stream of consumer research has examined the family dynamics and consumption practices that come from the changing life stages. This study aims to better understand the narratives surrounding power struggles emanating from continued parental food provision upon the stages of adulthood. The study illustrates the contestations within the family as well as the strategies that recipients use to alleviate these tensions within the context of adult Greek daughters and sons. Design/methodology/approach The study used in-depth narrative interviews with 17 Greek consumers together with photo elicitation to examine consumers’ power struggles in experiencing continued food provision within the family. Findings The study demonstrates that continued food provision affects the stages of adulthood. The adult children go through a journey of negotiation and struggles of power arising within parental food provision practices. The study demonstrates four power-based struggles and four negotiation strategies to cope with and alleviate the contestations. Research limitations Such exploration allowed insights to emerge in relation to the narratives of sons and daughters themselves. However, there are two other relational partners – the food providers and the partners of the food recipients – whose perspectives were not captured but would further aid understanding if captured in future research. Practical implications The authors show that consumption practices at home can be a source of friction; thus, food related practices outside the family home can be encouraged to mitigate tensions. The findings could inform advertising campaigns and marketing strategies regarding the loving yet challenging family relationship. Social implications The authors encourage mothers to be reflective on the tendency towards continued provision, as the food provision contributes to the daughter and son’s sense of protracted adulthood stages. Insights from the study are applicable to family tensions in other contexts such as the boomerang generation. Originality/value This study focuses on a stage of family life and from a perspective of the recipient, both areas which have been previously under explored. The theoretical perspectives of power are used to contribute to areas of food and family consumption by showing how the provision of food marks meanings of love, but also reveals sources of power and contention. The study also contributes by exploring the role of food consumption in the protraction of adulthood.
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Fuchsman, Kenneth A. "Fathers and Sons: Freud's Discovery of the Oedipus Complex." Psychoanalysis and History 6, no. 1 (January 2004): 23–36. http://dx.doi.org/10.3366/pah.2004.6.1.23.
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Freud's path to the Oedipus complex reveals conceptual inconsistencies. These uncertainties concern fathers, brothers and sons, and the place of the oedipal triad within the family romance. Freud's uncovering of the Oedipus complex emerged, in large part, from his self-analyis of his childhood years in Freiberg. Freud's father was 20 years older than his third wife, and had two adult sons, all of whom lived in Freiberg. In 1897, when Freud announces the Oedipus complex, he stresses his love of his mother and jealousy of his father. Yet in 1924 Freud wrote that his adult brother, Philipp, had taken his father's place as the child's rival. The oedipal complex alters if there are four players rather than three. Freud's concept of an oedipal triangle does not adequately explain the psychological dynamics of his childhood. Fuller conceptual clarity would occur if the dynamics of the Oedipus complex were placed within the family context in which it unfolds.
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Tamir, Ilan. "I Love You Kid, But…: Intergenerational Soccer Fandom Conflict." Men and Masculinities 22, no. 5 (July 4, 2019): 893–904. http://dx.doi.org/10.1177/1097184x19859393.
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Although sports fandom is one of the broadest and most significant social phenomena in modern life, few studies have examined the sources of children’s sports fandom. The reason may be related to the presumption that the main source of a child’s fandom is his or her father. Indeed, literature has repeatedly stressed the role of the family, and specifically the father, in shaping children’s identification with sports teams, alongside other social and psychological factors. The current study examines the significance of the untypical cases in which a son does not follow his father’s path and chooses to support a different soccer team. As uncommon cases frequently highlight what is commonly taken for granted, the current study explores the deep meanings of a disruption in fandom legacy that fathers typically take for granted. Through in-depth interviews with fathers whose children support a soccer team other than their own, the current study identifies that such fandom choices of sons, impact fathers on four levels, namely family legacy, team heritage, masculinity, and religious identification. Intergenerational fandom conflicts between father and son highlight the powerful implications of fans’ connections to their respective teams, and the continuing role of gender-based expectations in the world of sports.
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Fedorak, Dar’ia. "Hildegard of Bingen’s musical work in the aspect of the phenomenon of author’s style." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 312–30. http://dx.doi.org/10.34064/khnum2-19.18.
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Statement of the problem. Today national musicology is beginning to actively show interest in the study of Western European medieval monody. However, there is still no scientific information about the unique personality of the Middle Ages – Hildegard of Bingen and her musical creativity – in particular about the liturgical drama «Ordo virtutum», although there are some musicology methods for analyzing this music. The relevance of this study is due to the filling of this gap. Taking in account that a musical work of the 11–12th centuries is usually considered only within the context of the “historical style”, it seems interesting to have the opposite approach – to identify the characteristic features of authorship in the work of a medieval composer, whose music is becoming more and more popular in the world concert repertoire. The purpose of the article is to consider the work of Hildegard of Bingen in the aspect of the phenomenon of the author’s style and to identify the invariant features of the individual style model. The liturgical drama “Ordo Virtutum” (“Series of Virtues”) of 1150 by Hildegard of Bingen was chosen as the material for the study, in which several types of art – music, literature and theater are combined, and which is the earliest survived sample of this genre. The “libretto” of the drama is written by Hildegard own and fixed in the so-called “Rizenkodeks” – the majestic manuscript book of 25 pounds, which stored in Wiesbaden Landesbibliothek. The author of this study used the following research methods: historical and contextual due to the need to identify the specifics of creative thinking of Hildegard of Bingen in the context of the theory and practice of the liturgical monody of her time; intonation-dramaturgical analysis aimed at a holistic comprehension of the musical content as such, which is guided by the search for unifying patterns of the intonation plan, and the text-musical semantic analysis of the holy chants fot covering the synergistic aspect of understanding style. Results of the study. Theological themes were the main issues of Hildegard’s life, because from the age of eight she lived and studied in a Benedictine monastery, and later founded her own monastery in Rupertsberg. So, the work of Hildegard of Bingen, along with the music of such well-known, but much younger than her, contemporaries, masters of polyphony, like Leonin and Perotin, provides a unique opportunity to trace the peculiarities of the manifestation of authorship in the monody of the 12th century. The Gregorian chant became a genre that fully embodies the aspirations of the church. However, from the 11th century onwards, secular elements were gradually introduced into church music: from Easter or Christmas tropes, which contained intonations of folk songs, to theatrical episodes based on Scriptures, or “actions” called liturgical drama. The musical drama “Ordo Virtutum” (“A Series of Virtues”) was created to consecrate the Hildegard Convent in Rupertsberg and is impressive primarily because it is the first fully preserved, not fragmentary, liturgical drama. Unlike traditional liturgical drama, the work also surprises with its unusualness and multidimensionality. The text of the drama is related to the themes, characters and prophetic visions presented in one of the main theological works of Hildegard – “Scivias”. As for music, it is a monody, which, thanks to its innovations, significantly expands the tonal and intonational boundaries of music of that time. “Ordo Virtutum” is a Christian philosophical parable dedicated to the struggle for the human soul between the sixteen Virtues (Faith, Hope, Love, Humility, Docility, Innocence, Modesty, Divine Love, Divine Knowledge, Prudence, Patience, Chastity etc.) and the devil. This is the story of a “prodigal daughter” tempted by the devil, who gradually repented and returned with joy to the bosom of the Church. The manuscript of the drama is not divided into actions, but modern editions divide the work into six parts: the prologue, four scenes and the finale. There are a total of 82 different melodies, 80 of which are performed by women. The presence of a large number of female roles (as evidenced by the mostly high register of singing) indicates that the drama “Ordo Virtutum” was composed and performed for the first time in a nunnery. A peculiar struggle takes place between the features of the traditional Gregorian genre, secular influences and signs of Hildegard’s own style of singing, which leads to their synthesis in her compositional work and the opening of new musical horizons. The content of her songs is based on spiritual and cultural context, on the one hand, and personal and psychological attitudes, on the other. Hildegard’s monody is individual in relation to the models of Gregorian chants described in the scientific literature and is unorthodox. Following the text, the melody is divided into lines, which are combined into structural constructions of a higher level – stanzas. The structural and semantic unity of the whole is achieved due to the commonality of melodic motives, and the structure of lines and stanzas is determined by the motive formula. The presence of the above-mentioned integrating principle together with the multiplicity of its incarnations within the unique author’s individuality makes it possible to assert that Hildegard of Bingen’s music is a systemic phenomenon and demonstrates its own compositional style, like the music of Leonin or Perotin. On the example of the analysis of the musical characteristics of different heroes of the work, we see that the liturgical drama “Ordo Virtutum” is not just a collection of typified chorales, as it may seem at first glance. We have before us a real composer opus, endowed with its own unique authorial style, which is “lighting” through each element of this harmonious systemic compositional and semantic integrity. Conclusions. The liturgical drama of Hildegard of Bingen, in fact, was the first, which means that it is advisable to talk about the “phenomenon of a musical work” (the term of N. Gerasimova-Persidskaya), which is inevitably associated with authorship. It was also revealed that the characteristic features that add originality to the musical writing of St. Hildegard are the construction of special short intonational-motive formulas, as well as the frequent use of melismas and musical figures of ascending leaps, extended to an octave. The interaction of these and other qualities forms the uniquely individual author’s style of Hildegard of Bingen, the phenomenon of which lies in his exceptional integrity.
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Goyak, Flora, Mazura Mastura Muhammad, Farah Natchiar Mohd Khaja, Muhamad Fadzllah Zaini, and Ghada Mohammad. "Conversational Mental Verbs In English Song Lyrics." Asian Journal of University Education 17, no. 1 (March 8, 2021): 222. http://dx.doi.org/10.24191/ajue.v17i1.12619.
Full textAbstract:
This corpus-driven study explores the linguistics phenomenon of mental verbs in English song lyrics from 1960s until 2000s. This study aims to identify the frequency distributions of lexical verbs, mental verbs, and to analyze the language uses of mental verbs in the Diachronic Corpus of English Song Lyrics (DCOESL). Quantitative and qualitative methods of analysis were implemented to complement each other. First, quantitative data covering frequency distributions of general verbs was produced via LancsBox. Top three mental verbs in song lyrics were selected for analysis and discussion. The frequency distributions of mental verbs and collocations were produced via LancsBox. Collocational patterns are illustrated through collocational graphs constructed via LancsBox. Frequency distributions of mental verbs were compared to reference corpus Contemporary Corpus of American English (COCA) for the purpose of generalizing the findings from this study as representative of English language. The statistical data were submitted for four statistical tests of significance namely Chi-square, Mutual Information, Log-likelihood, and t-score. Second, qualitative data are composed of corpus annotations. Corpus annotations were conducted via CLAWS for assigning part-of-speech C7 tagset to identify verbs. Semantic categories of mental verbs were identified via UCREL Semantic Analysis System (USAS). Findings uncovered the significantly high frequencies of mental verbs know, want, and love in English song lyrics through 1960s until 1990s. These three mental verbs possess high inclination to occur alongside personal pronouns I and you, depict social actions, high predilection for simple present tense, and simple sentence structure. These attributes illuminate that song lyrics emulate spoken English, predominantly the informal conversation register.
Keywords: Corpus Linguistics, Corpus Driven, Computational Corpus Linguistics, Mental Verbs, Song Lyrics.
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Aikin, Judith P. "PRIVATE PIETY IN SEVENTEENTH-CENTURY GERMANY AND THE DEVOTIONAL COMPILATIONS OF CASPAR STIELER." Daphnis 29, no. 1-2 (March 30, 2000): 221–79. http://dx.doi.org/10.1163/18796583-90000707.
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Caspar Stieler (1632-1707), chiefly known today as the author of erotic love song texts and melodies, serio-comic musical dramas, a treatise of journalism , and his ground-breaking dictionary, also wrote devotional texts and published compilations of prayers together with devotional song texts and their melodies that combined his own creations with those of other authors of Evangelical Lutheran Germany. His four surviving compilations (and their various later editions) are discussed in the context of treatment of the religious practices of the times, especially private and domestic devotional exercises. In addition, the study places the compilations in the spiritual movements with which Stieler became involved in the period from around 1665 through 1686, and in particular examines the evidence in these collections of his relationship with Ahasverus Fritsch, an early proponent of Philipp Jakob Spener's Pietism. This study of the devotional handbooks also relates them to Stieler's life, to his other publication activities, and to his life-long involvement with vocal music as composer and as poet of texts designed to be set to music.
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McCann, Ben. "'On ne sait pas grand-chose de nos enfants': Grief and Mourning in Guillaume Nicloux's Valley of Love (2015)." Irish Journal of French Studies 19, no. 1 (December 9, 2019): 123–43. http://dx.doi.org/10.7173/164913319827945710.
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In Guillaume Nicloux's 2015 film Valley of Love, two famous actors who used to be a couple, played by Isabelle Huppert and Gérard Depardieu, reunite after their son's recent suicide. They have received a posthumous letter from him, asking them to visit five places at Death Valley in California, after which, on a certain day, he will 'appear' to them. Valley of Love offers both a realist representation of two grieving parents and an incursion into the supernatural (has the son 'come back'? how will he 'appear' to his parents?).<br/> Valley of Love borrows from Colin Parkes's phase theory (1972, 1983) of how the bereaved return to feelings of safety and security as they resolve their grief. Parkes argues that the bereaved must progress through four overlapping phases of grief. In the first phase, individuals have difficulty grasping that the death has occurred. In the second phase, they seek out the deceased, trying to bring them back into close proximity to relieve their feelings of separation anxiety. In the third phase, the individual becomes confused, has trouble focusing, and becomes dejected. It is in the fourth phase that the individual realises that life can continue without the deceased and begins to rebuild life without them.<br/> This article will survey how grief and mourning are articulated and resolved in Valley of Love through close readings of the film and Parkes's writing on bereavement, grief and the phases of mourning. We shall also explore the film's various visual and aural manifestations of grief, and demonstrate how the Death Valley setting becomes an ideal site for the expression of mourning as the parents negotiate the pain and grief surrounding their child's death.
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De Klerk, BJ, and FW Leuschner. "Die atmosfeer in die erediens deur die loop van die geskiedenis." Verbum et Ecclesia 28, no. 1 (November 17, 2007): 66–87. http://dx.doi.org/10.4102/ve.v28i1.97.
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The worship service occupies a central position in the life of the believer and therefore the atmosphere in the worship service is vital. The variations through history are studied in this article. The viewpoints of the first four centuries, the Middle Ages, Reformation, post-Reformation and twentieth century came under discussion. Lessons from history are stated. The atmosphere in the worship service should be such that the worshipper meets God with the necessary awe and respect. The service must also create an atmosphere of love, warmth, friendliness, and joy. All present must be invited and made welcome by the service. The atmosphere must further encourage and create room for everybody to participate and use their specific gifts. It can therefore change from service to service and within a single service. Important instruments in the atmosphere are the liturgical space, symbols, rituals, physical movement, gestures, music, song and the senses.
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Mallik, Sangram Keshari, and Dr Braja Kishore Sahoo. "Vedic Philosophy and Swami Nigamananda." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 30, 2019): 18. http://dx.doi.org/10.24113/ijellh.v7i12.10214.
Full textAbstract:
Wonder that is India. India is wonderful because of its abundant and affluent cultural heritage. The cultural heritage of India is prudential of its spiritual richness and classical creativity. Vedic literature is the most wonderful and unparallel literary creation of Ancient India. Vedic literature has made this country worthy of worship. Vedas are without beginning and without end. Veda is author-less. It is Apauruseya. They are considered to be the direct word of the Divine. Vedic knowledge appeared in the dawn of the cosmos within the heart of Brahma. Brahma imparted this knowledge in the form of sound (Sabda) to his sons who are great sages. They transmitted the Vedic sound heard from Brahma to their disciples all over universe. There are four Vedas. They are the Rig Veda, Yajur Veda, Sama Veda and Atharva Veda. Four Vedas contain four types of texts such as The Samhitas, The Arankayas, The Brahmanas and The Upanishads. Veda is accepted as a code of conduct to Sanatan Dharma. The teaching of Veda is the concept that the individual is not an independent entity, but, rather, a part of the Universal Consciousness. Upanishads is the manifestation of Vedantic thought. Sada Darshan (Six Systems of Vedanta) is a very important part of Vedic philosophy. Swami Nigamananda a great Master of Vedic Literature achieved Nirbikalpa Sidhi of Vedanta in the year 1904. The philosophy of Vedanta is reflected in the creation of Swami Nigamananda. In his writings (Yogi Guru, Jnani Guru, Tantrik Guru, Premik Guru, Brahmacharya Sadhana and Vedanta Viveka) he has explained the main scriptures of Vedas such as The Upanishads, The Bramha Sutras and The Bhagavad Gita. His philosophy teaches us to love and live in a state of eternal freedom. The Philosophy of Swami Nigamananda is a synthesis of Sankar and Gouranga i.e. knowledge and love. Knowledge envisages the path of analysis and Love, the path of synthesis. In this way Nigamananda convincingly reconciled the two apparently contradictory creeds of Adi Shankaracharya and Gauranga Mohapravu. “He advised his disciples to combine Shankara’s view and Gournaga’s way and walk on this path of synthesis. In fact attainment of Jnana through Bhakti is the nucleus of his philosophy. Through his teachings and works, he proclaimed to the world the fundamental harmony of all religions that there are many paths which lead to the same goal”.
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Keshari Mallik, Sangram, and Dr Braja Kishore Sahoo. "Vedic Philosophy and Swami Nigamananda." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 17. http://dx.doi.org/10.24113/ijellh.v7i12.10232.
Full textAbstract:
Wonder that is India. India is wonderful because of its abundant and affluent cultural heritage. The cultural heritage of India is prudential of its spiritual richness and classical creativity. Vedic literature is the most wonderful and unparallel literary creation of Ancient India. Vedic literature has made this country worthy of worship. Vedas are without beginning and without end. Veda is author-less. It is Apauruseya. They are considered to be the direct word of the Divine. Vedic knowledge appeared in the dawn of the cosmos within the heart of Brahma. Brahma imparted this knowledge in the form of sound (Sabda) to his sons who are great sages. They transmitted the Vedic sound heard from Brahma to their disciples all over universe. There are four Vedas. They are the Rig Veda, Yajur Veda, Sama Veda and Atharva Veda. Four Vedas contain four types of texts such as The Samhitas, The Arankayas, The Brahmanas and The Upanishads. Veda is accepted as a code of conduct to Sanatan Dharma. The teaching of Veda is the concept that the individual is not an independent entity, but, rather, a part of the Universal Consciousness. Upanishads is the manifestation of Vedantic thought. Sada Darshan (Six Systems of Vedanta) is a very important part of Vedic philosophy. Swami Nigamananda a great Master of Vedic Literature achieved Nirbikalpa Sidhi of Vedanta in the year 1904. The philosophy of Vedanta is reflected in the creation of Swami Nigamananda. In his writings (Yogi Guru, Jnani Guru, Tantrik Guru, Premik Guru, Brahmacharya Sadhana and Vedanta Viveka) he has explained the main scriptures of Vedas such as The Upanishads, The Bramha Sutras and The Bhagavad Gita. His philosophy teaches us to love and live in a state of eternal freedom. The Philosophy of Swami Nigamananda is a synthesis of Sankar and Gouranga i.e. knowledge and love. Knowledge envisages the path of analysis and Love, the path of synthesis. In this way Nigamananda convincingly reconciled the two apparently contradictory creeds of Adi Shankaracharya and Gauranga Mohapravu. “He advised his disciples to combine Shankara’s view and Gournaga’s way and walk on this path of synthesis. In fact attainment of Jnana through Bhakti is the nucleus of his philosophy. Through his teachings and works, he proclaimed to the world the fundamental harmony of all religions that there are many paths which lead to the same goal”.
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Bhatta, Damauru Chandra. "Echoes of the Vision of Hindu Philosophy in T. S. Eliot’s Writings." Tribhuvan University Journal 32, no. 2 (December 31, 2018): 57–74. http://dx.doi.org/10.3126/tuj.v32i2.24703.
Full textAbstract:
This paper makes an attempt to explore the echoes of the vision of Hindu philosophy in the selected works of T. S. Eliot. The works of Eliot such as his primary essay “Tradition and the Individual Talent,” and his primary poems such as “The Love Song of J. Alfred Prufrock,” “Gerontion,” The Waste Land, “Ash Wednesday,” “A Song for Simeon” and Four Quartets are under scrutiny in this paper. Eliot’s primary texts echo the vision of the Upanishads, the Bhagavad-Gita and the Patanjali Yoga Sutras of the Hindu (Vedic) philosophy. The vision is that rebirth is conditioned by one’s karma (actions). No one can escape from the fruits of his karma. One needs to undergo the self-realization to know the Essence (Brahman). When one knows the Essence, he is liberated from the wheel of life and death. Man himself is Brahman. The soul is immortal. The basic essence of Hindu philosophy is non-dual, which says that all the living beings and non-living objects are the manifestations of the same Ultimate Reality (Brahman). Eliot suggests that the knowledge of this essence can help humanity to promote equality and justice by ignoring discrimination and duality, to end human sorrows and to achieve real peace and happiness. This finding can assist humanity in the quest for understanding the meaning of human existence and the true spiritual nature of life to address the human sorrows resulted from the gross materialistic thinking.
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Kurysheva, L. A. "Ya. B. Knyazhnin’s Tale in Verses Flor and Lisa in the Context of Early Russian Ballads." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 104–22. http://dx.doi.org/10.25205/2410-7883-2019-1-104-122.
Full textAbstract:
One of the popular plots of the Russian literary ballad of the last third of the 18th – the first decade of the 19th century was the story of treacherous love. Ya. B. Knyazhnin’s Flor and Lisa. A Tale in Verses (1778) is one of the first Russian ballads. In addition, this is the first Russian ballad with the appearance of the dead man – the plot situation is so productive in the subsequent, romantic period. It is characteristic that at the early stage of the formation of a new literary genre, the nomination “ballad” does not appear for all authors. Poets get along either without a genre designation, or use more familiar nominations, genres in origin related to a lyro-epic ballad: song, romance, “fairy tale in verses”. We observe, on the one hand, the variability of genre nominations for the lyric-epic narration of a personal dramatic event, and on the other hand, the instability of ideas about the formal and substantive components of the genre of “ballad”. The most typologically close to Flor and Lisa is the N. M. Karamzin’s ballad Alina (<1790– 1791>). Both ballads are devoted to the theme of infidelity and both develop a ballad version of the fairy-tale plot “The husband at the wife’s wedding”, which ends with the transition to the world of the dead and the reunion of lovers. In addition, the similarity lies in a detailed narrative manner and the psychologization of the ballad conflict through direct author commentary. In Flor and Lisa, all events – love, betrayal and the reunion of lovers in death – are presented as extraordinary. The tragic ending is due to the mysterious connection of the fate of the two characters, reinforced by the mythology of the “plant code”. The verification technique (quatrains, four-footed iambic, cross-rhyme, alternating female and male clauses) emphasizes the tightness of the love story. In Karamzin’s Alina, the course of action is due to a combination of universal laws of human existence and the fateful connection of characters. The ballad event is the final union of lovers, despite their stay in different worlds, earthly and heavenly. The mythopoetic basis of the plot is composed of images of changing elements and nature. The verification technique (non-strophic four-foot iambic with free rhyme) supports the idea of fluidity, whimsicality of the elements of life.
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Komlenić, Miroslav. "ROCK MUSIC, SUICIDE AND MEDIA INFLUENCE." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (March 11, 2021): 23–33. http://dx.doi.org/10.46630/msae.1.2021.02.
Full textAbstract:
Suicide risk factors usually include: previous attempts, depression, comorbidity of alcohol consumption and drug abuse, gender (three to four times more suicides in men than in women), family history of psychiatric disorders, environmental and social factors such as periods of major social changes or movements: revolution, industrialization, secularization, migration, wars and the like. In this paper we should try to approach the problem by looking into the hypothesis of some researchers that rock music, or rock and hippie movements from the 60s to the end of the 80s of the 20th century, are included in these social risk factors, directly or indirectly. The arguments that the authors refer to are mainly: numerous suicides among both performers and listeners of rock music, many cases of emulated suicides of rock stars by fans, a large number of songs whose content speaks of suicide, evidence on the spot of suicide related to listening to such songs at the time of committing suicide, many lawsuits and trials against rock composers and performers by grieving relatives, etc. The aim of this paper is to analyze critically these facts as problematic for stating them as causes of suicide. Additionally, the paper aims to explain that for already predisposed, latent suicidal people, this type of music is only a mediator towards more intense socializing with similar listeners, indulging in latent suicide activities such as alcohol consumption and drug abuse and only subsequently to depression and suicide. Since suicide does not have to be associated with depression and the death drive, but on the contrary with the urge to live and the desire to be prominent, loved and remembered, the thesis that suicides of rock artists and supporters belong to this category should not be removed.
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Cichocka, Aleksandra, Kristof Dhont, Arti P. Makwana, and Mitja Back. "On Self–Love and Outgroup Hate: Opposite Effects of Narcissism on Prejudice via Social Dominance Orientation and Right–Wing Authoritarianism." European Journal of Personality 31, no. 4 (July 2017): 366–84. http://dx.doi.org/10.1002/per.2114.
Full textAbstract:
Previous research has obtained mixed findings as to whether feelings of self–worth are positively or negatively related to right–wing ideological beliefs and prejudice. We propose to clarify the link between self–worth and ideology by distinguishing between narcissistic and non–narcissistic self–evaluations as well as between different dimensions of ideological attitudes. Four studies, conducted in three different socio–political contexts: the UK (Study 1, N = 422), the US (Studies 2 and 3, Ns = 471 and 289, respectively), and Poland (Study 4, N = 775), investigated the associations between narcissistic and non–narcissistic self–evaluations, social dominance orientation (SDO), right–wing authoritarianism (RWA), and ethnic prejudice. Confirming our hypotheses, the results consistently showed that after controlling for self–esteem, narcissistic self–evaluation was positively associated with SDO (accounting for RWA), yet negatively associated with RWA (accounting for SDO). These associations were similar after controlling for psychopathy and Machiavellianism (Study 3) as well as collective narcissism and Big Five personality characteristics (Study 4). Studies 2–4 additionally demonstrated that narcissistic self–evaluation was indirectly positively associated with prejudice through higher SDO (free of RWA) but indirectly negatively associated with prejudice through lower RWA (free of SDO). Implications for understanding the role of self–evaluation in right–wing ideological attitudes and prejudice are discussed. Copyright © 2017 The Authors. European Journal of Personality published by John Wiley & Sons Ltd on behalf of European Association of Personality Psychology
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Zisopoulos, Efi Tsiatsiou Athanasios, Konstantinos Spinthiropoulos, and Panagiotis Georganakis. "ELECTRUM-G, A Tangible Coin Actualization Schema: Patents for Casting, Forensics and Trade Options." Business and Economic Research 10, no. 1 (January 30, 2020): 182. http://dx.doi.org/10.5296/ber.v10i1.16094.
Full textAbstract:
Our interdisciplinary research concluded with a new member of the ancient Electrum family of golden coins: the ELECTRUM-G coin. It is golden representing an actual value with metal abnormalities to give a universal traceable RID and a modern engravement and other forgery fighting attributes and associated electronics. Other ELECTRUM-G characteristics are ; A tangible item with the form of a coin or sphere; there is a coin engravement with a QR code pointing the Electrum Ecosystem (www.electrum.gr). Four different patents are prepared for the project needs: a unique QR code stamping; a RID code casting; a two-layer gold foundry with RID intermediate layer; and a professional electronics simple spectrometer to read and report the RID code. Two Electrum narrative examples are given for ELECTRUM-G use and forensics, a nouvelle with the happy Electrum traveler and the lyrics of a song defining the “thin line between love and hate”. Finally, as inspired scientists we reverse the ELECTRUM Universe with an old story of “Stop RFID” and the beast (665+1) endangerment. Our research and product headlines faced also two contradictory intra-co-operating design aspects: the personal interest of the Electrum-G coin owner and the Public interest of civil and national security.
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Hartbauer, M., L. Haitzinger, M. Kainz, and H. Römer. "Competition and cooperation in a synchronous bushcricket chorus." Royal Society Open Science 1, no. 2 (October 2014): 140167. http://dx.doi.org/10.1098/rsos.140167.
Full textAbstract:
Synchronous signalling within choruses of the same species either emerges from cooperation or competition. In our study on the katydid Mecopoda elongata , we aim to identify mechanisms driving evolution towards synchrony. The increase of signal amplitude owing to synchronous signalling and the preservation of a conspecific signal period may represent cooperative mechanisms, whereas chorus synchrony may also result from the preference of females for leading signals and the resulting competition for the leader role. We recorded the timing of signals and the resulting communal signal amplitudes in small choruses and performed female choice experiments to identify such mechanisms. Males frequently timed their signals either as leader or follower with an average time lag of about 70 ms. Females selected males in such choruses on the basis of signal order and signal duration. Two-choice experiments revealed a time lag of only 70 ms to bias mate choice in favour of the leader. Furthermore, a song model with a conspecific signal period of 2 s was more attractive than a song model with an irregular or longer and shorter than average signal period. Owing to a high degree of overlap and plasticity of signals produced in ‘four male choruses’, peak and root mean square amplitudes increased by about 7 dB relative to lone singers. Modelling active space of synchronous males and solo singing males revealed a strongly increased broadcast area of synchronous signallers, but a slightly reduced per capita mating possibility compared with lone singers. These results suggest a strong leader preference of females as the ultimate causation of inter-male competition for timing signals as leader. The emerging synchrony increases the amplitude of signals produced in a chorus and has the potential to compensate a reduction of mating advantage in a chorus. We discuss a possible fitness benefit of males gained through a beacon effect and the possibility that signalling as follower is stabilized via natural selection.
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Kačić Rogošić, Višnja. "Keeping the Promise of Community: Communal Efforts on the Contemporary Zagreb Non-Institutional Scene." Theatre and Community 9, no. 2021-1 (June 30, 2021): 52–62. http://dx.doi.org/10.51937/amfiteater-2021-1/52-66.
Full textAbstract:
In their 1979 manifesto, the independent experimental theatre collective Kugla glumište (Zagreb, 1975–1985) claims: “Kugla discovers images, symbols and stories that wish to be the promise of community.” The article explores the repercussions of those neo-avant- garde community efforts on the contemporary Zagreb non-institutional scene by analysing four inclusive performances which differ in motivations, aesthetic aims, production levels and participatory modes. In The Love Case of Fahrija P (2017), the ex-members of Kugla and additional co-authors stage a polylogue with the artistic heritage of the deceased Kugla glumište member Željko Zorica Šiš (1957–2013) and the inclusive procedures they devised during the 1970s. The community project 55+ (2012) by the production platform Montažstroj gathers the participants who are over 55 in workshops, public debates, celebrations, protests and a documentary to provide visibility and voice to that neglected generation. In the trilogy On Community (2010–2011), the production platform Shadow Casters tests different mechanisms of creating temporary aesthetic communities, from learning an a cappella group song to sharing secrets, on its recipients. Finally, the atmospheric inclusion of the subtly associative performance Conversing (2019) by Fourhanded offers an almost elitist opportunity of co-existing in the intimate world of private tensions. However, what they all have in common is a physically non-invasive form, emotional and/or intellectual engagement and an emphasised personal commitment that can oblige audiences to reciprocate while they join the community of experience.
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Kowalczyk, Małgorzata Ewa. "„Osobliwie muszę tu wyznać zrządzenie Boskie nad tobą Synu mój kochany, iż twoja najlepiej cię kochająca Matka, uniesiona często słabością rozumu swojego, biła cię i źle ci życzyła”. Choroba psychiczna w rodzinie w drugiej połowie XVIII wieku na przykładzie dzieciństwa Stanisława Mikołaja Tretera." Biuletyn Historii Wychowania, no. 30 (February 8, 2019): 103–12. http://dx.doi.org/10.14746/bhw.2013.30.7.
Full textAbstract:
Stanisław Mikołaj, son of Agnieszka, nee Izbicki, and Stanisław Treter, the king’s chamberlain, was born on 19th November 1776. When he was seven years old it turned out that his mother was mentally ill, most probably suffering from schizophrenia. In the 18th century mental and nervous disorders were very rare, and foreigners visiting Poland even thought they were characteristic of Poles. Certainly, mental disease in a family does not only affect the one who actually suffers from it, it has an impact on each family member and somehow everyone is involved. Agnieszka’s psychosis started with aggressive behaviour towards her family, and especially her son. She would destroy things which either belonged to him or were in some way related to him, she would scream at him, physically and mentally harass him. His father would usually buy the things the boy needed most, such as underwear, clothes and shoes, in well-kept secret. Agnieszka categorically opposed this and even “became stubborn and restless which influenced the atmosphere in this home”. Because of his mother’s disease and its influence on the atmosphere in the family, the boy often felt anxiety and fear, and sometimes even annoyance and despair. In November 1786 Stanisław Treter decided that it would be better if his wife stayed in Warsaw for a while. The atmosphere at home was becoming worse and worse, and their ten-year-old son required systematic and extensive education, while Agnieszka herself needed “professional” care. In the 18th century people who suffered from mental diseases would usually live with their families and be provided with good care and a kind of particular respect, unless they were dangerous to others. However, Agnieszka was completely unpredictable. Her irrepressible aggression was understood by her son as a lack of love and acceptance. He often felt lost and very lonely. His mother’s mental disease did not create supportive conditions for the development of the child’s emotions and mentality. Certainly, like any other child he loved his “Mummy” very much, so parting with her was a very difficult experience for the boy. Disharmony in the Treter family, which was the consequence of Agnieszka’s disease, developed in Stanisław Mikołaj patterns of instability, hostility and neglect. Thus it is not surprising that he became oversensitive, egoistic, combative and aggressive. We learn about Stanisław Mikołaj Treter’s difficult childhood from his father’s notes. In 1785 he decided to write a history of his son’s life and education, and it took him four years to write in 13 letters which are now kept in the Central State Historical Archive of Ukraine in Lvov.
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Mishra, Elsie, and Ramakrishna Biswal. "EXPLORING PARENTAL RISK FACTORS IN THE DEVELOPMENT OF DELINQUENCY AMONG CHILDREN." Humanities & Social Sciences Reviews 8, no. 3 (May 11, 2020): 141–48. http://dx.doi.org/10.18510/hssr.2020.8316.
Full textAbstract:
Purpose of the study: To explore and analyze the influence of various parental risk factors contributing to the development of delinquency in children.
Methodology: A total of hundred and sixteen juvenile delinquents (100 boys and 16 girls) in the age range of 11- 18 years, residing in the four Government-run Observation and Special Homes (O&SHs) of Odisha. Descriptive statistics (i.e., percent) and qualitative method (i.e. narrative) have been used to analyze the data.
Main Findings: Absence of proper parental guidance and supervision is found to be the major cause of delinquency in children. Parental rejection and deprivation i.e. mother’s love and emotional support is the major cause of delinquency in girls. Lack of parental involvement and less quality time spent by parents with boys are the main reasons behind their delinquency.
Applications of this study: The results of this study imply the need to conduct further research about parenting behavior and their attitude towards their children from a gender-based perspective. It also implies the need for a greater number of studies to be carried out on Indian parents and their attitude and behavior towards their children in general and based on the child’s gender in particular.
Novelty/Originality of this study: The present study tries to address one of the many gaps existing in the literature regarding the matter of parenting style adopted by parents leading to delinquency in children. It further shows the difference in parental attitude and behavior towards their son’s and daughter’s leading to delinquency.
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STEWART, DEVIN J. "Ibn al-Nadīm's Ismāʿīlī Contacts." Journal of the Royal Asiatic Society of Great Britain & Ireland 19, no. 1 (January 2009): 21–40. http://dx.doi.org/10.1017/s1356186308009048.
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Iraq in the tenth and eleventh centuries witnessed a flowering of Shiite cultural production with lasting effects on the Islamic sciences such as law, hadith, theology, and Qur'anic commentary. The works of al-Shaykh al-Mufīd (d. 413/1022), al-Sharīf al-Murtaḍā (d. 436/1044), and al-Shaykh al-Ṭūsī (d. 460/1067) not only broke significant new ground in Shiite intellectual history and defended Shiite doctrinal positions against opponents, but also set parameters for production in these fields that would remain in effect, grosso modo, until modern times. During the same period, Shiite authors made substantial contributions to fields not directly related to Shiite religious doctrine, playing a crucial role in elaborating and preserving Islamic heritage in general. Al-Masʿūdī's (d. 345/956) famous history Murūj al-dhahab and Abū al-Faraj al-Iṣfahānī's (d. 356/967) collection of songs, poetry, and associated lore, Kitāb al-Aghānī, are prominent examples of Shiite authors' contributions to general Arabo-Islamic cultural production. Arguably yet more important is the Fihrist, composed in Baghdad in 377-378 ah/987-988 ce by Ibn al-Nadīm, an Imāmī Shiite bookseller. This work, a comprehensive catalogue of Arabic book titles, is widely recognised as one of the most important sources for the history of all learned disciplines recorded in Arabic in the course of the first four Islamic centuries. As a consequence, the present understanding of entire swaths of Islamic intellectual history, including the rise and development of Muʿtazilī theology and the translation of the Greek sciences into Arabic, is heavily indebted to a Shiite author.
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Zhu, Fengdaijiao. "Zhu Jian’er’s life creativity: the historiography of the composer’s personality." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 190–212. http://dx.doi.org/10.34064/khnum2-18.11.
Full textAbstract:
Background. The article is devoted to the study of the personality of the outstanding Chinese composer Zhu Jian’er (1922–2017) – the leading figure of the national musical art of the twentieth century. It is proved that the presented problematic makes it possible to most deeply and accurately explore the musical heritage of the artist. In order to better understand the meaning of the composer’s creations, it is necessary to consider his environment, the stages of creative formation, the characteristics of character and personal qualities, his civic position and the characteristics of his worldview. Most of Zhu Jian’er’s life was in times of great turmoil associated with the Sino-Japanese liberation war, with the rigid ideological line of the Communist Party, with the excesses of the Cultural Revolution, etc. Consideration of the work of an outstanding composer through the prism of his personality became possible only in the twenty-first century, when Chinese society was completely freed from the pressure of ideology, which had long been felt after the policy of the Cultural Revolution in the country. Objectives. The purpose of this article is to systematize the historiographic information about the life-making of Zhu Jian’er in the context of the general trends in the development of Chinese musical culture of the twentieth and early twenty-first century. Methods. The methodology of the research is based on the scientific approaches necessary for the disclosure of the topic. The integrated research way is used that combines the principle of musical-theoretical, musical-historical and performing analysis. Results. The composer’s youth passed in Shanghai, occupied by the Japanese invaders. Great importance to the young man had a twenty-four-hour musical radio program, through which he became acquainted with European classical music. In 1945, the composer became the leader of the musical group of the Corps of Cultural Art of the Suzhou military district, and then the director and conductor of the orchestra. As soon as the country was liberated, the composer returned to Shanghai with many musicians from the military orchestra. He was appointed to the position of the head of the musical ensemble of the state film studio. In the summer of 1955, at the age of 33, Zhu Jian’er enrolled in the graduate school of the Moscow Conservatory. Returning to China in the summer of 1960, Zhu Jian’er was full of ambition and a desire to serve his homeland and people. However, the subsequent years of the Cultural Revolution for a decade deprived him of the possibility of full-fledged creativity. Own feelings receded into the background, the collective ousted the personal. In his music the composer presented the Cultural Revolution – with its false goals, ugly human relations, distorted values, unjustified sufferings. This idea formed the basis of the First Symphony. Many outstanding masterpieces of the composer have won major awards at home and abroad, bringing glory to Chinese music on the international music scene. People close to Zhu Jian’er noted that the composer was rarely seen among friends or acquaintances, he was silent and did not like to talk. He was very thin, and it was not clear how a fiery passion and great creative energy lived in such a weak body. The composer had a mild temperament, he never became angry with people and was careful in his statements. However, even such a kind and conflict-free person, faced with unhealthy trends in the music industry, was embroiled in legal proceedings related to “violation of rights” and was forced to fight for his reputation. But he was not afraid of reprisals, his energy and strong enthusiasm gave him strength. Despite the fact that Zhu Jian’er was always an ordinary person, immersed in his own affairs, he was not indifferent to the events in his country and the fate of the national culture. In addition, he was also worried about the international situation and the influence of China outside. The composer has always been interested in politics and collected information about musical culture abroad. He had his own understanding of the world, and he tried to hold an independent opinion, although, as a real creator, he was often visited by the spirit of doubt. Despite his painful body, Zhu Jian’er was a very tough and courageous man. In the years when China was shook by events that he considered as the national catastrophe, the composer retained loyalty to the power. It was not conformism, the musician sincerely loved his homeland and was ready to die for it, his position was that the mistakes would be corrected and the country would gain strength. These inner experiences deeply touched the composer’s mind and feelings, and were subsequently reflected in his music, being formed the unique musical style of his works. In recent years, as an elderly and painful man, Zhu Jian’er continued, in his words, “to pay off debts” – writing articles for various Shanghai music publishers, editing symphonic, orchestral and piano music, and writing a monograph. In most cases, this was underpaid or completely unpaid work. However, the composer was doing such work, considering it his duty. Conclusions. We can observe important milestones in the life-making of Zhu Jian’er, which radically influenced his multifaceted musical creativity. The outlook and civil position of the musician was formed during the years of the Sino-Japanese war of liberation. This enforced his ardent love for his native land and his people. Since he himself was physically unable to be in the ranks of the army, the desire to defend their homeland was expressed in the military songs by Zhu Jian’er. The critical attitude of the musician to the policy of the Cultural Revolution did not change his positive attitude towards life, but only made him think about the meaning of the artist’s life and purpose in society. The activities of the composer in the team of the military ensemble led him to realize the need for further professional development. The passionate desire to gain the highest stages of composer skills prompted Zhu Jian’er insistently to possess by this knowledge at the Moscow Conservatory and then at the Shanghai Conservatory. The composer honed his skills in the field of vocal, instrumental, chamber and choral music, however, the genre of the symphony in which the musician expressed his civic creed and view of the world became the pinnacle of his work.
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Shrestha, Basundhara, and Dipendra Kumar Yadav. "Gender Differences in Feeding, Care, Support and Nutritional Status of Children in the Rural Area of Kaski District, Nepal." Journal of Health and Allied Sciences 5, no. 1 (November 21, 2019): 44–47. http://dx.doi.org/10.37107/jhas.34.
Full textAbstract:
The girl child faces the neglect of the family in the form of a failure to provide her the basic necessities of life in terms of food, clothing, love, shelter, supervision, education and medical care. Differential treatment of the boys and girls within families can be attributed to the social religious, cultural and economic returns that sons provide to their parents relative to daughters. Objective of the study was to assess the gender differences in feeding, care, support and nutritional status of children in the rural area of Kaski district, Nepal. A cross sectional study was carried out among the 456 children of 0-23 months from four VDCs of Kaski district. Data were collected using cluster random sampling. After obtaining the oral consent from the mothers and then data were collected in a pre-tested, pre designed, structured questionnaire by interview technique. In this study half of the respondents initiated breast milk within one hour after birth. Among them, more male children were received breast milk than female children. Nearly all (98.7%) of female child were fed colostrums milk. More than half (53.6%) of the respondents (male 54.4% and female 52.9%) were feeding breast milk more than nine times in 24 hours. Higher proportions of male children were exclusively breastfed than female children. Similarly higher percentages of male children were fed complementary food on timely than female children. The frequency of complementary feeding was less than four times for both children. During child illness most of the respondents went to hospital and almost all children got vaccines and vitamin A. Female appeared slightly more likely to be stunted than male. 19.2% male and 13.1% female were underweight and the proportion of wasted were nearly same in both male and female. There were no much differences among both the gender regarding feeding practice, care and support.
Keywords: Gender differences in feeding; Care; Nutritional status of children; Rural area