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Journal articles on the topic 'Modern light lyrics'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Park, Hyokyung, and Heeju Kwon. "A Study on the Sources of Lyrics in Botong gyoyuk changgajip (1910), Korea's First Modern Music Textbook: Based on the Characteristics and Significance of the New Lyrics." Korean Music Education Society 53, no. 3 (2024): 45–68. http://dx.doi.org/10.30775/kmes.53.3.45.

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The purpose of this study is to report on the newly discovered Korean lyrics of Botong gyoyuk changgajip(1910) the first modern music textbook in Korea, and to shed light on textbook’s historical value by re-examining the characteristics of these lyrics. Both previously known and newly discovered sources for the 27 songs included in Botong gyoyuk changgajip were summarized and analyzed closely. Previously, only one traditional Korean song was identified; this study, however, found one more song, indicating that there were a total of two songs. The sources for three out of 13 songs of unknown o

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Dash, Pratap Kumar. "Literary and Artistic Values of the Iconic Odia Movie Lyrics and Popular Modern Songs of Love and Romance from 60s to 80s." Indiana Journal of Arts & Literature 6, no. 5 (2025): 1–6. https://doi.org/10.5281/zenodo.15561081.

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<strong>Abstract:</strong> The profile of Odia cinema as well as popular Odia modern songs specially from the 60s to the 80s is indelible nostalgic reminiscences of artistic values for several reasons. Like commitments and movements of making movies in other Indian languages in those days, they deal with the potential socio-cultural and contemporary topics of discussion in varieties, and found to have considerable impact on audience because of the solidity of themes and literary flavour. While reflecting on social issues and realities, as usual, they reserve special position of love between th

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ALIOUCHOUCHE, Fadhila. "Linguistic diversity in the artistic work of Djamel Allam." ussnan 1, no. 01 (2024): 85–103. https://doi.org/10.64143/ussnan.v1i01.27.

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Djamel Allam's work is distinguished both by its modern music and by the linguistic diversity of its lyrics. His lyrics combine Kabyle, Algerian Arabic, and French, enabling his repertoire to transcend linguistic barriers and give his work a universal character. The present paper sheds light on the linguistic diversity of Djamel Allam's work. Our study is guided by the following research questions: What are the manifestations of code-switching in the lyrics of Djamel Allam songs? What forms of code-switching dominate in the selected song lyrics? This descriptive qualitative study investigates

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Cui, Xiuxiang, and Sungkyoo Hong. "A Study on the Fusion of Chinese Ethnic Minority Elements and Hip-hop Music: Focusing on the Tibetans." Korean Society of Culture and Convergence 45, no. 5 (2023): 949–57. http://dx.doi.org/10.33645/cnc.2023.05.45.05.949.

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Tibetan hip-hop music is a new type of music characterized by the genre characteristics of Chinese Tibetan culture and folk music genres. In order to analyze the characteristics of the fusion of traditional Tibetan music and modern hip-hop music, this article looks at the development history of Tibetan music and cites representative works of Tibetan music from each period to analyze its main characteristics. The main elements of Tibetan hip-hop music are analyzed in terms of lyrics, melody, vocals, and orchestration, and illustrated with examples from several works. This article will shed new

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BILICHAK, Oksana, Nina OSMAK, Tetyana BYKOVA, and Natalia SHEVEL. "Intertextuality of Yevgen Pluzhnyk's Poetic Legacy." WISDOM 19, no. 3 (2021): 6–16. http://dx.doi.org/10.24234/wisdom.v19i3.505.

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For understanding Y. Pluzhnyk’s poetry in the context of modern discourse, it is valuable to study the content of his lyrics in light of intertextual connections, which are presented in the article at the formal and semantic levels. It was determined that different intertextual forms reveal a functional dependence on the purpose underlying their introduction into the text by Y. Pluzhnyk (the illustrative charge, contrast, thought reinforcement, delimiting observation, accumulation, etc.). The active use of various folkloric, mythological, artistic, and philosophical reminiscences transmits a

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Radbil, Timur B., Liudmila I. Ruchina, Marina G. Urtmintseva, and Irina S. Iukhnova. "Russian Philology at Lobachevsky State University of Nizhny Novgorod in the Light of Modern Strategies of Scholarly Search." World of the Russian Word, no. 1 (2023): 112–21. http://dx.doi.org/10.21638/spbu30.2023.114.

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The article highlights the main scholarly trends in Russian philology, which are being developed by the scholars of the Institute of Philology and Journalism of Lobachevsky State University of Nizhny Novgorod. In the last 20 years, the Chair of Modern Russian and General Linguistics has been working on a new scholarly research area related to the study of active processes in the modern Russian language. The Chair of Teaching Russian Language in other Language Environments has created and successfully tested a methodology for describing the concepts of Russian culture, which involves identifyin

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Ощепкова, А. И., and В. Н. Слепцова. "Sensory image of the North in the «Kolyma Notebooks»by V. Shalamov." Arctic XXI century. Humanities, no. 3(29) (September 15, 2022): 102–13. http://dx.doi.org/10.25587/svfu.2022.80.48.006.

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В статье рассматривается сенсорный образ Севера в сборнике стихотворений В. Шаламова «Колымские тетради». Актуальность обусловлена тем, что в свете развития синестетического подхода в литературе становится важным обращение к вербализации телесных ощущений и эмоций в художественных текстах. Современное литературоведение активно интересуется проблематикой введения сенсорики в структуру литературного произведения. Поэтика сенсорики как самостоятельная научная проблема выделилась относительно недавно, поэтому исследование сенсорной образности в лирике В. Шаламова отличается новизной и актуальность

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Koloshuk, Nadiia. "The triad Faith — Hope — Love as a symbol in the lyrics of the representatives of the 1960s generation — Bulat Okudzhava and Yevhen Sverstiuk." Synopsis: Text Context Media 26, no. 4 (2020): 138–44. http://dx.doi.org/10.28925/2311-259x.2020.4.4.

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The inquiry is focused on two poems of the Sixties Poets: “Three Sisters” by B. Okudzhava and “Faith — Hope — Love” by Ye. Sverstiuk. They are united by the symbolic image of a triad of Christian martyrs. The aim of the study is an interpretation of texts, associated with a common cultural tradition, as well as an indication of differences in the development of national cultures of the former USSR, that cause further divergence in the modern mentality of citizens in the country that had divided. The research adheres to comparative hermeneutic methodology. Problem Statement. Personalized images

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Bankauskaitė, Gabija. "Respectus Philologicus, 2011 Nr. 20 (25)." Respectus Philologicus, no. 20-25 (October 25, 2011): 1–286. http://dx.doi.org/10.15388/respectus.2011.25.

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CONTENTS I. PROBLEMS AND SOLUTIONSLoreta Ulvydienė, Giedrė Drėgvaitė (Lithuania). Linguistic Experience as the Projection of Urban Cognition in Literature...11Saule Altybayeva (Kazakhstan). Neomythologism of the Modern Kazakh Prose: Polycultural Discourse and Art Prospect Search...27Michał Mazurkiewicz (Poland). The Nature of Ritual... 40 II. FACTS AND REFLECTIONSLaima Kalėdienė (Lithuania). Attitude Towards the Official Language According to the Data of Sociolinguistic Survey... 52Vadim V. Dementyev (Russia). Glamour as “The Old New Svetskost”?....65Elena Bonta, Raluca Galiţa (Rum

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Canilha, Samla Borges. "Ser dividido: concepções modernas na poesia de Sophia de Mello Breyner Andresen." Revista do Centro de Estudos Portugueses 38, no. 60 (2019): 81. http://dx.doi.org/10.17851/2359-0076.38.60.81-96.

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Resumo: Entre os grandes poetas que os portugueses legaram ao mundo, está Sophia de Mello Breyner Andresen. Com uma obra notável, tanto pela extensão quanto pela qualidade, a poeta destaca-se como um objeto ainda a se tratar na academia, de forma que o tempo apenas serve à sua consagração. É buscando reforçar o refinamento característico de sua obra que, neste artigo, demonstro como, a partir da leitura de Coral, a poesia de Andresen pode ser pensada a partir da concepção de lírica moderna proposta por Hugo Friedrich. Para tanto, a leitura do texto literário foi realizada considerando-se a dis

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Markovych, Mykhailo. "French chanson as a phenomenon of the world culture: history and performance fate of the genre." Aspects of Historical Musicology 38, no. 38 (2025): 123–41. https://doi.org/10.34064/khnum2-38.05.

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Statement of the problem. The actualization of the French song, which is the subject of interest for modern singers, is studied. In the light of new historiography the axiological problem of the genre is discussed. On the one hand, the chanson is turned to the democratic past, on the other hand, it is a carrier of the resemantization of the romantic theme of “eternal love” in the conditions of the performance practice of the 21st century. Objectives, methods, and novelty of the research. The purpose of the article is to summarize the latest historiography devoted to French song in the light of

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Strelchenko, K. M. "Methods and techniques of jazzpop music arrangement for button accordion and piano accordion in swing style." Culture of Ukraine, no. 75 (March 21, 2022): 85–92. http://dx.doi.org/10.31516/2410-5325.075.11.

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The relevance. The article covers the topics of popularization of instrumental performance of button and piano accordionists in terms of genre improvement of the concert repertoire, based on the idea of expanding the stylistic boundaries of the programme, offering new methods and techniques of instrumental arrangement when training and performing pop and jazz music in the preferred genres and styles, adapting the musical content to one’s performance. The aim of the article. The study explores the relevance of button and piano accordionists’ concert programme originality, as well as the n

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13

Sun, Susanna. "Becoming Awakened: Four Yue Opera Segments in Xie Jin’s Two Stage Sisters." CHINOPERL: Journal of Chinese Oral and Performing Literature 42, no. 2 (2023): 130–64. http://dx.doi.org/10.1353/cop.2023.a910840.

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Abstract: A major work of the renowned director Xie Jin, the 1964 film Two Stage Sisters (Wutai jiemei 舞台姐妹) has received popular reception and critical acclaim both domestically and internationally. Existing scholarship has interpreted Two Stage Sisters primarily through the film analysis methodology, which overlooks the critical component of the film’s aesthetics—the Chinese Yue opera performance. My analysis will shed new light on the film’s depiction of Yue opera actresses by examining details of Yue opera performances and their intermedial interactions with the film. Examination of the “d

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14

Kira, Tymofeieva. "INTERPRETATION PECULIARITIES OF THE CAPRICE GENRE IN F. MENDELSSOHN’S PIANO CREATIVITY." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 96–110. http://dx.doi.org/10.34064/khnum1-60.05.

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Statement of the problem. The centuries-old development of the genre of piano caprice (capriccio), which led to its flourishing in the work of romantic composers, is considered as an integral part of the genre system in Western European piano music. Insufficient study of Mendelssohn’s piano works, in particular caprices, determines the relevance of the research. The purpose of the article is to generalize stylistic qualities of the composer’s piano caprices in the context of genre evolution and their performance features. Analysis of research and publications. The genre of caprice is studied i

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15

Rudavsky-Brody, Nathaniel. "Quest'è la letra : From Lyric Parody to Modern Tragedy in Ruzante's Venice." MLN 139, no. 1 (2024): 1–34. http://dx.doi.org/10.1353/mln.2024.a930284.

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Abstract: Paduan playwright Angelo Beolco, alias Ruzante, wrote against a vibrant tradition of dialect parody lyric and popular verse theater in the Veneto region. Yet in a pair of darkly comic one-act plays, the Due dialoghi in lingua rustica , Beolco pushes beyond his comic roots to reach new depths of tragic seriousness. Though in prose, the Dialoghi should be read as responding to the corpus of dialect poetry; when the humorous tension between the peasant speaker and his high poetic form is confronted with social and economic reality, tragedy is born. Comparison with another gem of Paduan

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Darwish, Hisham A. "The Alcaic Odes of Horace and Greek Poems of the Early 20th Century." Acta Antiqua Academiae Scientiarum Hungaricae 60, no. 1-2 (2021): 149–70. http://dx.doi.org/10.1556/068.2020.00010.

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SummaryThis article is concerned with shedding light on two examples of influence between Horace and the Greek poets, both ancient and modern. The aim of this paper is to shed light on several parallel aspects between two of the Alcaic odes of Horace and two modern Greek lyric poems by Constantine Cavafy and Angelos Sikelianos, respectively. Subsequently, I show, within the wider framework of inter-textuality, a subtle example of the utilization and re-utilization of lyric elements that are originally ancient Greek in nature by the Latin and modern Greek poets. In my argumentation, I will rely

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17

Lipiner, Michael. "Lights, Camera, Lesson: Teaching Literacy through Film." E-Learning and Digital Media 8, no. 4 (2011): 375–96. http://dx.doi.org/10.2304/elea.2011.8.4.375.

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This in-depth case study explores a modern approach to education: the benefits of using film, technology and other creative, non-conventional pedagogical methods in the classroom to enhance students' understanding of literature. The study explores the positive effects of introducing a variety of visual-based (and auditory-based) teaching methods to learners within an urban high school English language arts inclusion classroom. The study group reads literature, analyses films and works on various creative assignments, such as incorporating music lyrics, using computer technology and creating ar

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18

Kaufman, Robert. "Lyric Commodity Critique, Benjamin Adorno Marx, Baudelaire Baudelaire Baudelaire." PMLA/Publications of the Modern Language Association of America 123, no. 1 (2008): 207–15. http://dx.doi.org/10.1632/pmla.2008.123.1.207.

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So how important is modern lyric poetry?Answers will depend on who's answering—and what they understand by modern, lyric, and poetry. Academic and other cultural institutions will hardly have the only say; the most significant testimonies often come from poets themselves, who in relation to matters academic and institutional may have feet in more than one camp but who perhaps finally have, in proportion to the intensity and overall achievement of their art, no camp at all. Yet an at least century-long critical tradition, which Marjorie Perloff's 2006 MLA Presidential Address joins, has salutar

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Mykhailova, O. V. "Background. The diverse experience of artistic culture, refl ected in the established system of genres, appears in a new light from the standpoint of modernity as experts." Aspects of Historical Musicology 15, no. 15 (2019): 119–37. http://dx.doi.org/10.34064/khnum2-15.06.

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from different fi elds of art refer to the same topic. Stable repetition of phenomena, the names of which were originally perceived in the poetic and metaphorical way, indicates the formation of a certain genre branch, little developed in scientifi c research. Genre neoformations of this kind include walks, behind the semantic layer of which a certain set of stylistic means shines through. It is not by chance that attempts are made to comprehend this phenomenon in aesthetic and artistic aspects. Objectives. The purpose of the article is to highlight the phenomena of artistic culture with the m

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Lyan, Tszitao. "The image of Andrea from the opera “Andrea Chenier” by U. Giordano: the history of vocal interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 29–42. http://dx.doi.org/10.34064/khnum1-50.03.

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Formulation of the problem. U. Giordano is a bright representative of the late romantic tradition of the Italian opera of the turn of the 19th-20th centuries. Among the brightest stage versions of his most famous opera “Andrea Chenier”, within this study we have selected a number of the key implementations of Andrea Chenier’s part, which show the constant and mobile signs of the interpretation of this famous opera image. The purpose of the study is to identify the features of interpreting the image of Andrea Chenier from the opera of the same name by the performers of various schools in the as

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Syrimis, Michael. "The light that blinds: On art in D’Annunzio’s La Gioconda." Forum Italicum: A Journal of Italian Studies 51, no. 2 (2017): 378–95. http://dx.doi.org/10.1177/0014585817698398.

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This article analyzes Gabriele D’Annunzio’s 1898 play La Gioconda as a form of modern tragedy with respect to Friedrich Nietzsche’s duality of the Apollinian and Dionysian, and with particular emphasis on the motif of light as it appears both in the author’s stage directions and in the dialogues. The story of the play revolves around the recurrent Dannunzian theme of the love triangle. A young sculptor of a Nietzschean sensibility struggles with the dilemma between a peaceful family life and the stormy lifestyle of an artist, played out in his relationships with a gentle and caring spouse and

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Bogdanova, O. V., and T. N. Baranova. "Bryusov's Pushkiniana in the Perspective of Modern Cultural Studies." Voprosy kul'turologii (Issues of Cultural Studies), no. 8 (August 27, 2024): 667–79. http://dx.doi.org/10.33920/nik-01-2408-01.

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In the work, in the light of modern cultural studies, the literary and poetic activity of Valery Bryusov, a bright Soviet critic and an outstanding symbolist poet of the Silver Age, is reinterpreted. The material for the analysis was Bryusov’s Pushkiniana and, in particular, the article “The Copper Horseman” (1909) and the poem of the Soviet period “Variations on the theme of the ‘Copper Horseman’“ (1923). It is traced how the critic Bryusov analyzed Pushkin’s “Petersburg story” in detail, how analytically precisely he formed the main trends of the research discourse. The appeal to the system

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Murray, David. "Telling the difference: linguistic differentiation and identity in Guillem de Berguedà, Giacomo da Lentini and Bonifacio Calvo." Zeitschrift für romanische Philologie 134, no. 2 (2018): 381–403. http://dx.doi.org/10.1515/zrp-2018-0024.

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AbstractEditorial practice in literary traditions still dominated by neo-Lachmannian philology remains focussed on the establishment of the text as the medieval author knew it himself. For adherents of this method, the influence of “foreign” languages is labelled as a contamination that should, if possible, be removed as unauthentic. This article proposes a less doctrinaire practice and demonstrates its fruits when brought to bear at the interstices of literary history and Romance philology, as represented by poems by Guillem de Berguedà, Giacomo da Lentini, and Bonifacio Calvo. Approaching bo

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Dniprovska, N. S. "Rachmaninov. “Six choirs for children’s or women’s voices”: specific of interpretation of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 105–21. http://dx.doi.org/10.34064/khnum1-55.08.

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Introduction. In the article the cycle of children’s choruses of S.Rachmaninov is considered, his characteristic features in subjects, figurative disclosure, the special role of lofty spiritualized lyric poetry; for the first time the appearance in the choral works of the composer of the themes “Dies irae”, “katabasis”; the spiritually-aesthetic value of Rachmaninov “Six Choruses” for secular children’s choral singing and performance is revealed. “Six choirs for children’s or women’s voices” op. 15 were written by S. Rachmaninov in 1895, the date of which he indicated in a letter to B. Asafiev

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Asiyat D., Atabieva. "The work of M. Olmezov in the light of the artistic quest of the turn of the century (XX–XXI)." Kavkazologiya 2024, no. 3 (2024): 307–21. http://dx.doi.org/10.31143/2542-212x-2024-3-307-321.

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The article aims to review and at the same time holistically highlight the multidimensional, mul-ti–genre artistic work of Muradin Olmezov, one of the sought-after and authoritative authors of modern Balkar literature. The work outlines several issues related to the identification of leading stylistic trends, a wide range of mastered thematic areas and topical issues, a complex of figura-tive structures, constants, and dominant poetic formulas. In parallel, the main stages of the crea-tive evolution of the poet and playwright are determined. The study examines the value content of the signific

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Zekang, Chen. "JIA DAQUN CONCERTO ″FUSION II″: INTERPRETATION OF CHINESE PERCUSSION INSTRUMENTS." Arts education and science 1, no. 2 (2021): 136–43. http://dx.doi.org/10.36871/hon.202102017.

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The article introduces Jia Daqun's Concerto for Percussion and Symphony Orchestra "Fusion II" into Russian musicology for the first time. The work is considered as one of the illustrative examples of the inclusion of traditional Chinese percussion instruments in symphony orchestra. Following modern trends in unconventional ways of playing the tanggu solo drum, the composer achieves a timbre transformation which, along with rhythmic and dynamic qualities, allows to imitate the sound of Indian drums and African tambourines. The new sound created in this way becomes one of the indicators of the c

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Konstantinova, E. I., and S. G. Stratanovsky. "‘A poet is a profession like any other’." Voprosy literatury, no. 2 (May 5, 2022): 79–106. http://dx.doi.org/10.31425/0042-8795-2022-2-79-106.

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A journalist and Voprosy Literatury’s regular interviewer E. Konstantinova talks to the contemporary poet S. Stratanovsky, bringing up topics of his artistic philosophy and poetics, looking back at his publications in samizdat collections and association with the so-called ‘second culture’ of a censorship-free literary Leningrad, and following up with his contemporary publications in thick literary journals and opinions about poetry of the 2000s — 2010s. Konstantinova’s questions concern modern interpretation of classic quotations — by Pushkin or Tyutchev, the special ‘poet’s behaviour,’ the a

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Khrenov, Nikolai A. "The Fate of Humanism in the 20^th Century and the Poetry of Osip Mandelstam: The Poem Lamarck and the Idea of Regression in Its Application to Culture." Russian Journal of Philosophical Sciences 64, no. 2 (2021): 37–61. http://dx.doi.org/10.30727/0235-1188-2021-64-2-37-61.

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The article focuses not so much the poetic and stylistic features of Osip Mandelstam’s work, which are of interest to philologists (these have largely been researched), as its cultural aspects. To fill this gap, it is important to compare Mandelstam’s lyric with his prose, theory, criticism, and journalism. We believe that the poet’s statements in these genres provide many answers to the question of his attitude to culture. In general, a cultural analysis of Mandelstam’s poetry has not yet been undertaken. Meanwhile, a lot of whimsical and rather obscure associations in his lyric can be unders

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Shevchuk, Yulia V. "Gardens in “Trilistniks” (trefoils) by I. Annensky (on “real” and symbolic meaning of the image)." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 166–76. http://dx.doi.org/10.37816/2073-9567-2021-61-166-176.

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The development of garden space at Annensky contributes to an understanding of the individual symbolism of the poet and the principles of organizing semantic unity of the “Trilistniks” (trefoils). In the first trilistniks, the subject occupies an ambivalent position of attraction and repulsion in relation to the garden space (flowers, birds, earth). The intensity of color and smell, as well as the principle of contrast, oxymoron, are important in the description. The garden refers to biblical mythology (“Trefoil of temptation”). Nature is renewed, and man cannot get rid of the burden of the “e

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Derbentseva, L. V. "Poet of light tonality (study of A.T. Tvardovsky’s poem “The House by the Road” in high school)." Literature at School, no. 4, 2020 (2020): 92–105. http://dx.doi.org/10.31862/0130-3414-2020-4-92-105.

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The purpose of the article is to present the experience of studying A.T. Tvardovsky’s oeuvre in the 11th grade on the example of introductory classes and the poem “House by the road”. The author focuses on the anniversary date (the 110th anniversary of the poet’s birth), the peculiarities of students’ perception of poetry, and the overview of modern methodological and literary approaches to the study of the poet’s work in different classes. On the example of the tasks of the introductory lesson, the lesson opportunities are shown (comparison of early and late works, comparison with the folklor

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Kowalczyk, Jarosław. "Teksty literackie w podręcznikach do religii z serii Odsłonić twarz Chrystusa dla gimnazjum." Wrocławski Przegląd Teologiczny 24, no. 1 (2016): 111–22. https://doi.org/10.52097/wpt.2293.

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Literary texts show and introduce people to some useful truths and messages, moral guidelines and warnings, tips concerning the progress, ideals and guiding lights, instructions and models of the decent life. They also provide the important help in the religious education. On the basis of the textbooks for teaching the religion for junior high school from the series “Odsłonić twarz Chrystusa”, there have been presented some literary texts from these textbooks. The author portrayed some epic texts in the textbook for the first grade, lyrical texts in the textbook for the second grade and select

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Srivastav, Manju. "RESONANT VERSES: AN IN-DEPTH ANALYSIS OF THEMATIC CONCERNS IN SANDHYA TIWARIS SELECT POETRY." International Journal of Advanced Research 12, no. 04 (2024): 750–54. http://dx.doi.org/10.21474/ijar01/18612.

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This article, Resonant Verses: An In-Depth Analysis of Thematic Elements in Sandhya Tiwaris Poetry, presents a comprehensive examination of the rich tapestry of themes woven throughout the poetic works of Dr. Sandhya Tiwari. Renowned for her poignant lyricism and profound exploration of human experiences, Tiwaris poetry encapsulates a diverse range of subjects, including the enduring human spirit, the complexities of grief, and the quest for authenticity amidst a materialistic society.In this critical analysis, we delve into Tiwaris skilful use of language and metaphor, examining how her poems

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H. Tóth, István. "Petőfi Sándor néhány verséről diákszemmel." Acta Academiae Beregsasiensis, Philologica II, no. 2 (2023): 166–87. http://dx.doi.org/10.58423/2786-6726/2023-2-166-187.

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Some of Sándor Petőfi's poems from a student's point of view: Mosaics from the research of students' analyses of art Curricula come, curricula go, and they bring in their wake outdated, then updated, or even new textbooks from time to time, in the name of reforms or a modern perspective. Meanwhile, the quiet, or more intense debate swings back and forth, again and again between the work-centered or reception-centered literature teaching approaches. This paper contributes to this discourse while shedding light on the intersection of what can be called a pair of opposing concepts at the center o

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Asiya, Ansari, and Ram Naresh Patel Dr. "Analysing Hyder's Transcreation from Aag ka Darya to River of Fire." Criterion: An International Journal in English 16, no. 1 (2025): 203–13. https://doi.org/10.5281/zenodo.14973946.

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River of Fire is a literary endeavor that reimagines the timeless tale of Hyder, infusing it with contemporary elements while staying true to the essence of the original narrative. Through a blend of vivid imagery, lyrical prose, and thought-provoking themes, River of Fire invites readers to delve into the depths of Hyder's world and contemplate the universal truths it unveils. By reimagining this classic tale for a modern audience, this transcreation serves as a testament to the enduring power of storytelling to transcend boundaries and illuminate the human condition.The paper has a significa

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Butterfield, Ardis. "ENTÉ: A SURVEY AND REASSESSMENT OF THE TERM IN THIRTEENTH- AND FOURTEENTH-CENTURY MUSIC AND POETRY." Early Music History 22 (August 2003): 67–101. http://dx.doi.org/10.1017/s0261127903003024.

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The medieval term enté, meaning ‘grafted’, has a long and varied history in musicological study. It is usually held to refer to the practice of grafting a refrain (whether text or melody or both) onto a longer work, such as a motet voice. For modern scholars its chief importance lies in its association with the thirteenth-century motet: it has been discussed principally in its role as a classificatory term, where it occurs as a rubric in several medieval manuscript lyric collections, and is also mentioned (in Latin) in a well-known passage from the musical treatise De musica (c.1300) by Johann

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Abdokov, Yuri B. "A Lurking Terrain by Margarita Kuss: Orchestral Style and Timbral Poetics." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2023): 62–78. http://dx.doi.org/10.35852/2588-0144-2023-3-62-78.

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The stylistic features of orchestral writing by Margarita Ivanovna Kuss (1921–2009) are examined in this article for the first time in Russian art studies. Her music was performed by the best Russian ensembles and conductors. M. Kuss was a musical authority for the leading musicians of the Soviet Union. For many years her house was a centre of attraction for the greatest modern Russian composers (D. Shostakovich, N. Peyko, B. Tchaikovsky, R. Bunin, M. Weinberg, G. Sviridov, G. Ustvolskaya). M. Kuss opinions and appraisals were valuable not only for the young composers, but also for world-known

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Cascudo, Teresa. "The Musical Salon of the Countess of Proença-a-Velha in Lisbon: A Case of Patronage and Activism at the Turn of the Twentieth Century." Nineteenth-Century Music Review 14, no. 2 (2017): 195–210. http://dx.doi.org/10.1017/s1479409816000070.

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This article seeks to shed light on the musical activities sponsored in Lisbon by women of high society, and specifically on the organization of the concerts produced by the Countess of Proença-a-Velha (1864–1944) in Lisbon at the turn of the ninteenth and the twentieth centuries. Between 1899 and 1903, the Countess held nine musical soirées and matinées at her home, and organized the first season of the Sociedade Artística de Concertos de Canto (Artistic Singing Concerts Society), which she founded. She also composed and premiered about 30 vocal works with piano accompaniment. Although both t

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Ganduri, Srikanth, and P. V. Ravi Kumar. "Picturization of Social Realities of Contemporary India by Jayanta Mahapatra through his Poetic Imageries." International Journal for Social Studies 9, no. 5 (2023): 1–7. https://doi.org/10.5281/zenodo.8015893.

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<em>Jayanta Mahapatra is one of the greatest poets in India who demarcated poetry as the expression of real-life experiences and his contributions to Modern Indian Literature are innumerable. His poetry has a therapeutic touch that cures the emotional wounds of people who go through the magical lines of dazzling imageries. Mahapatra has written most of his poems based on the geographical landscape of his homeland Odisha. Odisha is not only a place for Mahapatra’s childhood memories but the land that brings out all the emotions and feelings of his inner soul. His poems are the depictions

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Garachkovska, Oksana. "Journalistic and Study of Literature Inheritance of Volodymyr Sapon." Ukrainian Information Space, no. 2 (December 20, 2018): 145–52. https://doi.org/10.31866/2616-7948.2.2018.152074.

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The article deals with the analysis of creative activities of contemporary Ukrainian journalist and writer Volodymyr Sapon (1951–2017). The author highlights key problems of his journalistic writings, special attention is paid to the problem of revival of the Ukrainian spiritual heritage, which is dealt with in the researches of Chernigivshchyna history. The problem of re-evaluation of historical events and personalities of statesmen, artists, scientists, skilled craftsmen through the prism of the newest realia is highlighted. This problem was presented by journalist V. Sapon in essay ge

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Kostenko, Nataliia. "Ihor Kovach’s concert works for the four-string domra in the modern performance practice." Aspects of Historical Musicology 32, no. 32 (2023): 39–55. http://dx.doi.org/10.34064/khnum2-32.03.

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Statement of the problem. Objectives, methods, and novelty of the research. Taking into account the problem of the original repertoire existing in the performance practice of domra players, the genre and stylistic analysis of I. Kovach’s two compositions is proposed: “Concertino” for the domra with orchestra and “Mazurka” from the opera “Blue Islands” for duet of domras and piano. These works became iconic for the formation of the basic repertoire for the four-string domra. However, the general assessment of the compositions remains an “open” issue of musicology. Hence, turning to the pieces b

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Tymchenko, Antonina. "The poetics of the riddle in Lesya Ukrainka`s "northern" works." 89, no. 89 (December 13, 2021): 29–33. http://dx.doi.org/10.26565/2227-1864-2021-89-04.

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The article considers the ways of realization of the motif of the riddle in the works by Lesya Ukrainka such as the poem "One word" and the fantasy "Polar Night". The artistic means of creating a mystery are analyzed at the level of metrics, syntax, vocabulary, phonics as well as at the semantic level. Lesya Ukrainka's lyrical heritage is rich in images of exotic loci, an interesting attempt was taken to recreate the topos of the north as a place inherently alien to the Ukrainians both psychologically (opposition "warm-cold", "near-far", "day-night") and socio-historically (the north as a plac

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Schipor, Vasile I. "Ion Popescu-Sireteanu (13 septembrie 1934, Mănăstioara-Siret - 29 iulie 2021, Pitești-Argeș)." Analele Bucovinei 58, no. 1 (2022): 320–32. http://dx.doi.org/10.56308/ab.2022.1.20.

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The following biobibliographical article is dedicated to the writer Ion Popescu-Sireteanu, one of the active collaborators of the periodical “Annals of Bukovina” and is signed by the former editor-in-chief (1993–2018) of the academic periodical from Rădăuţi. The biographical excursion is followed by a presentation of the writerʼs preferred fields of scientific activity, illustrated by his contributions to the knowledge of the life and work of personalities of modern, classical and contemporary Romanian literature, through studies and researches of linguistics, ethnography and folklore and of c

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Martianova, Alina. "“New life” of little-known Piano Sonatas by Felix Mendelssohn-Bartholdy." Aspects of Historical Musicology 37, no. 37 (2024): 116–37. https://doi.org/10.34064/khnum2-37.06.

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Statement of the problem. Felix Mendelssohn-Bartholdy occupies a distinguished place in the history of German music as a celebrated composer, pianist, conductor, and teacher. However, his early, little-known piano Sonatas, written in 1820, remained unpublished for decades and have been largely overlooked by both performers and music scholars. These sonatas represent a unique synthesis of Classical and Romantic elements, yet their potential remains untapped in contemporary piano practice. This study examines how contemporary interpretations breathe life into these compositions and contribute to

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Hao, Zhang. "The gender facets of the vocal image of Romeo (on the example of the operas by N. Vaccai and V. Bellini)." Aspects of Historical Musicology 38, no. 38 (2025): 77–101. https://doi.org/10.34064/khnum2-38.03.

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Statement of the problem. In the opera tradition of the 19th century, in particular in Italian bel canto, an extremely interesting and at the same time paradoxical phenomenon is the vocal practice of en travesti, which involves the performance of a male role by a female voice. Among such parts, the image of Romeo – a young hero embodied by a mezzo-soprano in the operas by N. Vaccai and V. Bellini – looks quite unusual. The research problem is to understand this phenomenon through the prism of vocal-intonation, dramaturgic and gender interaction, which allows us to raise questions not only abou

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

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

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Fedenko, A. "The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)." Aspects of Historical Musicology 17, no. 17 (2019): 90–102. http://dx.doi.org/10.34064/khnum2-17.06.

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Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musical

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Varshika, Srivastava. "ECO FEMINISM AND ROBERT FROST'S POETRY: A CRITICAL ANALYSIS." International Journal of Multidisciplinary Research and Modern Education 3, no. 1 (2017): 526–29. https://doi.org/10.5281/zenodo.825273.

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We cannot ignore the fact that since the inception of civilization, both women as well as Nature are the integral parts of any society or culture. The reason is that it is a woman whois the pillar of a home because of being the creator of the hand that rocks the cradle, rules the human beings on earth, the same woman makes a family and these families lay the base of a nation. Like woman, Nature too gives her offerings to the ‘man-made society and never demand anything for that. In this way, we can say that though the maker of a nation is undoubtedly women yet the role of Nature cannot be under

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Župan, Ivica. "Majstor mirenja, spajanja i kombiniranja suprotnosti." Ars Adriatica, no. 2 (January 1, 2012): 257. http://dx.doi.org/10.15291/ars.454.

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Igor Rončević has been painting for a very long time with the consciousness that his painterly signature can be constructed from a series of disparate fragments, and so his collage paintings are composed of elements or stylistic details thanks to which his canvas has become a place where ambivalent worlds meet - an ntersection of their paths. Rončević is therefore, a painter of ludic individualism, but, at the same time, painter with wide erudition and above all, a curious pirit, who, in a unique way - in different clusters of itations - applies and joins together experiences from he entire hi

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Huang, Lei. "Heroic pastoral and its national-style reception IN THE CANTATA “YELLOW RIVER” BY XIAN XINGHAI." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 126–50. http://dx.doi.org/10.34064/khnum1-60.07.

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The statement of the problem. The cantata “Yellow River” (&#40644;&#27827;) is one of the most expressive works in Chinese musical art. The article offers interpretation of the cantata in the light of national Chinese pastoral symbolism. Created in 1939 by Xian Xinghai (&#20924;&#26143;) and based on the text of a poem by Guang Weizhan (&#20809;&#26410;&#28982;), the cantata is still of great interest to the researchers. The poetic text of the cantata tells about hard struggle of the Chinese people against the Japanese invaders during the Second Sino-Japanese War. T

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Уманець, О. В. "ФАУСТІАНСЬКА ТЕМАТИКА У ТВОРЧОСТІ І. МУРАТОВА". Традиції та новації у вищій архітектурно-художній освіті, № 4 (2 грудня 2018): 139–43. https://doi.org/10.5281/zenodo.1807127.

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In recent years, there has been an increasing interest in the study of ontological and phenomenological specificity of national interpretations of Faust-theme in the creative space of Ukraine showing a specific character of the relation between the common to humanity spiritual experience and the paradigmatic bases of ethnic cultures. The special aspects of Ukrainian Faust-theme are predetermined by the fact that the key issues that formed the core of its numerous European “versions” were not crucial in the value-searching directions in the culture of Ukraine. It results in the &ldq

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