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Journal articles on the topic 'Ming pian'
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1
JIANG, Xiangyan. "From Jiao You Lun to Qiu You Pian: Jesuits’ Discussion on Friendship and A Comparative Study with Traditional Chinese Theories." International Journal of Sino-Western Studies 21 (December 9, 2021): 89. http://dx.doi.org/10.37819/ijsws.21.142.
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This article makes an analysis of Matteo Ricci’s Jiao You Lun (On Friendship) and Martino Martini’s Qiu You Pian (On Making Friends) starting from the theory of the interaction and communication framework of contact between cultures. The analysis shows that Ricci’s text has a characteristic of convergence and integration of Sino-West traditions which paves the way for culture creation; while Martini introduces the concept of “love” --- the core concept of the Christian doctrines, makes a distinction between Confucian and Christian treatment on disputes, and clarifies the strategy of complementing Confucianism with Christianity. Their introduction of the western theories on friendship is a catalyst which accelerates the modernization of the concept of human relationships among the Chinese literati in late Ming early Qing China.
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Rudenko, N. V. "“An Article with the Discourse on Governing” and “A Discourse on the Warring States [Period]”: Political and Philosophical Essays by Li Zhi." Orientalistica 2, no. 4 (January 16, 2020): 983–1006. http://dx.doi.org/10.31696/2618-7043-2019-2-4-983-1006.
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The article comprises the continuation of research on the chapter called «The Diverse Writings» (Za shu 雜述) from the famous «A Book to Burn» (Fen shu 焚書), the opus magnum of the thinker Li Zhi (李贄, 1527–1602) from the late Ming. It presents the first translations into Russian of essays by Li Zhi, which deal with such issues as politics and governing. They are «An Article with the Discourse on Governing» ( 論 政 篇 Lun zheng pian) and «A Discourse on the Warring States [Period]» (戰國論 Zhan guo lun). The main idea of these texts could be described as follows: the methods of governing are never cast in iron and remain without an alter- native. They should vary depending on the object of governing and the current situ- ation, which always changes.
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Volpp, Sophie. "The Literary Circulation of Actors in Seventeenth-Century China." Journal of Asian Studies 61, no. 3 (August 2002): 949–84. http://dx.doi.org/10.2307/3096352.
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Actors were luxury goods traded among the elite in late Ming and early Qing China. Not only individual actors but entire troupes were sold, bestowed upon friends, and bequeathed upon relatives. Their circulation served to create and maintain networks of social exchange, in much the same manner as did gifts of fine ceramic ware, calligraphic scrolls, and ancient bronzes. The cultural prestige of the actor as a luxury good, in turn, was predicated on a highly refined discourse of connoisseurship. For example, the theater aficionado Pan Zhiheng's (1556–1622) disquisitions on the art of acting were collected in a volume entitledChongding xinshang pian(Recompiled texts on connoisseurship), published between 1600 and 1640 (Clunas 1991, 36). In this essay, I discuss the social significance of the connoisseurship of the actor, examining the exchange of actors and poems among a rarefied stratum of the mid-seventeenth-century elite.
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Bergstrom, Anders. "On Dissipation: Goodbye, Dragon Inn and the “Death of Cinema”." Arts 7, no. 4 (November 27, 2018): 91. http://dx.doi.org/10.3390/arts7040091.
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This paper explores the cinematic meta-theme of the “death of cinema” through the lens of Taiwanese director, Tsai Ming-liang’s 2003 film, Goodbye, Dragon Inn. In the film, the final screening of the wuxia pian classic, Dragon Inn, directed by King Hu, provides a focal point for the exploration of the diminished experience of institutional cinema in the post-cinematic age. Using the concept of “dissipation” in conjunction with a reappraisal of the turn to affect theory, this paper explores the kinds of subjective experiences that cinema can offer, and the affective experience of cinema-going itself, as portrayed in Goodbye, Dragon Inn. More specifically, in theorizing the role of dissipation in cinema-going, this paper explores the deployment of time and space in Goodbye, Dragon Inn and how it directs attention to the bodily action of cinema-going itself. The result is a critique of the possibilities of post-cinematic affects, rooted in an understanding of the way that late-capitalism continues to dominate and shape the range of experiences in the contemporary moment.
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汪一舟, 汪一舟. "美人移動，江南到江戶：狩野探幽對中國仕女圖的傳移模寫." 中正漢學研究 37, no. 37 (June 2021): 075–114. http://dx.doi.org/10.53106/2306036020210600370003.
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<p>明代中國繪畫傳至日本，成為江戶時代重要的創作素材。江戶早期狩野派畫家狩野探幽經多年蒐集和摹寫，繪製了大量以中國古畫為主的縮小摹本，稱作「探幽縮圖」。用於繪畫素材、鑑定筆記及門派傳承等，影響深遠。中國女性是其中重要題材。基於皆川三知關於「縮圖」中多於107幅「唐美人」圖的統計，本文從中日跨文化角度探討「縮圖」中國仕女圖的摹寫方法、來源和運用，並試論日本江戶時代對中國女性題材繪畫及其作偽的受容。發現「縮圖」多擅仕女畫的明代蘇州「吳門」畫家唐寅、仇英款，也有不長於仕女題材的江南名家如元代趙孟頫、趙雍，指出「蘇州片」為其重要來源。再以耕織圖、西王母圖為案例，探討了跨文化背景下中國女性圖像雜糅及重新詮釋問題。</p> <p> </p><p>"During the Ming dynasty, Chinese paintings were transmitted to Japan and became an essential visual source for Japanese paintings of the Edo period (1615-1867). Kanō Tan’yū (1602-1674), a leading artist of the early Edo Kanō School, spent his lifetime copying numerous earlier Chinese paintings, as well as some Japanese and Korean works. He left thousands of small-sized sketches, called Tan’yū Shukuzu [Tan’yū’s Small Sketches], leaving a lasting impact on the Japanese painting realm. They were made for multiple purposes, as painting models, authentication notes, teaching materials, and a symbol of a painter’s status. Sanko Minagawa’s research survey indicates the existence of more than 107 sketches of Chinese female images, as one of the major subjects, in Tan’yū Shukuzu. </p> <p> This paper focuses on Tan’yū’s copies of Chinese female-figure paintings (often called tobijinzu, “pictures of Chinese beauties,” in Japanese) that were largely overlapped with while beyond the scope of the shinü tu or meiren hua genre (paintings of beautiful ladies) in Chinese art. It discusses the reproduction mechanism of Shukuzu in comparison with the Chinese fenben practice. It also examines the attributed Chinese artists’ signatures copied by Tan’yū in Shukuzu, e.g., Qiu Ying and Tang Yin (famed for beautiful women paintings), Zhao Mengfu and Zhao Yong (no extant authentic female-figure paintings), and it identifies the late Ming Suzhou Pian workshop as an important original Chinese source. It provides a fresh angle to approach the perception of Chinese “forgery” paintings and the long-term use of Shukuzu in re-making and reinterpreting Chinese paintings in Edo Japan from the seventeenth to the nineteenth century. Through two case studies from a transcultural perspective, it shows the combination of two Chinese pictorial systems, gengzhi tu (Pictures of Tilling and Weaving) and shinü tu, in a Kanō School scroll; and the transformation of the Queen Mother of the West, from a powerful female Daoist immortal signified by peaches of immortality to a secularized beautiful lady holding peach blossoms, in Kanō School paintings. </p> <p> </p>
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Meredith, Craig. "La Mina El Cerro de San Cristobal: a Bronze Age tin mine (Extremadura, Spain)." Papers from the Institute of Archaeology 9 (November 15, 1998): 57. http://dx.doi.org/10.5334/pia.122.
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Smith, Joanna F. Handlin. "Gardens in Ch'i Piao-chia's Social World: Wealth and Values in Late-Ming Kiangnan." Journal of Asian Studies 51, no. 1 (February 1992): 55–81. http://dx.doi.org/10.2307/2058347.
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By the late ming (1573–1644), the values of frugality and spending had often gone to battle. Those who promoted frugality sometimes did so with specific goals in mind—the acquisition of a plot of land, or the stockpiling of resources to ride out a failed harvest—and other times with a social conscience that militated against indulging the self while others suffered from want. Others claimed that spending was acceptable if it did not deplete one's resources or would benefit people in the long run. Yuan Ts'ai, for example, instructed his family: “A degree of luxury in accord with your financial resources is not what I am calling wasteful” (cited in Ebrey 1984:265).
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Wagner, Carolyn. "The Piano." Phenomenology & Practice 11, no. 2 (December 11, 2017): 51–54. http://dx.doi.org/10.29173/pandpr29349.
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A pianist experiences the thingness of the piano as an extension of the body. Although contact occurs only through the player’s extremities, the piano invites the use of the whole body to transmit emotion, transport the player into the body and mind of a composer, and transform the pianist’s ability to hear.
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Manasses, Gergely, Éva Paulik, and Attila Tapaszti. "Zöldkötvény-hatásjelentés mint elengedhetetlen következő lépés a piaci fejlődésben." Hitelintézeti szemle 21, no. 4 (2022): 182–206. http://dx.doi.org/10.25201/hsz.21.4.182.
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A zöldkötvények környezeti hatásainak mérése, annak megbízhatósága és a méréseredmények közzététele kulcsfontosságú a piac transzparens működéséhez és a befektetők döntéseinek támogatásához. A pénzügyi piacok e szegmense azonban még az érettség korai szakaszában jár, ezért gyakori probléma a megfelelő adatok és módszertanok hiánya, amit az egységes piaci legjobb gyakorlatok és szabályozások fejlődése oldhat csak meg. Esszénkben a már megjelent zöldkötvények hatásjelentéseinek trendjeit, jellemzőit és jelenlegi szabályozását jártuk körbe, valamint ismertettük a hatásjelentések értékelésekor jelentkező kihívásokat, a kapcsolódó szakirodalom és a saját gyakorlati tapasztalataink alapján. Meglátásunk szerint a piac már túljutott az „erényfitogtató PR”-célú szakaszán, de a hagyományos pénzügyi adatok standardizáltsági fokának eléréséig még hosszú az út.
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Bécsi, Attila, Gergely Bognár, and Máté Lóga. "A vállalatikötvény-piac gazdasági szerepének növekvő jelentősége." Hitelintézeti szemle 20, no. 4 (2021): 5–37. http://dx.doi.org/10.25201/hsz.20.4.537.
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A vállalati kötvények szerepe globálisan felértékelődött az elmúlt évtizedben, mivel ideális pénzügyi eszközök mind a kibocsátó vállalatok forrásszerkezetének diverzifikálásában, mind pedig a befektetők portfóliójának kezelésében. Egy kellően fejlett és likvid vállalatikötvény-piac jótékony hatással van a gazdaság piaci mechanizmusainak érvényesülésére, átláthatóságára, valamint erősítheti a pénzügyi rendszer válságállóságát is. Több tanulmány is rámutatott arra, hogy a vállalatok finanszírozásának kérdése a cégek normális működésén túl a válságkezelésben is kiemelten fontos, mivel egy krízist övező bizonytalanság negatív hatással van a bankhitelezés likviditására, megnehezítve a vállalati forrásbevonási lehetőségeket. Ilyen helyzetben létfontosságú tehát, hogy a társaságok egyéb finanszírozási formákra is támaszkodni tudjanak. A 2008–2009-es gazdasági válságot követően ezt felismerve számos ország jegybankja is kötvényvásárlási programot indított annak érdekében, hogy támogatni kezdje a vállalati kötvények piacának szélesítését. A Magyar Nemzeti Bank (MNB) Növekedési Kötvényprogramjának (NKP) köszönhetően már a hazai vállalatikötvény-piac is a vállalatok széles köre számára kínál a bankhitelek melletti reális finanszírozási alternatívát.
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Sztanko, Eva. "A villamosenergia-piac egységesítésének esélyei az Európai Unióban." Competitio 16, no. 2 (December 15, 2017): 3–22. http://dx.doi.org/10.21845/comp/2017/2/1.
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Az európai belső villamosenergia-piac még nem egységes, de egyes részterületeken már megindult e felé az elmúlt két évtizedben. Egyaránt javult a fogyasztók energiapiaci pozíciója, az európai villamosenergia-piacok likviditása, és felélénkült a határokon átnyúló kereskedelem is. A fokozódó verseny visszafogta az árakat a nagykereskedelmi piacokon. Ugyanakkor a kiskereskedelmi árak és a költségek növekedtek, mind a háztartások, mind az ipar esetében, a fogyasztás visszaeső vagy stagnáló szintje ellenére. Az EU-nak folytatnia kell a villamosenergiapiac átalakítását, szükség van a rugalmas energiarendszerek, versenypiacok kialakítására, a piaci jelzésekre reagáló fogyasztókra és költséghatékony állami/piaci eszközökre az áringadozások kezeléséhez, a beruházások finanszírozásához és a költségnövekedés minimalizálásához. Az Európai Bizottság legújabb átfogó javaslatcsomagja új villamosenergia-piaci modellt kíván megteremteni, kérdés azonban, milyen fogadtatásra talál majd a tagállamok részéről.
Journal of Economic Literature (JEL) kód: Q48
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Darabos, Éva, and Attila Rózsa. "A lízing, mint hosszú távú eszközfinanszírozás sajátosságai Magyarországon." International Journal of Engineering and Management Sciences 2, no. 4 (December 12, 2017): 115–28. http://dx.doi.org/10.21791/ijems.2017.4.10.
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A lízing az 1970-es években terjedt el az egész világon, Magyarországon a 90-es években jelentek meg az első lízingtársaságok. A szerzők bemutatják a Magyarországon elterjedt, gyakran használt lízingformákat, azok főbb jellemzőit. 2008-2015. évekre vonatkozó statisztikai adatok alapján elemzik nemzetgazdasági szinten a beruházások teljesítményértékét, a teljes lízingpiac forgalmának, a tőke kintlévőségének és az új kihelyezések értékének alakulását. Rámutatnak arra, hogy a nemzetgazdasági szinten változó beruházási teljesítmények, valamint az uniós támogatások fejlesztési célú forrásai nagyban befolyásolják a magyar lízing piac alakulását.
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Ferkelt, Balázs. "A monetáris integráció regionális hatásai." Tér és Társadalom 19, no. 3-4 (September 1, 2005): 171–85. http://dx.doi.org/10.17649/tet.19.3-4.1025.
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A monetáris integráció és a területi egyenlőtlenségek közötti kapcsolat már az 1970-es években is vizsgálat tárgyát képezte. Jelen tanulmány célul tűzi ki a kérdéskör elemzését, mind a közgazdasági elméletek szintjén, mind pedig az európai integráció gyakorlatában. Feltételezhető, hogy az Európai Unió keretei között megvalósított Gazdasági és Monetáris Unió (a továbbiakban GMU) az egységes belső piac hiányosságai, valamint a tagországok és a régiók között már a közös pénz bevezetése előtt fennálló egyenlőtlenségek miatt nem képes hozzájárulni a gazdasági-társadalmi különbségek mérséklődéséhez.
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Zhang, Yu. "VR Technology to the Adjustment of Piano Playing Mentality." Mathematical Problems in Engineering 2021 (August 23, 2021): 1–12. http://dx.doi.org/10.1155/2021/5844118.
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Piano performance requires not only skillful and excellent playing skills, but also good psychological quality and improvisation. The perfect performance is the natural language of a pianist's usual skill and mood. The various emotional activities and expressions of the overall situation in relation to the player's performance, mental issues such as the intensity and horror of the scene, seriously affect the pianist’s actual performance while playing. The piano is therefore very important for mind control. Based on this, this paper attempts to apply the current hot VR technology to piano performance and simulate the virtual piano performance scene through VR technology, so as to enhance the on-the-spot experience for piano players and continuously improve their psychological quality, so that they can better adjust their nervous bad mentality in actual combat. This article first has carried on the 3D virtual reality piano stage modeling experiment, and then selected the 20 young pianist piano training involved in day-to-day contrast test, the test group of 10 people for daily training, virtual piano stage under the environment of normal control group of 10 people ordinary daily training, training time four hours a day, for three months, all participants will take part in The Provincial Youth Piano Competition since the end of the training. The final test results showed that in the competition site, the performance level of 10 players in the test group was generally better than that of the control group. Among them, there were 2 subjects in the test group who played for a long time, while one of the control groups gave up playing in the middle. In addition, in the horizontal comparison, it is found that subjects who are older and have been learning piano for a long time have better on-the-spot mental adjustment ability and more stable performance. Boys performed better than girls, and subjects with positive, optimistic, and confident personalities performed better than those with introverted and low self-confidence.
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COBLEY, T. D. D., and L. J. SACKS. "Osseodistraction after Traumatic Amputation of the Little Finger in a Young Musician." Journal of Hand Surgery 24, no. 5 (October 1999): 621–24. http://dx.doi.org/10.1054/jhsb.1999.0272.
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We lengthened the stump of a traumatically amputated little finger by osseodistraction in a young musician, who required a widened span to enable him to reach the octave on the piano. A mini external distraction device was used. No major complications occurred. The bone lengthening gave a good functional and cosmetic result.
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Matolcsy, György. "A versenyképesség mint a fenntarthatóság meghatározó feltétele." Pénzügyi Szemle = Public Finance Quarterly 65, Special edition 2020/2 (2020): 7–24. http://dx.doi.org/10.35551/psz_2020_k_2_1.
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A versenyképesség és a fenntarthatóság egymástól elválaszthatatlan fogalmak. A versenyképesség rövid távon nem értelmezhető, így nem is létezhet fenntarthatóság nélkül. Vállalati és nemzetgazdasági szinten is csak azok lehetnek nyertesek a globális versenyben, akik kiváló teljesítményüket képesek hosszú távon is fenntartani. A két cél egyidejű megvalósulásához két, akár egyszerre is követhető út vezet. Egyrészt a mennyiségi tényezők felől a minőség felé való elmozdulás, másrészt új erőforrások keresése, illetve a korábbi erőforrások korlátlanná tétele, azok fenntartható "zöld" felhasználásával. A digitalizáció fejlődése révén minden korábbinál fontosabb erőforrássá válik az adat, miközben a pénz és az energia hozzáférése korlátlanná válhat. A forradalmi változások - mint a zöld- és a digitális átállás - elől a gazdaság egyetlen szegmense sem függetlenítheti magát, de az állam és a piac megfelelő együttműködése szükséges a versenyképesség és fenntarthatóság eléréséhez és fenntartásához.
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Sasvári, Péter, Gyula Bakacsi, and Anna Urbanovics. "„Két út van előttem, melyiken induljak?” Gazdaság- és társadalomtudományi karok Web of Science és Scopus által indexált folyóiratcikkeinek vizsgálata 2016 és 2020 között." Vezetéstudomány - Budapest Management Review 52, no. 12 (December 15, 2021): 16–30. http://dx.doi.org/10.14267/veztud.2021.12.03.
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A társadalomtudományok hazai oktatói-kutatói teljesítményértékelésében meghatározó szerepet töltenek be az akadémiai bizottságok MTA doktori eljárások habitusvizsgálatához kialakított folyóiratlistái. A nemzetközi felsőoktatási piac felé nyitni szándékozó intézmények rangsorokban elfoglalt helyét ugyanakkor a nemzetközi indexált adatbázisok folyóiratlistái alapján mért kumulált publikációs teljesítményekre alapozva számítják. A tanulmány az MTMT2 adatbázisán azt tárja fel, hogy mekkora különbségek adódnak az egyéni publikációs és idézettségi teljesítmények megítélésében e kétféle lista alapján való értékelésében és az eltérés bemutatásán túl elemzi azok valószínűsíthető követelményeit – mind egyéni, mind intézményi szinten. Végül lehetséges megoldási alternatívákat is megfogalmaz a kialakult helyzet feloldására.
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Vígh, Beáta. "Az európai uniós védjegy földrajzi jelzéseken alapuló abszolút kizáró lajstromozási kritériumai az Európai Bíróság joggyakorlatában." Miskolci Jogi Szemle 17, no. 4 (2022): 172–82. http://dx.doi.org/10.32980/mjsz.2022.4.2123.
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A földrajzi jelzések és eredetmegjelölések jogi oltalma a fogyasztók és termelők jogos érdekeit szolgálja, és elsőbbséget élvez a védjegyek jogi oltalmával szemben az Európai Bíróság joggyakorlata alapján. Az európai uniós védjegyreform, amelynek csúcspontja az 1001/2017 rendelet az európai uniós védjegyekről, számos változást vezetett be az európai uniós védjegyek jogi oltalmára és lajstromozására vonatkozóan, de az európai uniós védjegyek és földrajzi jelzések közti jogviszony tekintetében mind a jogszabály, mind az európai uniós joggyakorlat következesen azonos irányt követő rendelkezéseket fogalmaz meg, amelyek a korábbi, egységes piac megteremtésére vonatkozó jogszabályok elveit követik.
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Anderson, Martin. "London, Royal Academy of Music, Pēteris Vasks Piano Quartet." Tempo 58, no. 228 (April 2004): 76–77. http://dx.doi.org/10.1017/s0040298204360158.
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Latvian Independence Day, 18 November (commemorating the day 85 years ago when Latvia proclaimed its independence from Russia), was marked in London by a mini-concert in the Royal Academy of Music: a handful of Romantic songs by Emils Dārziņş, delivered in the rich bass voice of Pauls Putninş, and the first UK performance of Pēteris Vasks's Piano Quartet, composed in 2000.
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Hatipova, Inna. "Semantic Properties of the Rhythmic and Modal-Intonational Elements of Folkloric Origin in the Piano Creations of the Composers from the Republic of Moldova." Intertext, no. 1/2 (57/58) (October 2021): 152–59. http://dx.doi.org/10.54481/intertext.2021.1.18.
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The national character of piano pieces written by composers of the Republic of Moldova, its means and forms of expression are a recurring topic in the analysis of autochthonous piano repertoire. From this standpoint, the present study reviews some piano pieces by Moldovan composers that have become a part of concert and pedagogical repertoire. Bearing in mind the varied character of approaches to folklore in the autochthonous piano works, the author identifies the main tendencies in the development of musical language of Moldovan composers and characterizes their attitude towards the folk base of musical material. Factual basis for the review of particularities of thematic material is included in the article in the form of music score excerpts, selected according to the methodologies generally accepted in musicology and ethnomusicology. In the analysis of character and tempo, a distinction is made between cantilena and virtuoso pieces: it is shown that while cantilena pieces have a close connection to the genre of doina, the virtuoso ones are inspired by Moldovan folk dances. The author also underlines that the style originality of the works reviewed in the article stems mainly from the folk elements that have impregnated naturally in their language, becoming an inherent component of musical canvas.
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Zhang, Mengzhe. "POLYPHONIC GENRES IN PIANO CREATIVITY OF CHINESE COMPOSERS." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 148–65. http://dx.doi.org/10.34064/khnum2-24.08.
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Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publications on the theme. А large number of modern authors study polyphony from the point of physical and mathematical research methods (Igarashi, Yu. & Ito, Masashi & Ito, Akinori, 2013; Weiwei, Zhang & Zhe, Chen, & Fuliang, Yin, 2016; Li, Xiaoquan et al. others, 2018). This approach does not reveal the factual musical component of polyphonic genres. In the 20th century, musicologists explored polyphony in musical folklore (Wiant, 1936; Fan Zuyin, 2004; Li Hong, 2015) and in professional Chinese composing (Sun Wei-bo, 2006, Winzenburg, 2018). The scientific novelty. This article studies the role of Chinese composers in the development of the world polyphonic piano repertoire of the XX – early XXI century. The methodological basis for the analysis of polyphonic works was the theoretical concepts of P. Hindemith, Peng Cheng, Fang Zuin, Li Hong, Sun Wei-bo. The results of the study. The research outcomes demonstrate the evolutionary development of the genre diversity of Chinese piano polyphony as well as those composers who created magnificent musical pieces. Conclusions. Chinese composers have fully mastered the art of modern counterpoint, represented by the genres of polyphonic program pieces (He Lu Ting), invention (Xiao Shu Xian, Du Qian, Sun Yun Yin, Chen Chen Quang), polyphonic suite (Ma Gui), large polyphonic cycle ( He Shao, Chen Hua Do, Xiao Shu Xian), fugue (Li Jun Yong, Yu Su Yan, Chen Gang, Tian Lei Lei, Duan Ping Tai, Zheng Zhong, Xiao Shu Xian) and small cycle “Prelude and Fugue” (Ding Shan Te, Chen Zhi Ming, Wang Li Shan). Creatively assimilating and rethinking the experience of Western polyphonists, Chinese composers have filled their polyphonic works with national features, firmly linking them with the origins of Chinese traditional and folk music. The polyphonic way of transmitting musical material becomes the most expressive at the moments of profound creativity and musical dramatization.
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Марат Рафаэлевич, Ингельдеев,, and Яковлева, Татьяна Олеговна. "Elena Rykova's “101% mind uploading”: On the Materialism, Theatre and Sonic Resonance." Музыкальная академия, no. 4(780) (December 26, 2022): 134–45. http://dx.doi.org/10.34690/275.
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Настоящий текст является расшифровкой беседы о пьесе «101% mind uploading» композитора Елены Рыковой, состоявшейся на «антиконференции» Gnesin Contemporary Music Week 2021. Пьеса находится на стыке жанровых границ, представляя собой музыкальный перформанс, в котором исполнители проводят «операцию над роялем». В основном выступлении музыковед Марат Ингельдеев задается вопросом о том, как некоторые из теорий нового материализма, в том числе предложенные Биллом Брауном и Джейн Беннетт, могут находить отражение в проблематике тактильности и физического в пьесе Рыковой. Театровед Екатерина Кострикова и музыковед Анастасия Кожевникова предлагают трактовки произведения через призму перформативного и театрального восприятия, находя параллели с античным театром и ритуальностью восточных культур. Модератор и музыковед Татьяна Яковлева рассуждает о природе жанровой принадлежности «101% mind uploading» в сравнении с музыкой Джона Кейджа и Маурисио Кагеля. Участники приходят к выводу об особом значении понятия звукового резонанса в творчестве Рыковой. This text is a transcript of a discussion, which took place during the Gnesin Contemporary Music Week 2021 anti-conference, on the musical piece 101% mind uploading, written by the composer Elena Rykova. The work is situated at the intersection of genres, being a musical performance art piece, in which the performers carry out a "surgery on the piano.” In the main section, musicologist Marat Ingeldeev explores how some of the new materialism theories, including the ones by Bill Brown and Jane Bennett, can be reflected in the issues of tactility and physicality in the composer's work. Theatre expert Ekaterina Kostrikova and musicologist Anastasiya Kozhevnikova propose some interpretations of the work through the lens of performative and theatrical perception, finding parallels with ancient Greek and Roman theatre traditions and the rituals of east Asian cultures. Discussion moderator and musicologist Tatyana Yakovleva speaks about the nature of genre labelling, comparing it with the music of John Cage and Mauricio Kagel. The participants come to some conclusions, regarding the special significance of Rykova's concept of sonic resonance.
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Nápoles, Jessica, D. Gregory Springer, Brian A. Silvey, and Kari Adams. "Effects of Pitch Source on Pitch-Matching and Intonation Accuracy of Collegiate Singers." Journal of Research in Music Education 67, no. 3 (August 5, 2019): 270–85. http://dx.doi.org/10.1177/0022429419863034.
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In this study, we examined the effects of multiple reference pitch sources on collegiate singers’ accuracy in pitch-matching and intonation tasks. We also investigated which reference pitch source participants preferred and for what reasons. Participants ( N = 99) sang a two-measure excerpt of Joseph Dearest, Joseph Mine after listening to the starting pitch of A on a pitch pipe, the piano, a vocal hum, or a tuning fork in two conditions. For one tuning fork condition, participants’ starting pitch was an A, the same pitch as the tuning fork. For the other tuning fork condition, their starting pitch was a G, a different pitch than the tuning fork. We selected two pitches for analysis, each corresponding to the first syllable of the word Joseph. We then analyzed pitch deviation of the two target notes from the reference pitch in each condition. Participants were most accurate in response to the piano and least accurate in response to the tuning fork when their starting pitch was a G. Participants expressed preference for the piano (37.12%) as their pitch source, followed closely by the pitch pipe (33.33%).
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Lee, Calvin KC, and Bo-Wah Leung. "Factors in the motivations of studio-based musical instrument learners in Hong Kong: An in-depth interview study." International Journal of Music Education 38, no. 3 (June 3, 2020): 400–414. http://dx.doi.org/10.1177/0255761420926663.
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In this study, we investigated the factors affecting the motivation of studio-based instrumental learners in Hong Kong. We interviewed a total of 13 participants who learnt the violin and/or the piano. We analyzed the interview data by selective coding accordingly to the three basic needs in the conceptual framework of Basic Psychology Needs Theory, which is one of the mini-theories from Self-Determination Theory. The thematization of basic needs are (1) autonomy, (2) relatedness, and (3) competency. We found relatedness and competence were more related to our participants. This study contributes to the understanding of studio-based, learning-environment characteristics as well as specific motivation factors attributed to the distinctions between the violin and the piano learning environments in Hong Kong. We also discussed the issues of music learning in school and teacher's style of teaching practice.
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She, Oliver. "The Application of Tobias Matthay’s Teachings to the Playing of York Bowen’s Twelve Studies: A Practitioner’s Perspective." Context, no. 47 (January 31, 2022): 1–13. http://dx.doi.org/10.46580/cx98922.
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Across the body of piano repertoire that falls under the ‘etude’ genre, few were written with a specific body of piano pedagogical literature in mind. One such example is English composer York Bowen’s Twelve Studies (1916), one of the lesser known cycle of etudes in the piano repertoire. The titles Bowen appended to these studies as well as the technical aspects explored in them point to a connection with the pedagogical teachings of English piano pedagogue Tobias Matthay. This article will examine these studies through the lens of my personal experience preparing this repertoire for performance, and will disseminate insights gained through this preparation process regarding how specific concepts Matthay espoused in his teachings tie in with the explicit and implicit technical focus of these studies, and may be applied in practice. Following a brief introduction to Bowen, the studies, and Matthay, the main section of this article explores eleven of the twelve studies that contain direct and/or indirect references to Matthay’s concepts, before concluding with some general reflections. The purpose of this article is to offer some pedagogical insight on this repertoire, and possible guidance for performers and teachers who may wish to study these works, in spite of these insights coming from a personal perspective. Additionally, since these studies are presently not very well known in pianistic circles and literature is scarce, it is hoped that this article will help nurture further scholarly investigation into this repertoire.
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Mois, George, Bailley Collette, Lisa M. Renzi-Hammond, Laura Boccanfuso, Aditi Ramachandran, Paul Gibson, Kerstin G. Emerson, and Jenay M. Beer. "ATTITUDES AND PREFERENCES FOR ROBOT-LED PIANO COGNITIVE TRAINING: FEASIBILITY IN MILD COGNITIVE IMPAIRMENT." Innovation in Aging 3, Supplement_1 (November 2019): S946. http://dx.doi.org/10.1093/geroni/igz038.3438.
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Abstract Cognitive training has been shown to improve neural plasticity, increase cognitive reserve and reduce the risk of dementia in older adults. Specifically, learning to play the piano has been shown to be an engaging, multimodal form of cognitive training. However, accessing this form of cognitive training can pose a challenge for older adults. Socially assistive robots present a unique opportunity to increase access to user-tailored piano learning cognitive training. The present study utilized a robot-led four-week piano lesson feasibility intervention for older adults with mild cognitive impairment (N = 11; M= 74.64 ± 6.02 years of age; 72.72% female; 90.1% White/Caucasian). Cognitive Status was assessed during screening via the Telephone Interview for Cognitive Status, and after screening via the Mini-Mental State Exam and the CNS Vital Signs computerized test suite to measure cognitive domain-specific functioning. Perceptions and acceptance of the robot were measured using the Robotic Social Attributes Scale (RoSAS) and Technology Acceptance Scale. Cognitive function improved after four weeks of training in the verbal memory, executive function, reaction time and cognitive flexibility domains, and in the computed neurocognitive index score (p<0.05). Survey data and qualitative interviews show that participants perceived the robot instructor as socially engaging, competent, useful, and easy to use. These results provide insight into the potential of SARs to facilitate cognitive training in the form of piano lessons, as well as recommendations for creating a suitable robot instructor for this application.
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Mészáros, Katalin, Nikoletta Németh, and Judit Pakainé Kováts. "A termelői piacok, mint rövid értékesítési láncok marketingkommunikációs kihívásai." Gazdaság és Társadalom 12, no. 3 (2019): 39–59. http://dx.doi.org/10.21637/gt.2019.3.03.
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A rövid értékesítési láncok közül az egyik leggyakrabban alkalmazott forma a mezőgazdasági termelők és kézművesek számára a termelői piac. Magyarországon az elmúlt években, a kedvező jogszabályi változások következtében, gombamód kezdtek elterjedni a termelői piacok. 2018-ban a Nemzeti Agrárgazdasági Kamara nyilvántartása alapján 292 termelői piacot regisztráltak. A termelői piacok lehetőséget teremtenek az adott város és 40 km-es vonzáskörzetében, kivétel a főváros, gazdálkodók által előállított, de el nem fogyasztott termékek értékesítésére, így a helyi jellegzetességek lakossággal és turistákkal történő megismertetésére is (a fővárosra megengedőbb szabályok vonatkoznak). A termelői piacok kommunikációs tevékenysége a legtöbb esetben ad hoc jellegű, ezért a kutatásunk célkitűzése, hogy feltárjuk az integrált marketingkommunikáció fontosságát. Kutatásunk során Vas megyében 30 helyi termelőt kérdeztünk meg személyes mélyinterjú formájában, a helyi termelői piacok kommunikációs tevékenységével kapcsolatban. A mélyinterjús vizsgálatunk rávilágított arra, hogy a helyi termelői piacok marketingkommunikációs tevékenységében szükséges az egységes arculati elemek kidolgozása, a nyomtatott reklám-, az eladásösztönző-, az esemény- és élménymarketinggel illetve az interaktív marketinggel kapcsolatos eszközök széles körű alkalmazása, valamint a hagyományos szájreklám.
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Battaglia, Alessandro, Pavlos Kollias, Ranvir Dhillon, Katia Lamer, Marat Khairoutdinov, and Daniel Watters. "Mind the gap – Part 2: Improving quantitative estimates of cloud and rain water path in oceanic warm rain using spaceborne radars." Atmospheric Measurement Techniques 13, no. 9 (September 15, 2020): 4865–83. http://dx.doi.org/10.5194/amt-13-4865-2020.
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Abstract. The intrinsic small spatial scales and low-reflectivity structure of oceanic warm precipitating clouds suggest that millimeter spaceborne radars are best suited to providing quantitative estimates of cloud and rain liquid water paths (LWPs). This assertion is based on their smaller horizontal footprint; high sensitivities; and a wide dynamic range of path-integrated attenuations associated with warm-rain cells across the millimeter wavelength spectrum, with diverse spectral responses to rain and cloud partitioning. State-of-the-art single-frequency radar profiling algorithms of warm rain seem to be inadequate because of their dependence on uncertain assumptions about the rain–cloud partitioning and because of the rain microphysics. Here, high-resolution cloud-resolving model simulations for the Rain in Cumulus over the Ocean field study and a spaceborne forward radar simulator are exploited to assess the potential of existing and future spaceborne radar systems for quantitative warm-rain microphysical retrievals. Specifically, the detrimental effects of nonuniform beam filling on estimates of path-integrated attenuation (PIA), the added value of brightness temperature (TB) derived adopting radiometric radar modes, and the performances of multifrequency PIA and/or TB combinations when retrieving liquid water paths partitioned into cloud (c-LWPs) and rain (r-LWPs) are assessed. Results show that (1) Ka- and W-band TB values add useful constraints and are effective at lower LWPs than the same-frequency PIAs; (2) matched-beam combined TB values and PIAs from single-frequency or multifrequency radars can significantly narrow down uncertainties in retrieved cloud and rain liquid water paths; and (3) the configuration including PIAs, TB values and near-surface reflectivities for the Ka-band–W-band pairs in our synthetic retrieval can achieve an RMSE of better than 30 % for c-LWPs and r-LWPs exceeding 100 g m−2.
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Read, SJ, MI Smith, AJ Hunter, and AA Parsons. "Enhanced Nitric Oxide Release During Cortical Spreading Depression Following Infusion of Glyceryl Trinitrate in the Anaesthetized Cat." Cephalalgia 17, no. 3 (May 1997): 159–65. http://dx.doi.org/10.1046/j.1468-2982.1997.1703159.x.
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Intravenous infusion of glyceryl trinitrate (GTN) into migraineurs induces an immediate headache followed by migraine. We studied the effect of GTN 10.25 g kg1 min1) on local cerebrovascular laser Doppler flux (rCBFLDF), artery diameter and NO concentration (selective NO microelectrode) in the pial middle cerebral artery perfusion territory of the anaesthetized cat, at rest and during cortical spreading depression (SD). GTN infusion induced a significant increase in pial artery diameter, rCBFLDF, and NO concentration. Following termination of infusion, NO concentrations remained significantly elevated above controls for 60 min, other parameters returned to baseliae within 10 min ( p0.05, ANOVA, post hoc Dunnett's multiple comparison procedure). Two hours after termination of infusion KCI-evoked SD was initiated. GTN-treated animals exhibited significantly ( p 0.05, Kruskal-Wallis) elevated SD-induced NO release compared to controls. All other parameters remained unaffected. Our results demonstrate that GTN induces a prolonged increase in local NO concentrations and enhances SD-induced NO release.
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MAXILE, HORACE J. "Implication, Quotation, and Coltrane in Selected Works By David N. Baker." Journal of the Society for American Music 7, no. 2 (May 2013): 147–64. http://dx.doi.org/10.1017/s1752196313000059.
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AbstractThis article explores composer David N. Baker's use of elements of jazz and vernacular music to articulate formal structures and suggest extramusical commentaries in his concert works, with particular focus on the Sonata for Cello and Piano and the Sonata I for Piano. Themes of homage to and respect for jazz saxophonist John Coltrane resonate through these works. Various features bring the jazz legend to mind, but Baker's compelling play with implication and quotation provides fertile ground for studying musical signification and the use of vernacular emblems within Western compositional structures and the concert music of African American composers. Conventional analytical methods are combined with readings of referential symbols to work toward interpretations that address both structural and expressive domains. This approach allows discussions of compositional techniques to intersect with cultural and philosophical considerations. By addressing issues of musical structure and expressivity, this article seeks to move beyond commonplace surface-level descriptions of black vernacular emblems in the concert music of African American composers.
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Koroseczné Pavlin, Rita, Veronika Alexandra Gál, and Irén Wickert. "Kedvezményes áfa-kulcsok alkalmazása az EU tagállamokban." E-conom 11, no. 1 (2022): 3–16. http://dx.doi.org/10.17836/ec.2022.1.003.
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A hozzáadottérték-adó napjaink egyik legjelentősebb adóneme mind a gazdaságban betöltött versenysemleges szerepe szempontjából mind pedig költségvetési forrásként. Az Európai Unió megalakulásakor az egységes belső piac kialakításának jegyében már 1962 áprilisában megfogalmazódott az úgynevezett első áfa irányelv. A jelenleg érvényben lévő szabályok szerint a 2006/112/EK területi hatálya alá tartozó országok egy általános hozzáadottérték-adó kulcsot alkalmazhatnak, melynek legalább 15 százalékos szintet kell elérnie. Ezen kívül legfeljebb két kedvezményes adókulcsot szabhatnak meg a jogszabályban felsorolt esetekre, amelynek legalább 5 százaléknak kell lennie. Jelentős eltéréseket tapasztalhatunk az Európai Unió országainak adókulcsaiban, mely biztosítja az EU sokszínűségét és tagállamainak szuverén adópolitikáját. Tanulmányunkban az EU statisztikai adatbázisa alapján tekintjük át az egyes tagállamok gyakorlatait. Megvizsgáljuk az általános áfakulcsokat és kiemelt figyelmet fordítunk az olyan kedvezményes adókulcsokra, melyek elsődleges célja a gazdaságélénkítés.
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Bácsné Bába, Éva, Veronika Fenyves, György Szabados, Krisztina Dajnoki, Anetta Müller, and Zoltán Bács. "A sportágazat nemzetgazdasági jelentőségének vizsgálata beszámoló adatok alapján 2014-2016-os időszakban." Jelenkori Társadalmi és Gazdasági Folyamatok 13, no. 3-4 (June 1, 2018): 93–103. http://dx.doi.org/10.14232/jtgf.2018.3-4.93-103.
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Kutatási célunk a magyar sportszolgáltatási piac kínálati oldalának gazdasági elemzése volt nemzetgazdasági ágazati szinten. A kutatás indokoltságát az adja, hogy a legutóbbi hivatalos ágazati adatok a sportszektorról 2012-ben láttak napvilágot. Ezek az adatok arról tanúskodnak, hogy a magyar sportszektor jelentős gazdasági potenciállal rendelkezik, bár még arányaiban elmarad a nyugati országokétól. A sportszektor fejlődésének igazolására tettünk kísérletet az EFOP-3.6.2-162017-00003 projekt keretében beszerzett számviteli beszámoló adatokat tartalmazó adatbázis elemzésével. Az adatbázis a TEÁOR szám (931) szerint főtevékenységként sporttevékenységet űző nonprofit- és profitorientált szervezetek adatait tartalmazza 2014-2016-os időszakban. A vizsgálat korlátja volt, hogy különösen a nonprofit sportszervezetek hiány adatközlése volt, így a szektor teljesítménye csak becsülhető. A vizsgálatok eredményeiből azonban megállapítható, hogy a szektor fejlődése egyértelmű, hozzájárulása a bruttó hozzáadott értékhez mind összegében, mind arányaiban növekedést mutat.
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Peper, Erik, Sakiko Nemoto, I.-Mei Lin, and Richard Harvey. "Seeing is Believing: Biofeedback as a Tool to Enhance Motivation for Cognitive Therapy." Biofeedback 43, no. 4 (December 1, 2015): 168–72. http://dx.doi.org/10.5298/1081-5937-43.4.03.
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Cognitive behavior therapy (CBT) as applied by behavioral scientists includes strategies for changing negative cognitions that contribute to depression and anxiety. Biofeedback is a useful strategy to demonstrate to clients the mind (cognitive, psychological) to body (physiological) interaction. For example, a cognitive, psychological reaction to a stimuli results in a physiological effects as illustrated by changes in skin conductance or muscle tension. A case example is used to demonstrate an anticipatory psychophysiological response resulting in covert activity of the forearm as a client simply imagines playing the piano.
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Balázs-Földi, Emese. "Fogyatékos és megváltozott munkaképességű személyek alkalmazási gyakorlata a nyílt munkaerő-piacon." International Journal of Engineering and Management Sciences 1, no. 1 (June 10, 2016): 1–13. http://dx.doi.org/10.21791/ijems.2016.1.4.
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A fogyatékos és megváltozott munkaképességű személyek, mint munkavállalói csoport munkaerő-piaci helyzete alapján elmondhatjuk, hogy jelentős hátrányokkal rendelkező munkavállalói csoport. Gazdasági aktivitása elmarad a nem fogyatékos és megváltozott munkaképességű lakosságtól. A legújabb statisztikai adatok szerint a megváltozott munkaképességű személyek foglalkoztatási szintje csupán 18% körül mozog. A mindenkori kormányzat mind pozitív, mind negatív ösztönzőrendszerrel igyekszik az érintett munkavállalói csoport gazdasági szerepét növelni, hangsúlyosan az elsődleges, nyílt munkaerő-piac területén. Mindez azonban elképzelhetetlen a társadalom és a vállalati szféra szemléletformálása nélkül, mely az esélyegyenlőség, az egyenlő bánásmód és a diszkrimináció tilalma törvényi szabályozásán keresztül érvényesülhet. A cikk célja, hogy az Észak-alföldi régióban működő 3 vizsgált szervezet cég- illetve HR vezetőjével készített szakmai interjú és esettanulmány segítségével feltárja a piaci szereplők hogyan viszonyulnak a fogyatékos és megváltozott munkavállalói csoporthoz, az elmúlt évek törvényi változásaihoz, illetve milyen mértékben alkalmaznak, és milyen akadályokkal nehezítik a további foglalkoztatásukat.
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Chua, Karen, Zheng You Lim, Kok Swee Sim, and Shing Chiang Tan. "Development of Brain Balancing System for Left and Right Hemispheres." International Journal on Robotics, Automation and Sciences 3 (November 8, 2021): 1–7. http://dx.doi.org/10.33093/ijoras.2021.3.1.
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This paper presents the design of Mini Brain Games (MBGs) to improve either the left or right hemisphere of the brain. The MBG includes spot the difference, piano, block view, word building, word scrambler, sudoku, left hand control, memory card, flash card, crossword, math logic and mnemonics technique used for the order of operations in algebra, the planets in solar system, and resistor color code. Stroop test and brain dominance test are used to measure the level of balance between the two hemispheres of the brain before and after the exercise program. The mini brain games designed in the Brain Balancing System Windows Application are shown to improve the balance between the left and right hemisphere of the brain. The results show that the mini brain games are indeed able to assist in the left or right brain development. The largest improvement achieved is that the percentage of dominance between the two brain hemispheres is reduced by 18.18%. The smallest improvement achieved was that the difference between the two brain hemispheres was reduced by 9.08%.
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Anderson, Martin. "London, St. John's Smith Square: Britten and David Matthews premières." Tempo 57, no. 226 (October 2003): 69. http://dx.doi.org/10.1017/s0040298203240365.
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The world première of Benjamin Britten's Two Pieces (his title) for violin, viola and piano on 9 July provided further proof of his precocious genius, and also hinted intriguingly at the turning his compositional career never took. The concert that presented the Britten trio and another première, David Matthews's Duet Variations for violin and piano, was organized by Haus Publishing to launch Matthews's new biography of Britten, and it was while researching the book that Matthews came across the score of the Two Pieces, written in late 1929 for a chamber group in which he played the viola. Like the Quartettino, which it immediately predates, the Two Pieces shows Britten trying his hand at a Bergian expressionism. A note in his diary at the time (November 1929), quoted in the programme for the concert, reveals the direction his mind was taking: ‘I am thinking much about modernism in art, debating whether Impressionism, Expressionism, Classicism etc are right. I have half decided on Schoenberg’. His music confirms his words.
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Pilolli, F., L. Giordano, A. Galli, and M. Bussi. "Tumori dello spazio parafaringeo: approccio transcervicale video-assistito mini invasivo." Acta Otorhinolaryngologica Italica 36, no. 4 (August 2016): 259–64. http://dx.doi.org/10.14639/0392-100x-709.
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L'obiettivo dello studio è stato valutare i vantaggi di un approccio transcervicale mini-invasivo video-assistito per l'exeresi di neoformazioni maligne e benigne dello spazio parafaringeo. Sono stati trattati 10 pazienti con approccio trans-cervicale mini-invasivo videoassistito con l'utilizzo di telescopi di Hopkins. Viene descritta la tecnica chirurgica e una revisione della letteratura. L'esame istologico definitivo è stato in 3 casi di adenoma pleomorfo, in 2 casi di schwannoma, 2 metastasi linfonodali da carcinoma tiroideo, un carcinoma ex adenoma pleomorfo, un emangioma cavernoso ed un adenoma a cellule basali. La dimensione massima delle neoformazioni è stata in media di 37,2 mm (da 19 a 60 mm). Il tempo chirurgico è stato dai 75 ai 185 minuti (media 146,7). In un caso è stata necessaria la conversione ad approccio transcervicale-transparotideo. I pazienti sono stati dimessi dalla seconda alla quinta giornata postoperatoria. In un caso è stata osservata paresi definitiva del nervo ipoglosso. L'approccio trans-cervicale mini-invasivo video-assistito è sicuro e offre la possibilità di seguire esattamente il piano di clivaggio, permettendo un'emostasi accurata e avendo sempre il controllo delle strutture anatomiche più critiche.
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Solare, Juan María. "CURIOSITY IS LIMITLESS: A LAST INTERVIEW WITH MAURICIO KAGEL." Tempo 63, no. 250 (October 2009): 8–26. http://dx.doi.org/10.1017/s0040298209000333.
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This conversation with Mauricio Kagel took place on 16 April 2008 in the studio of Kagel's house in Cologne. Just by looking at the shelves one could learn a lot, seeing how Kagel organized his scores. Each box included everything related to a single work (or group of works), including the ‘Ur-Manuskript’ (primordial manuscript), as he called it, as well as the working copy with the corrections that arose during rehearsals and the contract with the publishing house. The studio enclosed an unsophisticated upright piano, a huge desk and a corner to receive visits like mine.
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Meister, I. G., T. Krings, H. Foltys, B. Boroojerdi, M. Müller, R. Töpper, and A. Thron. "Playing piano in the mind—an fMRI study on music imagery and performance in pianists." Cognitive Brain Research 19, no. 3 (May 2004): 219–28. http://dx.doi.org/10.1016/j.cogbrainres.2003.12.005.
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MacDonald, Claudia. "Schumann's Piano Practice: Technical Mastery and Artistic Ideal." Journal of Musicology 19, no. 4 (2002): 527–63. http://dx.doi.org/10.1525/jm.2002.19.4.527.
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From the summer of 1830 through the fall of 1831, Schumann worked diligently at the piano with the intention of becoming a professional performer. Beginning in May 1831 he regularly recorded his progress in his diary, describing his repertory, hand position, his aesthetic and technical goals, his frustrations and triumphs. Repeatedly he wrote of the clash between a cherished ideal, nurtured in him as an amateur, of music as an expression from the heart, and what he deemed the routine music making of professionalism——a clash played out in his piano practice until it reached an impasse he was unable to resolve in his performance. The conflict Schumann experienced was related to a larger one in the world of European concert music, namely the demand for ever more dazzling exploits just as music was elevated to the highest position among the arts. This essay presents the nearest possible look into a young artist's mind as he grappled with a dilemma basic to his generation: how to embrace the newest athletic developments while still claiming music as an expressive language reaching into inner depths that are supposedly immune to its power to dazzle. As one example it shows Schumann's progress toward a finished, ideal performance of Chopin's Variations, opus 2, as this is documented in a series of exercises recorded in his practice diary. These deal little with any mechanical problems in the set but instead give a glimpse of how Schumann hoped to realize physically his imagined, ideal sound world.
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Chaffin, Roger, Gabriella Imreh, Anthony F. Lemieux, and Colleen Chen. ""Seeing the Big Picture": Piano Practice as Expert Problem Solving." Music Perception 20, no. 4 (2003): 465–90. http://dx.doi.org/10.1525/mp.2003.20.4.465.
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Experts in many fields approach a new problem by identifying the general principles involved before starting work on details. Do expert musicians similarly begin work on a new piece with the big picture, an artistic image of the piece, in mind? To find out, a concert pianist recorded her practice of the third movement, Presto, of J. S. Bach's Italian Concerto, commenting as she did so about what she was doing. The behavioral record of where playing started, stopped, and slowed down indicated the musical dimensions affecting practice, while the comments indicated the main focus of the pianist's attention. An artistic image for the piece was already evident in the initial sight-read performance, guided work on technique in sessions 1-6, and was transformed into a plan for performance by practice of performance cues in sessions 7-8. Interpretive details were added in sessions 9-10 and remaining problems touched up in session 11-12. Despite its pervasive effects on practice, the pianist's artistic image was mentioned only indirectly in comments about technique in sessions 1-6 and about structure, memory, and interpretation in later sessions.
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BURT, WARREN. "Some parentheses around algorithmic composition." Organised Sound 1, no. 3 (December 1996): 167–72. http://dx.doi.org/10.1017/s1355771896000234.
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Algorithmic composition and gambling, two activities associated (in the public mind) with the use of chance, are contrasted. Gambling is based on the concepts of winning and losing. Algorithmic composition is not, or should not be. Problems of mappings of information from one medium to another are considered, along with problems of reception for artworks made with these methods. In the end, the quality of attention given to an artwork may be more critical to its reception than any methods used to construct it. Mr. Yasser’s Piano, Tuning the Furniture of Chaos and Pi and the Square Root of Two, three recent algorithmic compositions by the author, are considered in the light of these thoughts.
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Shiu, Cao. "PIANO SUITE DU MING XIN «MERMAID» AS AN EXAMPLE OF THE COMBINATION OF THE PRINCIPLES OF NATIONAL AND EUROPEAN MUSICAL LANGUAGE." Ukrainian music 32, no. 2 (December 4, 2019): 98–104. http://dx.doi.org/10.33398/2224-0926-2019-32-2-98-104.
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Shiu, Cao. "PIANO SUITE DU MING XIN «MERMAID» AS AN EXAMPLE OF THE COMBINATION OF THE PRINCIPLES OF NATIONAL AND EUROPEAN MUSICAL LANGUAGE." Ukrainian music 32, no. 2 (December 2019): 98–104. http://dx.doi.org/10.33398/2224-0926-2019-32-2/98/104.
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Vikárius, László. "Bartók: ‘Bear Dance’." Studia Musicologica 49, no. 3-4 (September 1, 2008): 341–67. http://dx.doi.org/10.1556/smus.49.2008.3-4.7.
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‘Bear Dance’ (German ‘Bärentanz’) appears to have been a lesser-known nineteenth-century character piece exemplified by Schumann’s two related compositions in A minor, Twelve Pieces for Four Hands , op. 85, no. 2 and its early version, for piano solo, composed for the Album for the Young but left unpublished, as well as Mendelssohn’s F-major occasional piece. These pieces are all characterized by a very low ostinato-like tone-repetition in the base (recalling the clumsy movements of the bear in Schumann’s pieces while imitating the leader’s drumming in Mendelssohn’s) and a melody in high register in imitation of the leader’s pipe tune. Bartók must have had this particular genre in mind when composing his closing piece for the Ten Easy Piano Pieces (1908), herald of later fast ‘ostinato’ movements, in which the amusing topic, a market place event, is turned into something wild and eerie. The composition and publication history of the piece is reinvestigated on the basis of documents, letters and compositional manuscripts, partly unpublished so far. ‘Bear Dance’ is closely related to the compositions, such as Bagatelles nos. 13 and 14, resulting from the composer’s personal crisis in 1908, due to his unrequited love to the violinist Stefi Geyer, and it also uses a version of the leitmotiv generally named after Geyer by theorists. The employment of characteristics derived from folk music ( kanásztánc [herdsman’s dance] or kolomeika rhythm, strophic structure, etc.) is analyzed as well as the composer’s modernist preference for harmonies integrating minor second/major seventh clash and large-scale tritonal tensions. Bartók’s encounter with a special (but distinctly different) musical type accompanying ritual peasant dances in Romanian villages of Transylvania is also briefly discussed as one of his arrangements of a violin piece, the second movement of the Sonatina for piano (1915) was also entitled as ‘Bear Dance’.
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Kozák, Anita, and Krisztina Dajnoki. "A szervezeti polgár magatartás és az észlelt szervezeti kultúra összefüggései a köz- és a versenyszféra munkavállalóinak körében." Vezetéstudomány / Budapest Management Review 52, no. 1 (January 13, 2021): 13–26. http://dx.doi.org/10.14267/veztud.2021.1.02.
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A tanulmány célja feltárni, hogy a közszférában és a versenyszférában dolgozó munkavállalók által észlelt szervezeti kultúra, valamint az általuk tanúsított szervezeti polgár magatartás között van-e statisztikailag kimutatható kapcsolat. Ennek érdekében a szerzők kérdőíves megkérdezést alkalmaztak, kényelmi mintán történt a tesztelés. Az összesen 410 értékelhető válaszív beérkezését követően nem-paraméteres statisztikai próbák segítségével elemezték az adatokat. Az eredmények alapján megállítható, hogy a magánszférában dolgozó válaszadók körében mind a négy észlelt kultúratípus jellegzetességei, az állami szektorban foglalkoztatott megkérdezettek esetében pedig csupán az észlelt klán- és hierarchiakultúra jegyei vannak összefüggésben a szervezeti polgár magatartással. A kutatás emellett arra is rávilágított, hogy a szervezeti polgár magatartás minden dimenziója magasabb az állami szektorban foglalkoztatottak minősítései alapján, a versenyszektorban dolgozó megkérdezettek pedig fokozottabban észlelik a piac, az adhokrácia és a klánkultúra jegyeit.
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Rehding, Alexander. "Three Music-Theory Lessons." Journal of the Royal Musical Association 141, no. 2 (2016): 251–82. http://dx.doi.org/10.1080/02690403.2016.1216025.
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AbstractThis article is an attempt to understand music theory from the perspective of written and sounding media. It examines three radically different music-theoretical practices, which operate with different forms of written notation and different musical instruments, and have surprisingly different purposes in mind: the monochord-based theory of Franchinus Gaffurius (1518), the siren-based theory of Wilhelm Opelt (1834) and the piano-and-score-based theory commonly practised in our age. The instruments used in these three music theories hold the key to a fuller understanding: they can be understood as ‘epistemic things’ – that is, in producing sounds, these objects simultaneously produce knowledge about music. From a media-archaeological perspective, I suggest, these three music-theoretical practices stand emblematically for Pythagorean, digital and textual approaches to music.
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Babos, Annamária, and Julianna Szabó. "Mindenből egy keveset: A közösségi társasház mint piac? = A Little Bit of Everything: Co-Housing, as a Market?" Metszet 11, no. 2 (2020): 30–35. http://dx.doi.org/10.33268/met.2020.2.4.
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Zhang, Weiwen. "Lineage Construction of the Southern School from Zhongli Quan to Liu Haichan and Zhang Boduan." Religions 10, no. 3 (March 11, 2019): 179. http://dx.doi.org/10.3390/rel10030179.
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Examining relevant Daoist scriptures and records, this article traces the lineage relationship of Zhang Boduan (d. 1082) to his predecessors. His immediate teacher supposedly was Liu Haichan, based on whose teachings he compiled his main work, the Wuzhen pian (Awakening to Perfection). First outlined by the Song scholar Lu Sicheng, the story was later expanded in various collections of immortals’ biographies. It is well known that the Southern School of internal alchemy (Golden Elixir) was constructed by Bai Yuchan and his disciples in the early 13th century. I show that this centers on the claim that Zhang Boduan, as Bai’s forerunner, received his teachings from Liu Haichan, a line that was then expanded to include the immortals Zhongli Quan and Lü Dongbin. I also suggest that the alchemical teaching of the Zhong-Lü tradition is particularly characterized by its emphasis on the dual cultivation of inner nature and life-destiny, focusing on the key concepts of clarity and stillness as well as nonaction, while centering on the reverted elixir of the golden fluid. The teaching matches the Daode jing (Book of the Dao and Its Virtue) instructions to “empty the mind, fill the belly, weaken the will, and strengthen the bones” (ch. 3). This emphasis may well be the reason the Zhong-Lü tradition superseded the Twofold Mystery school flourishing in the Tang and rose to the fore.
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ENGEL, Alina Monica. "The Activity of the Composer Iacob Mureșianu in Blaj. Cultural Heritage and Traditions." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 55–64. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.6.
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" I have written this article bearing in mind the musical education in Blaj. It includes social and historical specific to Iacob Mureșianu’s years of professional practice in Blaj; it lists cultural and musical personalities shaped by that cultural centre. Moreover, it covers the stages specific to his work as a teacher, composer, musical education organizer, promoter of authentic folklore. In addition, the article reviews his piano compositions that served as a didactic material, but also as concert pieces. The influence of the Romanian folk music predominates, even though he did some of his musical studies abroad. The portray of composer Iacob Mureșianu is crayoned in the context of his family, with the influences, ideas and ideals instilled by its members. The pages of the article will, however, mention the close connection the musician Iacob Mureșianu had with his father, journalist Iacob Mureșianu."