Journal articles on the topic 'Lux Aeterna'

Two pieces, both titled Lux aeterna, are works by György Ligeti and contemporary Slovenian composer Tadeja Vulc. The paper offers some thoughts on two pieces through the notion of genre. This point of view seems appropriate on account of Ligeti’s distinctive treatment of the sacred text, but even more on account of Tadeja Vulc’s work, a symphonic piece, which includes whispering the first words of Lux aeterna. This raises several questions, yet the main dilemma is how it came to be possible that pieces which originate from the genre realm of profane can easily embrace both title and text that used to mark a communio of a requiem mass.

The experiment, conducted in the laser theater Lux Aeterna on the basis of the ITMO University, was aimed at testing the hypothesis about the positive effect of dynamic audio-visual content on the psycho-emotional state of a person and her academic progress after a long period of exposure. Both groups underwent a lengthy Bourdon test and a Shcherbatyh test for the learning stress. Only the participants who passed the laser theater session improved their productivity in the performance of monotonous work in the further passage of the test and showed a significant decrease in the level of general learning stress at the end of the experiment. Correlations between the level of learning stress and academic progress were not found. The use of sessions of dynamic audio-visual content based on the laser theater Lux Aeterna can be considered as an alternative relaxation method that allows changing the level of learning stress in people, increasing productivity in the performance of monotonous work and improve general well-being.

El trabajo llevado a cabo en esta investigación se centra en el uso de los medios audiovisuales como recurso didáctico en el aula de música de la enseñanza secundaria española, así como la música del compositor húngaro G. Ligeti (1923-2006) y el uso de sus partituras en la película 2001: Una odisea del espacio (1968) del director Stanley Kubrick (1928-1999). Tras la parte de investigación, se presenta una propuesta didáctica para el resto de la comunidad educativa, de posible aplicación a la hora de abordar la música de Ligeti y el concepto de música textural a través de la cinta de Kubrick y las piezas musicales Requiem, Lux Aeterna y Atmosphères, con materiales de elaboración propia.

AbstractGyörgy Ligeti has stated that his micropolyphonic compositions were ‘governed by rules as strict as Palestrina's’ (Ligeti 1983, 14); some of these rules are preserved directly in his sketches and others can be derived from the compositions themselves. This article discusses the artistic context in which Ligeti developed systems of rules for individual compositions, and investigates in depth the composer's rules for the organization of pitch and rhythm in two of his seminal works from the 1960s, transmitting the explicit rules for pitch in sketches for the ‘De die judicii’ movement of the Requiem and uncovering implicit rules for rhythm in Lux aeterna. By examining both the rules and their application in composition, with the exceptions that arise therein, we come to a better understanding of the aesthetic goals Ligeti's rules were devised to meet, and the balance of stricture and freedom that was essential to the composer's persona.

As the audience's rustling quietens along with the memories of everyday pulses, ethereal sounds appear. We are at Helsinki's iconic Rock Church, on the eighth night of the biennial Musica nova festival for contemporary music. The Helsinki Chamber Choir sound the first, lingering lines of György Ligeti's Lux Aeterna from the balcony, behind the audience. The peculiar acoustics give the illusion that the choir is hidden in between the crevasses and cracks of the stone wall in front. The listener is surrounded. Marvellously kept together by Nils Schweckendiek, the singers transform the colour of their voices into sine-tones and oboes in a strangely soothing way. This rendition now somewhat more present than the night before, when the choir echoed the same micropolyphonic lines across the aula of the Kiasma art museum. There the cool distance of the work really spoke in a mesmerising way, with an unreachable caress.

The arrangement of Islamic law in the Indonesian legal system, which is manifested in statutory regulations, is an indication that Islamic law has become part of the Indonesian legal system. This is interesting when viewed using Thomas Aquinas' legal theology which introduces a legal dichotomy based on its sources, namely lex aeterna, lex naturalist, and lex humana. The dichotomy becomes a perspective to see at what level Islamic law is embedded in the Indonesian legal system. This research examines the existence of arrangement of Islamic law in statutory regulations from the perspective of legal theology, with research questions: (a) What is the justification for the arrangement of Islamic law substance in the Indonesian legal system? (b) How is the arrangement of the substance of Islamic law in the Indonesian legal system when viewed from the teachings of Thomas Aquinas' legal theology? This is normative legal research, by analyzing secondary data in the form of laws and libraries related to the arrangement of Islamic law and the teachings of the legal theology of Thomas Aquinas. The results indicate that the justification for the arrangement of the substance of Islamic law in the Indonesian legal system has a strong foothold because it is stated in the Pancasila "God Almighty" and Article 29 of the 1945 Constitution of the Republic of Indonesia. The teachings of legal theology of Thomas Aquinas show that arrangement of the substance of Islamic law in statutory regulations does not necessarily reduce the degree of Islamic law, because the substance of Islamic law in statutory regulations does not transform lex aeterna into lex humana.

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.

AbstractThis contribution aims at reconstructing the system of legal sources as it can be recognised in all its clarity in the De iure praedae. After pointing out that Grotius applied in this work the mathematical method, it is observed that the law has a clear voluntaristic character: 'voluntas universorum ad universos directa lex dicitur'. Even the 'first notion', quoted in Regula I, that is the lex aeterna, has this specific character: 'Quod Deus se velle significarit, id ius est'. Interesting is also the way in which the issue of the ius naturae is developed. Actually, natural law is consistent with Regula I precisely because it is bound to God as a manifestation of his will: 'Dei voluntas non oraculis tantum et extraordinariis significationibus, sed vel maxime ex creantis intentione apparet'. Thus, the creation of the ius gentium primarium and ius gentium secundarium follows the same pattern: it is always a voluntas that splits into a cascade like a 'baroque fountain'. At the end of the same argument we find finally the ius civile: 'Quidquid respublica se velle significavit', as Regula V states. In conclusion, the system of legal sources in De iure praedae is based on premises that differ in many respects from the legal sources of De iure belli ac pacis.

The issue of natural law has been mentioned by almost all philosophers of law, from the classical ones of ancient Greece to contemporary postmodernists, and is presented in various ways. In compliance with Cicero’s observation that “history is the herald of the future” we have attempted to go back to the sources and to start our considerations ab ovo. The historical review does not address systematically the issue discussed here, and only serves to properly explain what natural law in a classical reflection of ius naturale is. Therefore, our approach to the classical natural law has been narrowed down to three selected sophists, Socrates, Plato and Aristotle, and their views of ius naturale in opposition to ius positivum have been briefly outlined. The article consists of two parts: the first one entitled From Heraclitus to Socrates and the second entitled From Plato to Aristotle. The first part presents sophists’ views on the law of nature. It is worth noting that sophists did not analyse the essence of the law of nature; they were primarily interested in the relationship of the law of nature to positive law. Thus Socrates, by deriving the existence of universal and unchanging laws from human nature, gave birth to the doctrine of natural law with unchanging content. The second part contains the views of Plato and Aristotle on the question of the law of nature. Plato is considered to have discovered the ideal trend of natural law, although in his dialogues the term “law of nature” is not found. It was the theory of Plato’s ideas that became the model for the concept of lex aeterna as an arrangement of divine ideas. Whereas, Aristotle distinguished two types of good that law puts before man, and accepts them as the basis for the dichotomous division of laws. He described good that is indifferent to man, which due to specific circumstances becomes the object of his desire, as positive law. Good that is closely related to the nature of man, which is always and everywhere the object of his desire, is good indicating the natural law.

Pembaca Yang Budiman,Jurnal Filsafat Volume 31 Nomor 1 Februari 2021 menyajikan enam artikel dengan tema beragam. Artikel pertama ditulis oleh Armaidy Armawi dan Raharjo yang berjudul “Evaluasi Program Sosialisasi Civic Literacy dalam Pembentukan Etika Warganegara Muda”. Dalam artikel ini Armaidy Armawi dan Raharjo menunjukkan bahwa sosialisasi civic literacy dilakukan secara informal dengan pembiasaan, pengembangan, dan pembelajaran secara berkelanjutan memiliki tujuan untuk membentuk etika warganegara berperspektif ketahanan pribadi. Sebagai hasil kajiannya, kedua penulis menawarkan suatu model civic literacy sebagai perencanaan dalam proses pembelajaran yang berisi informasi tentang bagaimana menjadi warganegara yang beretika, paham hak dan kewajibannya, memiliki rasa tanggung jawab dan rasa cinta tanah air yang diimplementasikan dalam kehidupan bermasyarakat, berbangsa dan bernegara. Artikel kedua berjudul “Panic Buying: Konsumerisme Masyarakat Indonesia di Tengah Pandemi Covid-19 Perspektif Psikoanalisis Jacques Lacan”, yang ditulis oleh Astrid Veranita Indah dan Awal Muqsith. Menurut kedua penulis, perkembangan teknologi di era kontemporer menimbulkan berbagai masalah krisis kemanusiaan, yang salah satu penyebabnya adalah perkembangan ideologi, teknologi, dan sains kapitalis yang terlalu pesat. Pembelian massal dalam kurun waktu singkat di tengah pandemi Covid-19 membuat subjek mengonsumsi barang yang tidak dibutuhkan. Subjek mengalami perpecahan dalam memahami kenyataan. Psikoanalisis Lacan menjadi penting dalam memahami gaya hidup masyarakat konsumerisme di tengah pandemi Covid-19. Trilogi Lacan mampu menganalisis manusia sebagai subjek. Kedua penulis menyimpulkan bahwa subjek yang saat ini hadir adalah subjek dalam interaksi dengan realitas murni yang diterjemahkan ke dalam kode simbolis. Subjek yang mencari kebahagiaan dengan keinginan untuk menjadi orang lain dan untuk menenangkan kecemasan dalam ketidakstabilan keadaan. Subjek menganggap pembelian panik adalah jawaban atas gejala kecemasan di tengah pandemi Covid-19.Penulis selanjutnya, Dian Agung Wicaksono, menyajikan artikel berjudul “Penormaan Hukum Islam Dalam Sistem Hukum Indonesia Ditinjau Dari Ajaran Teologi Hukum Thomas Aquinas. Menurut Wicaksono, justifikasi penormaan substansi hukum Islam dalam sistem hukum Indonesia memiliki pijakan yang kuat karena tertuang dalam Pancasila Sila “Ketuhanan yang Maha Esa” dan Pasal 29 UUD NRI Tahun 1945. Adapun penormaan substansi hukum Islam dalam sistem hukum Indonesia bila ditinjau dari ajaran teologi hukum Thomas Aquinas menunjukkan bahwa penormaan substansi hukum Islam dalam peraturan perundang-undangan tidak serta merta menurunkan derajat hukum Islam, karena penuangan substansi hukum Islam dalam peraturan perundang-undangan tidak kemudian mentransformasikan lex aeterna menjadi lex humana.Artikel keempat, berjudul “Runtuhnya Marxisme-Leninisme di Uni Soviet dalam Teori Ashabiyah Ibnu Khaldun”, ditulis oleh Emil Dwi Febrian, Susanto, dan Sri Kusumo Habsari. Artikel ini menyimpulkan bahwa runtuhnya Marxisme-Leninisme di Uni Soviet dikarenakan pendogmaan terhadap ajaran filosofis ini yang dilakukan untuk menciptakan hak istimewa Partai Komunis yang menjadi rezim otoriter, yang akhirnya dianggap tidak relevan dan ditentang oleh masyarakat. Otoritarianisme di Uni Soviet terjadi karena eksklusivisme dan kultus. Simpulan lainnya, bahwa otoritarianisme bisa terjadi di negara non-komunis, termasuk Indonesia di era Orde Baru, hal ini menunjukkan bahwa bukan ideologi yang berpengaruh dalam terciptanya rezim otoriter, tetapi praktik politik di negara tersebut.Penulis kelima, Kosmas Sobon dan Timoteus Ata Leu Ehaq, menghadirkan artikel berjudul “Implikasi Etika Solidaritas Knud Ejler Løgstrup terhadap Korban Virus Covid-19 di Indonesia”. Dalam kajiannya, Kosmas Sobon dan Timoteus Ata Leu Ehaq, menunjukkan bahwa pemikiran solidaritas Løgstrup menjadi dasar untuk solider terhadap korban Covid-19, solidaritas atas korban Covid-19 bukan sekedar perasaan, tidak bersifat normatif, selalu bersifat asimetris, sebuah fenomena moral dan ciri khas dari cinta.Artikel terakhir, keenam, berjudul “Hubungan Filsafat dengan Ilmu Pengetahuan dan Relevansinya d Era Revolusi Industri 4.0 (Society 5.0)”, oleh Muhammad Rijal Fadli. Menurut Fadli, filsafat dan ilmu pengetahuan sangat diperlukan kehadirannya di tengah perkembangan IPTEK yang ditandai dengan menajamnya spesialisasi ilmu pengetahuan. Sebab, dengan mempelajari filsafat, para ilmuwan diharapkan akan dapat menyadari atas keterbatasan dirinya agar tidak terperangkap ke dalam sikap arogansi intelektual. Counter discourse terhadap perkembangan IPTEK tidak dapat dilakukan, melainkan untuk dapat mengurangi dampak negatif dari adanya teknologi itu sendiri. Sementara itu, era Revolusi Industri 4.0 dan Society 5.0 memiliki karakter kelompok masyarakatnya heterogen, sehingga menyebabkan timbul masalah-masalah sangat kompleks yang terkait berkembangnya teknologi dan dapat mengubah pola pikir kehidupan manusia ke pola kehidupan yang lebih canggih dengan tenaga teknologi seperti robot dan internet. Penulis artikel meyakini, bahwa keilmuan yang dijadikan sebagai tonggak aksiologis dalam mengarahkan, mengendalikan perkembangan IPTEK secara positif untuk kepentingan umat manusia dan lingkungannya adalah filsafat dan ilmu pengetahuan {ESHA}.