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Journal articles on the topic 'Piano colore'
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1
Palmer, Stephen E., Thomas A. Langlois, and Karen B. Schloss. "Music-to-Color Associations of Single-Line Piano Melodies in Non-synesthetes." Multisensory Research 29, no. 1-3 (2016): 157–93. http://dx.doi.org/10.1163/22134808-00002486.
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Prior research has shown that non-synesthetes’ color associations to classical orchestral music are strongly mediated by emotion. The present study examines similar cross-modal music-to-color associations for much better controlled musical stimuli: 64 single-line piano melodies that were generated from four basic melodies by Mozart, whose global musical parameters were manipulated in tempo (slow/fast), note-density (sparse/dense), mode (major/minor) and pitch-height (low/high). Participants first chose the three colors (from 37) that they judged to be most consistent with (and, later, the three that were most inconsistent with) the music they were hearing. They later rated each melody and each color for the strength of its association along four emotional dimensions:happy/sad,agitated/calm,angry/not-angryandstrong/weak. The cross-modal choices showed that faster music in the major mode was associated with lighter, more saturated, yellower (warmer) colors than slower music in the minor mode. These results replicate and extend those of Palmeret al.(2013,Proc. Natl Acad. Sci.110, 8836–8841) with more precisely controlled musical stimuli. Further results replicated strong evidence for emotional mediation of these cross-modal associations, in that the emotional ratings of the melodies were very highly correlated with the emotional associations of the colors chosen as going best/worst with the melodies ( forhappy/sad,strong/weak,angry/not-angryandagitated/calm, respectively). The results are discussed in terms of common emotional associations forming a cross-modal bridge between highly disparate sensory inputs.
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Bashmakova, N. V., and K. V. Kravchenko. "CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)." Музикознавча думка Дніпропетровщини, no. 14 (January 21, 2019): 60–71. http://dx.doi.org/10.15421/221822.
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The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.
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Marvin, Elizabeth West, and Alexander R. Brinkman. "The Effect of Key Color and Timbre on Absolute Pitch Recognition in Musical Contexts." Music Perception 18, no. 2 (2000): 111–37. http://dx.doi.org/10.2307/40285905.
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Previous research has shown that listeners with absolute pitch identify white-key pitches (as on the piano) more quickly and accurately than they identify black-key pitches. Related research has shown that the timbre of tones also affects pitch identification. Our experiments extend the investigation of color and timbre effects on pitch recognition from isolated pitches to more complex musical textures, using both musicians with absolute pitch and musicians without absolute pitch as participants. In Experiment 1, listeners named isolated pitches in synthesized violin or piano timbres; in Experiment 2, they named the tonal center of classical string quartets or piano solos; in Experiment 3, they identified the tonal center of the same musical excerpts by humming. We replicated the color effect for both groups of participants in the response times for all three experiments, but found a color effect on accuracy rates only in Experiment 2. Timbre effects were found only in Experiment 1, where response times were quicker for piano tones than string tones. Participants' instrumental training affected response times: string players identified isolated tones most quickly; keyboard players identified the keys of compositions most quickly.
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Park, So-Hyun, and Young-Ho Park. "Audio-Visual Tensor Fusion Network for Piano Player Posture Classification." Applied Sciences 10, no. 19 (September 29, 2020): 6857. http://dx.doi.org/10.3390/app10196857.
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Playing the piano in the correct position is important because the correct position helps to produce good sound and prevents injuries. Many studies have been conducted in the field of piano playing posture recognition that combines various techniques. Most of these techniques are based on analyzing visual information. However, in the piano education field, it is essential to utilize audio information in addition to visual information due to the deep relationship between posture and sound. In this paper, we propose an audio-visual tensor fusion network (simply, AV-TFN) for piano performance posture classification. Unlike existing studies that used only visual information, the proposed method uses audio information to improve the accuracy in classifying the postures of professional and amateur pianists. For this, we first introduce a dataset called C3Pap (Classic piano performance postures of amateur and professionals) that contains actual piano performance videos in diverse environments. Furthermore, we propose a data structure that represents audio-visual information. The proposed data structure represents audio information on the color scale and visual information on the black and white scale for representing relativeness between them. We call this data structure an audio-visual tensor. Finally, we compare the performance of the proposed method with state-of-the-art approaches: VN (Visual Network), AN (Audio Network), AVN (Audio-Visual Network) with concatenation and attention techniques. The experiment results demonstrate that AV-TFN outperforms existing studies and, thus, can be effectively used in the classification of piano playing postures.
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Lanfranco, Lorena. "Le mutilazioni genitali femminili: punti di forza e criticità del sistema di contrasto." MINORIGIUSTIZIA, no. 3 (January 2021): 43–52. http://dx.doi.org/10.3280/mg2020-003005.
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I flussi migratori impongono al nostro Paese di riflettere sulla compatibilità di alcune pratiche tradizionali che si palesano inconciliabili con i diritti fondamentali della persona tutelati dalla Costituzione italiana e con i principi sanciti a livello internazionale. Tra queste una posizione di primo piano assumono le mutilazioni genitali femminili (Mgf). Il presente contributo, dopo un inquadramento delle ragioni che stanno alla base delle Mgf, si sofferma sulla risposta dell'ordinamento italiano sul piano penale (art. 583 bis cod. pen.) e sulla decadenza automatica dalla responsabilità genitoriale quale sanzione accessoria, per poi interrogarsi, quanto agli strumenti civilistici, sulla delicata questione della valutazione della capacità genitoriale di coloro che abbiano fatto sottoporre una figlia minore a Mgf. Infine, riflette sulla centralità dei programmi di prevenzione, sensibilizzazione e formazione quali principali direttrici da seguire per l'eradicazione del fenomeno escissorio.
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Rónai, Laura. "Análise de uma análise: Tarasti e Liszt." Per Musi, no. 25 (June 2012): 112–16. http://dx.doi.org/10.1590/s1517-75992012000100012.
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Em seu livro basilar, A Theory of Musical Semiotics, Eero Tarasti empreende a análise semiótica da obra para piano Vallée d'Obermann, do compositor Franz Liszt. Num processo de arguta arqueologia musical, o autor desvenda as várias camadas que colorem a escrita do compositor húngaro. O presente artigo pretende fazer observações à margem deste texto, procurando detalhar e comentar a análise de um dos mais importantes teóricos da semiologia.
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Lebedeva, N. S. "Sonatas № 2 end № 9 as Milestones in the Evolution of the Piano Style of A. Scriabin." Culture of Ukraine, no. 71 (April 2, 2021): 86–93. http://dx.doi.org/10.31516/2410-5325.071.11.
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The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz.
It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose macrocycle of 10 sonatas appears as a compendium of the principles of piano thinking for the post-romantic era. The universalism of Scriabin’s writing is confirmed using the comparative method of analysis, for the first time proposed in this article in relation to the works under consideration.
It was revealed that the style in music appears as “a system of stable features of musical phenomena, a way of their differentiation and integration at various levels” (S. Tyshko). The style is distinguished by a tendency to identify the individual, unique, “humanistic” in the broad sense of the word and has a hierarchical structure, within which there is a level characterized as “the style of any kind of music” (V. Kholopova), among which the piano style stands out.
Scriabin’s piano sonatas combine the categories of “instrument style”, “author’s style” and “performer’s style” at the style level.
It was revealed that the figurative and artistic duality of the Second sonata is reflected in the interpretations presented by S. Richter (the “classical” version, focused on the exact observance of the author’s text remarques, sounding in some places even like in Beethoven’s works), and V. Ashkenazy (the “romantic” version containing a whole complex of articulatory means added by the performer, most of all close to Chopin’s “sonic placers”).
The main factor that determines the peculiarities of the performance of the Ninth sonata is the transfer of the playing of harmonic timbre-colors, in which the melodic horizontal turns out to be inert in itself and manifests itself only in harmonic lighting in combination with articulatory attributes. It is noted that A. Scriabin creates in the Ninth sonata actually a special type of texture, accentuating the parameter of depth, based on the stereophonic effect “further — closer”.
In the conclusions on the article, it is noted that the stylistic “arch” of two Scriabin’s sonatas highlighted in it helps to comprehend the holistic character and contextual connections of the sonata-piano style of the great Russian composer-innovator, to find “keys” to actual interpretations of his other piano sonatas, an example of which is analyzed interpretation samples of such masters as V. Sofronitsky and V. Horowitz (Ninth sonata) and S. Richter and V. Ashkenazy (Second sonata).
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Golovan, Ievgeniia. "The latest approaches to piano interpretation in chamber and ensemble creativity of V. Silvestrov (the case of the "Drama" cycle for violin, cello and piano)." Culturology Ideas, no. 20 (2'2021) (2021): 107–14. http://dx.doi.org/10.37627/2311-9489-20-2021-2.107-114.
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The article overviews a set of issues related to the latest interpretation of the piano in the second half of the XXth century, the use of non-specific techniques of playing the instrument and the peculiarities of its use in the chamber ensemble. It describes the main elaboration direction of compositional methods and techniques, their objectification in the ensemble work of Ukrainian artists. V. Silvestrov's "Drama" for violin, cello and piano is analyzed as a unique example of synthesis of traditional and avant-garde tendencies in the music of the XXth century, which combines music making with elements of instrumental theater. The article outlines main parameters, notes the stylistic and timbre diversity of the work. The compositional methods and techniques used in the trio are considered, including sonorism, aleatory, pointillism, happening. The role of the prepared piano at sound color is established, and other sound, noise and stage effects in creation of a sound image of a composition. The significance of the latest sound formation principles laid down in the work, the urgency and influence of the author's innovations on modern chamber music are revealed. The proposed analysis should contribute to a fuller understanding of avant-garde trends and their manifestation in chamber music of the second half of the XXth century and a wider introduction of V. Silvestrov's works to the chamber and ensemble repertoire of modern performers.
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Ota, Mineo. "Bartók’s wrists and 19th-century performance practice: An essay on the historicity of piano technique." Studia Musicologica 53, no. 1-3 (September 1, 2012): 161–70. http://dx.doi.org/10.1556/smus.53.2012.1-3.12.
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Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibility of his wrists. In Bartók’s case it may have been a fruit of a conscious training by István Thomán. The writings of the Liszt-pupil Thomán suggest that, like his master, he valued the “active” use of wrists, even though he basically supported the modern, “synthetic” piano technique propagated by Breithaupt, who consistently recommended the “passive” use of the wrists. It is likely that, through Thomán, Bartók learned many things from the 19th-century performance practice.
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Malaieva, Tetiana. "The method of double repetition action in the art of piano playing as an artistic and expressive technique." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 57–62. http://dx.doi.org/10.34079/2226-2849-2019-9-18-57-62.
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This article is a deep study of the technical possibilities of the modern piano and the use of this knowledge in the musical and pianistic development of the personality. The history of the modern piano begins in the XIX century. In 1823, Sebastien Erar in Paris invented the mechanism of double rehearsal. It was a double rehearsal that marked the beginning of a new history of the modern piano. Its main task is to achieve the sensation of closing a fingertip with a string. Similarly, as the ligaments of the vocalist close or the bow with the string of the violinist. Double rehearsal is a thin spring mechanism that allows you to repeatedly press a key from half or a quarter of a key's stroke without lifting your finger from the key.This mechanism drives the hammer, and the damper remains motionless. This creates a pedal sound effect. Possession of a double rehearsal allows the pianist to understand that any touch to the keyboard affects the quality and color of the sound. Touching the keyboard is called Touche - unfortunately a forgotten professional concept. Frederic Chopin owned an excellent touche, for which he was called the "Singer of the piano." Famous musician, conductor, pianist, composer, music theorist, philosopher, human rights activist, Honored Artist of Russia Mikhail Arkadyev is considered a modern researcher of double rehearsal. Mastering a double rehearsal is achieved by repeating a single sound or akorda of three, four sounds on a legato without using the right pedal. Therefore, it is necessary to learn from the very beginning and the first touch. There are many examples of the use of double rehearsal in music literature. It can be any repetition of the same sounds. She creates a variety of musical images. Possession of a double rehearsal contributes to the technical freedom of the pianist, aesthetic and physical support when playing the piano. The research of the ordered topic revealed that the sophisticated mechanism of the double rehearsal is the first and true "soul of the piano" (pedal - "friend") She (double rehearsal) contributes to the technical maintenance of the perfect performance of the musical work and requires a painstaking work as a music teacher, and his students. And this must be done from the beginning of education and education of music school students. As a conclusion of the study, it should be emphasized that today in education the personal-oriented pedagogy comes to the fore. Therefore, the upbringing, development, formation of individual and personal qualities in pupils with the means of music should occupy the current place in the work of musical schools. And this only confirms the relevance of the topic of research and requires its further development.
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Giuffrč, Martina. "Immagini dell'Altrove a Capo Verde: Terra Longe e Terra Mamaizinha." MONDI MIGRANTI, no. 3 (March 2011): 131–45. http://dx.doi.org/10.3280/mm2010-003009.
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L'immigrazione č un elemento strutturale della societŕ capoverdiana attorno al quale č stato costruito un diffuso immaginario sia in campo letterario-poetico che nel corpus di racconti tradizionali. In questo saggio metterň in luce come il fenomeno migratorio sia, per coloro che restano a Capo Verde, un processo fortemente polisemico e ambivalente tanto nelle pratiche sociali quanto sul piano simbolico. In particolare tratterň del potere aggiunto che viene attribuito alle persone e alle cose che provengono da fuori, dell'immaginario che si costruisce attorno all'Altrove (Terra Longe) e al luogo d'origine (Terra Mamaizinha) e dei cambiamenti che questo immaginario ha subito da quando l'altrove č diventato terreno di pratiche femminili.
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Ioniță, Raluca Dobre. "The Second Sonata for Piano and Violin, Ópus 6 by George Enescu." Review of Artistic Education 21, no. 1 (June 1, 2021): 149–56. http://dx.doi.org/10.2478/rae-2021-0018.
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Abstract The second Sonata for Piano and Violin, op. 6 by George Enescu marks the beginning of a long road of assimilation and synthesis of the Romanian folklore elements and of the way of expression“in Romanian popular character”, transposed on the characteristics of the universal language. Without knowing the authentic folk art from a scientific point of view, Enescu was deeply influenced, shaping his entire artistic personality. He consciously assimilated popular music by generalizing some essential folkloric principles, which he later organized in a personal vision. The innovative elements of the Enescian musical language are transposed in the free rhythm, the heterophonic construction, the complexity and subtleties of dynamics and agogics, the timbre color, as well as in the synthesis between freedom and rigor in the creative and interpretive act.
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Johnson, Merri Lisa. "Bad Romance: A Crip Feminist Critique of Queer Failure." Hypatia 30, no. 1 (2015): 251–67. http://dx.doi.org/10.1111/hypa.12134.
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This article critiques Jack Halberstam's concept of queer failure through a feminist cripistemological lens. Challenging Halberstam's interpretation of Erika Kohut inThe Piano Teacher(Jelinek 1988) as a symbol of postcolonial angst rather than a figure of psychosocial disability, the article establishes a critical coalition between crip feminist theory and queer‐of‐color theory to promote a materialist politics and literal‐minded reading practice designed to recognize minority subjectivities (both fictional and in “real life”) rather than exploiting them for their metaphorical resonance. In asserting that Erika Kohut is better understood as a woman with borderline personality disorder (BPD), and in proposing borderline personality disorder as a critical optic through which to read bothThe Piano TeacherandThe Queer Art of Failure(Halberstam 2011), the article challenges the usual cultural undermining of epistemic authority that comes with the BPD diagnosis. It asserts instead that BPD might be a location of more, rather than less, critical acumen about the negative affects that accompany queer (and crip) failures, and reflect on what we might call a borderline turn in queer theory. On a broader level, the article joins an emergent conversation in crip theory about the reluctance of queer theory to address disability in meaningful and substantive ways.
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Knysh, P. О. "Piano concertos by F. Chopin: “composing center” means." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 270–84. http://dx.doi.org/10.34064/khnum1-57.17.
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The article focuses on characterizing compositional and structural peculiarities of piano concertos by F. Chopin. The research emphasis is laid on the revealed fact that the corresponding “composing center” means (V. Kholopova) function as fundamental issues in terms of creating their interpretational versions, thus, joining analytical procedures performers of the above pieces have to follow. With a view to objectivize data concerning the composing component of the Concertos e-moll and f-moll by F.Chopin, the article presents an actual comparative analysis of various perspectives as for the functional means, represented in the socalled note “schemes” of the both Concertos. It is highlighted that on the basis of the aesthetics and poetics of the style brilliant (J. N. Hummel, F. Kalkbrenner), in his Concertos F. Chopin demonstrates an individual innovative exceeding (M. Tomashevsky) of those existing standards of representing the concerto form, turning to the national character genre topicality, reconstructing that peculiar texture configuration type that makes the piano a musical instrument of a selfsufficient status. In accordance with the objective of the present research being to reveal the nature of the “composing center” means in Concertos by F. Chopin, first, the article concentrates on those life and creativity circumstances which served as determinants that had brought those musical pieces to life. It is highlighted that, on the one hand, his Concertos close the initial period of F. Chopin’s creative activities, where piano and orchestra music was dominant. On the other hand, for F. Chopin the early 1830s were the time of saying farewell to Poland, which was reflected in the deeply personal nature of the content of the both Concertos which appeared under the influence of the author’s feeling for K. Gladkovska and D. Pototska (it is the latter that the Concerto f-moll was dedicated to). It is found out that it is F. Kalkbrenner that the Concerto e-moll by F. Chopin is dedicated to, which, therefore, demonstrates his link to the epoch, to which Chopin was actually saying farewell, as well. In the present article, the subject-matter of the research is points of view of famous musicians and scholars-chopinists concerning the content and the form of the above-mentioned Concertos by Chopin. In this connection, the object of the work is our extrapolation of these data onto interpreting the composing center means as an ingredient of the corresponding performance analysis of the above pieces. Applying elements of general scientific (historic-genetic, deductive, comparative) and specific musicological (genre, style, texture, theme) gnoseological methods, we arrive at the conclusion that stylistically the composing means of the both Concertos by F. Chopin demonstrate a dual quality. On the one hand, they more than meet the requirements of the model of the modern at that time concerto virtuoso style of the epoch of transferring from Classicism to Romantism, and, on the other hand, they serve as the development of the traditions shaped up for the many-century existence of piano-concerto forms, starting with J. S. Bach, F. Couperin and W. A. Mozart with subsequently working their way to the future reconstruction of the concerto-piano style in the world practice of modern times. In terms of their composition structure the both Concertos are built according to the model of the three-part cycle of the classicist pattern with the corresponding inter-part tempo correlative ratio “fast – slow – fast”. However, F. Chopin’s content of this form is exclusively individual, integrating “a sole performance” and “deep poetic expressiveness”, “virtuosity” and “romanticism” (M. Tomashevskiy). It is emphasized that the existing points of view concerning the Concertos by F. Chopin are quite diverse in many respects. Some authors, in particular Yu. Kremlyov, point out to a certain composing style “immaturity” F. Chopin demonstrates there, admitting, at the same time, the fact of genius godsends being present in “details”. This author lays a special emphasis on the nationally peculiar sources of the music language of the Concertos, where Polish musical lexis prove to be dominant, which is especially typical of the genre final components (cracovienne). At present the above perspective concerning the both Concertos seems to be rather one-sided, which is in the focus of the monograph by M. Tomashevskiy). The Polish author regards the Concertos by F. Chopin as masterpieces of world concerto-piano literature, especially highlighting their slow parts Larghetto. It is there that Chopin’s piano expressive semantic and technique innovations are concentrated, being unique in terms of their self-sufficiency, though corresponding with orchestra accompaniment. It is no coincidence that the Concertos were the last piano-orchestra music pieces by F. Chopin, after which he composed only solo piano music. The means of the “composing center”, discovered in the Concertos, become fundamental for creating the texture-polyphonic complex based on a polygenre ontology and the technique of overlapping (S. Shkolyarenko), which implies modelling orchestra voices and colors on the piano, using solely the resources of this instrument. The both Concertos being dominant-piano oriented is also proved by the fact that F. Chopin himself considered it to be reasonable to perform them when accompanied by a string quartet, thus emphasizing the self-sufficiency of the piano constituent. Nevertheless, it did not mean any decrease of the significance of orchestra means that in the both Concertos are represented expertly, which proves wrong the quite popular idea as for F. Chopin’s not being proficient enough in the field of composing for orchestras. It is in the orchestra in the both Concertos that the theme development processes which set off the piano constituent according to the principle of double expositions as an attribute of a classical concert “contest” take place. The conducted analysis of the composition dramaturge peculiarities of the both Concertos is aimed at revealing their performance potential. It has been concluded that such qualities of the theme material of these masterpieces as their polygenre modality, polytexture, a peculiar correlative ratio of the background and the relief generate diverse versions of approaches to performing the corresponding textual content, which is determined by the dialectical correlation of the following two origins – the Chopin author’s and the interpretational performer’s ones. It has been emphasized that for performing pianists the expressive-content and the composition-technique versatility of the both Concertos by F. Chopin creates a way to individually reconstructing and reviving composition means complemented with various author’s and editors’ directions and comments. The latter form an integrative unity in terms of creating a cluster of “composing center” means, constituting still another component of the interpretational reflection and performers’ realization of the content and form of the piano Concertos by F. Chopin, building up the perspective of our further research as for the subject of the present article.
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Wardi, Anissa Janine. "“The Colored Man Can’t Fix Nothing with the Law”: Carceral Spaces in August Wilson’s The Piano Lesson." Journal of African American Studies 17, no. 4 (November 7, 2012): 506–17. http://dx.doi.org/10.1007/s12111-012-9236-z.
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Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.
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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bartók. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.
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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 (November 20, 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 on April 13, 1917. By the time the cycle was created, S. Rachmaninov was already the author of a considerable number of works. In the fall of 1894, he was employed by the Mariinsky Women’s School as a teacher of music theory and an accompanist of the choir. Specially for the choir of students, “Six choirs for children’s or women’s voices” were written: 1) “Glory!”, Words by N. Nekrasov; 2) ”Night”, words by V. Ladyzhensky; 3) “Pine”, words by M. Lermontov (from G. Heine); 4) “The waves dozed off”, words by K. Romanov, 5) “Captivity”, words by N. Tsyganov; 6) “Angel”, words by M. Lermontov. The features of S. Rachmaninov’s musical and artistic thinking, which researchers usually note in his romances – the significant role of accompaniment and a simple 3-part form, having their own historical archetype in the baroque three-part aria da capo (Antipov, 2014: 9) – can be found in “Six choirs”. The enormous artistic role of the piano accompaniment, its developed texture and organic unity with the score should be especially paid attention to. The vivid imagery of the cycle owes much to the instrumental part, which the composer not only went far beyond the accompaniment, but often has independent significance too. At first glance, the choral score of the cycle is uncomplicated – mainly with diatonic two-voice. But behind seeming simplicity, inexhaustible performing tasks for the choir and piano part are in favor. The extreme choral plays frame the cycle with themes of deep ethical and spiritual content that had not previously been encountered in children’s choral music. The middle rooms are dominated by bright lyrics, youthfully light sadness, and harmony between the pictures of nature and the states of the human soul reigns. No. 1 “Glory!” – the character of the work conveys pathetic, prayer (appeal to the Almighty for blessing) and lyrical-patriotic feelings. In the 3rd section of the miniatures, the accompaniment fills the music with fanfare intonations, in the last 6 beats, the dynamic tension within the framework of one tonic harmony is steadily increasing, and in the bass of the piano the bell ringing and ceremonial drum beat are imitated, completing the picture of the celebration. In No. 2 “Night”, the author embodies a dreamy-contemplative mood with the help of the choral cantilena. Frettonal ambiguity of the extreme parts (major-minor), functions languidly lasting for several measures, delicate harmonic colors, flexible ligature of figures, masterful techniques of sound-visualization contribute to a special refinement of moods and miniature images and are associated with impressionist music. No. 3 “Pine” – S. Rachmaninov chose M. Lermontov’s translation as the theme of loneliness and dreams of happiness, giving contrast to the musical images of northern Pine and southern Palma. No. 4 “The waves dosed off” – to convey the state of spiritual harmony and dreamy peace S. Rachmaninov found a set of expressive compositional techniques. Here we emphasize the special independence of the piano part, which does not contain a choral theme, but plays an important soundvisual role, enriching the narration of the choir. No. 5 “Captivity” – the image of a gentle bird, imprisoned in a golden cage, is widespread in fairy tales and poetry of the peoples of the world, as well as in choral music. In N. Tsyganov’s verses, the denouement is optimistic – the nightingale is set free. S. Rachmaninov relies intonationally on the Russian peasant cry-lamentation. The melody has a touching colour, the miniature is distinguished by a bright national color. No. 6 “Angel”. The poem tells of the great sacrament of conception in the spiritual world of a new person’s life. The Angel carries this person’s soul from heaven to earth to connect it with the body of the unborn child. In flight, an Angel sings a song about celestial gardens to this yet unincarnated Soul. The composer weaves a fragment of the motive-symbol “Dies irae” into Angel’s theme, entrusting it to a part of the alto and veiling from above the unrecognizabl third major second part of the soprano. The smoothly descending theme of the Soul can be described in this context as “katabasis”. This symbolism gives the miniature a deep philosophical meaning. S. Rachmaninov was the first Russian composer to create an example of concert purpose in The “Six choirs”. He raised to a new level the theme of children’s works, characteristic of the genre of that time. And that is education of a spiritually rich personality. The author revealed the extraordinary rhythmic and intonational richness of musical speech, the mastery of texture, harmony, the sophistication of technical techniques, and the tonal color scheme were rare for children’s choral music of that time. The richness of colors and the layering of the piano part bring it closer to the orchestra. In The “Six choirs for children’s or women’s voices” S. Rachmaninov revealed a new example of children’s choral music for concert purposes, which has high artistic merits, a deep substantive theme, and an aesthetic and educational orientation. The composer first attracted high poetry, revealed a spiritual and moral subtext. The theme of Faith, reflected in the first and last miniatures, “rings” the cycle, like Alpha and Omega, giving special semantics and significance to its figurative content. The essay reflected important artistic principles and writing techniques, characteristic of his subsequent opuses, but new to the children’s genre. Like the First Symphony (1895), created in the same year as the cycle, the “Six choirs” for the first time include the theme “Dies irae” symbolic for S. Rachmaninoff’s art, which further permeates his work up to “Symphonic dances”, as well as the theme “katabasis” revealing the spiritual and philosophical meaning of the work. This cycle was S. Rachmaninov’s only experience in children’s choral music, in which first for the genre he embodied high spiritual and ethical ideas of a romantic artist, his Christian picture of the world, the eternal themes of love for the Fatherland, life and death, good and evil, also actual for modern society and children of the XXI century. Prior to S. Rachmaninov, children’s choral music did not know such a depth of content, mastery of embodiment, aesthetic pleasure. The unsurpassed beauty of “Six choirs for children’s or women’s voices” made them a phenomenon of perfection in musical art for children, which is timeless, of course.
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Han, Siuebin. "Early piano work of Sang Tong: becoming a style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 160–72. http://dx.doi.org/10.34064/khnum1-52.11.
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Background. The article explores the development of the piano style of the outstanding composer Sang Tong, one of the founders of the national pianistic art. He was one of the first Chinese composers to apply modern techniques of composer writing on the basis of national musical elements. The early period of the creativity of this musician (1950–60’s) was the basis for the formation of his composer personality. The basis of the creative experiments of Sang Tong was his early piano work. In such works as “In a distant place” (1947), “Seven Ballads on the Themes of Songs of Inner Mongolia” (1953), “Three Preludes” (1955), “Two Piano Pieces” (1956), “The Little Children’s Suite” ( 1958), “Miao National Songs” (1959), “Imagination” (1959), the composer’s innovative style crystallized. Objectives. The purpose of the article is consideration and study the early period of Sang Tong’s piano work, the development of his compositional style in the 1950–60’s. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. The influence of European teachers V. Frankel (student A.Schoenberg), J. Schloss (student A. Webern), and Chinese musician Xu Luosi on the formation of the artistic worldview of Sang Tong is investigated. If V. Frankel and J. Schloss instilled in the young musician an interest in modern techniques of composer writing, then Xu Luoxi pointed out to San Tong the importance of preserving the national principle in musical compositions. The influence of other musical genres, in particular, vocal and instrumental, on the formation of the composer’s piano style in the 1950s is also considered. Composer’s works have high artistic value due to his composer personality and high artistic merits of his works, which reflect the national style of music. His music is modern, it is often performed on stage, it sounds on radio and television, it adorns a lot of art and documentary films. The early works of San Tong, according to the peculiarities of harmonic language and musical content, can be divided into three groups. To the first group based on traditional harmony, it is possible to carry its vocal works. Although Sang Tong tried to adhere to traditional harmony, he does not associate himself with rigid canons. The composer boldly uses modern harmonic complexes consisting of nine, eleven, thirteen sounds, variable chords performing the function of complication, uses complex polyphonic combinations, which leads to a strong and dramatic sound. The second type of works differs in that their musical language is based on modal harmony and the structure of pentatonic. Mostly it concerns such works as “Spring wild mountain song”, “Jiannan thousand aromas of rice”, “Piano song about Miao song”, etc. The composer creates his own rich, gravitating to the national style, poetically depicting bright and memorable pastoral paintings. Functional limitations of pentatonic allow the author to diversify the style and demonstrate the inherent elegance of writing. The third group of the composer’s early works is based on a modern style. The main works, where the author used modern innovations, are his “Three Preludes”, “Night” and “In that remote place”. Boldly relying on some principles of modern harmony and combining them with a pentatonic fret, Sang Tong made some useful discoveries. In the “Three Preludes” retaining the color of pentatonic, the author used the serial technique of the composition for the development of the material. When composing chords, he relies on the Chinese principle of Yin Yang, which in this context embodies harmony and disharmony and expands the scope of the chord. Breaking the traditional harmonic concept and transforming it into a complex function that depends on factors such as multi-level chords, using a number of modern notions of harmony, the composer invades the sphere of traditional pentatonic sounding, modernizing it, which allows us to rethink the possibilities of the pentatonic fret. Conclusions. Thus, the early period of music creation laid the foundation for the study of the modern theory of harmony in the work of Sang Tong, and also contributed to the further development of innovation in the use of modern techniques of composer writing in synthesis with pentatonic.
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Ioniță, Raluca Dobre. "18. Technical and Interpretive Considerations in the Third Sonata for Violin and Piano, OP. 45 by Edvard Grieg." Review of Artistic Education 19, no. 1 (April 1, 2020): 149–54. http://dx.doi.org/10.2478/rae-2020-0018.
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AbstractConsidered one of the founders of the Norwegian national music culture, Grieg sought to transpose into his music the grandeur of nature, the simplicity of people and their lives, the richness of fantasy and mythological stories. Edvard Grieg retains in his music essential elements of Norwegian folklore, which he uses in his own language. The third Sonata for violin and piano, op. 45 differs from the other two sonatas created previously, both by the dramatic character of the thematic material, as well as by the massive dimensions and the structure of the form that approaches the classical pattern. Starting with this Sonata, Grieg definitely crystallizes his style in the field of chamber music, revealing a mature language of dramatic essence, in which we find rich and inventive rhythmic and melodic structures, plastic harmonies and bold dissonances, picturesque timbre effects that capture the atmosphere and the specific Norwegian color.
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Cosynala, W. Ranta, and Ahmad Fajar Ariyanto. "THE INTERIOR DESIGN OF A MUSIC SCHOOL FOR PERSONS WITH VISION IMPAIRMENT WITH THE CONCEPT OF LANDMARK PERCEPTION IN SURAKARTA, INDONESIA." Pendhapa 11, no. 1 (April 16, 2021): 18–23. http://dx.doi.org/10.33153/pendhapa.v11i1.3604.
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The Law of the Republic of Indonesia, article 5, paragraphs 1 and 2 concerning the education system, states that every citizen has the same right to obtain a good quality education. Citizens who have physical, emotional, mental, intellectual, and social disabilities are entitled to special education, including vision impairment. One of those people with vision impairment skills is their music expertise by maximizing touch and the sense of hearing. This work aims to realize the Landmark Perception concept by applying dynamic repetition by visualizing the repetition of several elements, such as line, shapes, textures, colors, dimensional gradations, shape gradations, and circulation patterns. These work results are the interior designs for the main facilities, including vocal classrooms, guitar classrooms, Violin classrooms, drum classrooms, piano classrooms, concert halls, and some supporting facilities such as cafeterias and libraries. The results of this work can be a reference for interior designers in designing interiors in a contemporary style based on the needs of people with vision impairment.
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Zhang, Guangjian. "Problems of interpretation of the piano compositions byZhangZhao (on the example of the Fantasy “Pihuang”)." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 230–47. http://dx.doi.org/10.34064/khnum2-21.15.
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Background. The article is devoted to the piano work of the famous Chinese composer Zhang Zhao. The focus is on the “Pihuang” Fantasy, which embodies the national characteristics of Peking opera. This work won an honorary award at the 2007 Chinese composition competition for high artistic qualities and deep content. The article examines, how the composer uses the musical elements of the Chinese opera tradition to create a certain drama of the work, how the sound specificity of the timbre colors of the voice, the techniques of vocal sound production and recitation, the image of Chinese instruments is embodied on the piano. The role of the first performer of the work – the famous pianist Li Yundi – is revealed to popularize the works of Zhang Zhao in China and around the world. The importance of considering the performing aspect of the realization of this music is proved. It is emphasized, that such an analysis creates a wide field for creative research in the interpretation of the music by Chinese authors, takes into account modern requirements that contribute to the development of independence and initiative among young pianists. Objectives. The purpose of the article is to identify the universal mechanism for interpreting the piano compositions of ZhangZhao by the example of his Fantasy “Pihuang”. For the disclosing of the research theme the complex methodological approach, combining the principle of musical-theoretical, musical-historical and performing analysis is taken. Results. The composer also embodied the centuries-old traditions of Chinese instrumental folk art, its timbre specificity and unique rhythm in the piano sound of the Fantasy “Pihuang”. An important point is the formal and dramaturgical organization of this composition. Zhang Zhao organically combines the traditional mosaic structure of the Beijing opera with the Western genre of opera transcription, which allowed to give the whole musical composition “elasticity” within the framework of a fixed large form. This work attracts not only with the beauty of its melodies, the richness and originality of a harmonic language, the perfection of a form, various requirements for a performer, but also because all these features of his music are inextricably linked with the disclosure of the philosophical depth of content and eternal vital themes in it. A performer should be ready for frequent changes in images and moods, since the work of Zhang Zhao is romantic, rich in figurative and emotional content. From this point of view, one need to imagine different plot scenes and relate them to the sections of the music. The various characteristics of the sections will help a pianist to some extent decide, which timbres, tempo and mood are most appropriate. Throughout the performance, a pianist must be in the determined “role”. The piece opens by the loose improvisatory introduction, Rubato. The pianist must listen in advance to the Beijing opera in order to imagine how this music should sound, to understand and feel the free movement of its rhythmic organization (sang-bang). To achieve expressiveness in melodies, preeminently, one needs to have a flowing, singing sound. Sound quality is determined by the style and nature of the work, where each of the episodes and even a separate voice in polyphony require special coloring and special sound production. The task of the performer is to show as more clearly the features that are essential for various types of the texture presentation: in the same material one can emphasize the melodic beginning or the character of the chord movement, give preference to the bass part or soprano echo; finally, highlighting a certain chord sound, one can strengthen the latter’s attraction to a particular functional sphere. It is well known, that a performer can, without deviating from the pitch line given by a composer, but actively using the means of dynamics, articulation, agogy, create an individual version of the melodic pattern with its own logical emphasizes, its own types of breath and plasticity. It is obvious, that the study of the laws expressing the substantial characteristics of the texture is of practical importance for the performer, since the texture is directly related to the problem of figurative-sound versatility of performance – one of the most acute for musical interpretation. Therefore, a performer’s attention to a significant extent should be focused on which figurative-semantic characteristics are concentrated in each texture layer, what of these characteristics are dominant and what constitute the psychological complement of the image or act as an opposing force. Conclusions. “Pihuang” attracts the attention of performers with the uplifting and joy of vitality, original, artistic language, specificity of rhythm, and improvisation. This work reflects the highest achievements of the Chinese pianistic school, the importance of which has long crossed national boundaries, occupying one of the honorable places in the education of young pianistsperformers. The study of the performing interpretation of the piano works by Zhang Zhao, the identification of the relationship between expressive techniques and the peculiarities of the author’s style has many-sided significance. Based on the analysis of the interpretation of the Piano Fantasy “Pihuang” by the outstanding Chinese pianist Yundi Li, as well as checking the conclusions of theoretical analysis with the practice of concert performances, we establish certain connections in Zhang Zhao’s piano work, which can be traced as stable signs of his style. It should be noted that different performers can reveal a significantly different understanding of the same work and sometimes we have to talk about the difference in the very content of the sounding work. Auditory impressions from listening to Beijing opera, the sound of Chinese folk instruments should be the basis for the realization of the objective properties of the piano texture, reproduction on the piano laid in the musical notation features of rhythm, dynamics, agogics, timbres etc. This not only clarifies the understanding of the composer’s style, but also the specifics of all Chinese performing arts.
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Bondarenko, Olena. "Toccata and toccata style in Yurii Reshetar’s piano works." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 217–29. http://dx.doi.org/10.34064/khnum2-21.14.
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Background. Changes in the conditions of human existence have sharpened our sense of time. Today’s cultural space has adapted our perception of art to the simultaneous existence in “offline” and “online” forms. This new reality needs its artistic embodiment. When a contemporary composer, whose name has not yet gained widespread recognition, succeeds in accomplishing such a task, it demonstrates the opening of a new page in national art and becomes an interesting and significant event. Such an event is piano music of our contemporary Yurii Reshetar, which has not yet become the subject of scientific comprehension. The research methodology. The study is based on a synthesis of traditional musicological (genre-stylistic and comparative analysis) and modern, interpretive approaches, which are based on a question about the factors that determined the basic components of the author’s vision. Results. Yurii Reshetar is a composer whose work is endowed with a sharp sense of beauty and uniqueness of musical language. The musical genres to which Yu. Reshetar refers belong to the classical treasury, but in the author’s interpretation they acquire a new sound. Yu. Reshetar has a unique biography. He got into the composition at the age of 30. Lack of professional education did not hinder the dynamic growth and acquisition of true compositional skill. An interested appeal to early genres is seen in the large creative heritage of the composer. Toccata, which has been included by the author in the “16 Concert Etudes” collection, is one of the many works of the composer, which embodied the ideas of movement and time. Toccata style can be found in his numerous works: in “16 Concert Etudes” cycle, in Sonata for piano in E minor, in Gigue from the Suite for Piano. Toccata was created on October 17, 2017, it has a program content, which the author designates with the words “Purifying by fire”. To realize the chosen artistic content, the composer aptly chooses a form, which is unusual for toccata. This is an atypical rondo: A B A В1 A, where the main theme (the theme of “fire”) is a refrain, and the theme of B and B1 is associated with the changing of spirit state of man under the influence of fire. The texture formula of the main theme of toccata by repetitions and leaps of the main sound up and down the octave, resembles the unexpected flashes of flames. Toccata by Yu. Reshetar is written in E flat minor. Performing of a virtuoso work on black keys has its own peculiarities: even if a performer is familiar with the pianistic difficulties, this additional difficulty encourages special concentration and control over hand coordination, to sharpening of the rationalization of movements and accuracy of finger movements. The standard of Toccata performance is its author’s interpretation, which is publicly available on the YouTube channel. The performance impresses with a balance between the clear logic of building the form and the artistic richness of the music. Toccata’s music requires from the performer versatility of interpretation: of the artistic sense, understanding of the stylistic synthesis, creation of a modern image of the piano sound and the novelty of tonal-harmonic colors, developed metro-rhythmic sense, the ability to express the individuality. But the pianistic convenience of textural presentation is evidence of the author’s natural feeling the laws of piano performance. Such impressions were shared by pianist Anastasia Zakharchenko, who performed Toccata during a competition held at the Lviv National Musical Academy named after Mykola Lysenko in December 2017. The toccata concept has also found its artistic embodiment in other works of the composer. Energy of modernity reflected in the intention of the directed ostinato movement is also skillfully embodied by Yu. Reshetar in the “16 Concert Etudes” cycle op. 38 (21.09.2019). Each of etudes is a pearl that reveals the harmonious combination of the uniqueness of the author’s stylistic qualities, the modernity of artistic thinking and the unexpected originality of texture finds. The capriciousness of figurative characteristics is embodied with such imagination and inventiveness that even a high level of technical complexity will not be an obstacle for the enthusiastic mastering of this cycle by performers. “Concert style” underlined by the author is achieved through the using of various composing methods and techniques, among which the most weight is the toccata style. The refined aesthetics of baroque music acquires its charming and convincing embodiment in Yu. Reshetar’s “Barogue Suite for Piano”. The suite consists of 7 pieces, each of which is a traditional part of the suite cycle of that era: Allemanda, Courante, Menuet, Aria, Gavotte, Sarabande, Gigue. The final piece of the cycle unobtrusively embodies the toccata’s principle of the ostinato movement, which is elegantly combined with the characteristic dance metro-rhythmic and ornamentation-intonational features of the baroque gigue. The refined author’s stylization is full of composer’s respect and special honoring of old traditions. Conclusions. Numerous Yu. Reshetar’s appeals to toccata style as to the embodiment of the image of continuous movement as a symbol of time and creative activity of a man emphasize that toccata and toccata style became one of the artistic preferences of the composer and the characteristic of his style. Every example of toccata style in the above-mentioned piano works by Yu. Reshetar becomes a real discovery. The composer proves to the listeners of his works that the toccata code has preserved endless prospect for its development and renewal.
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Sbaragli, Silvia. "Editoriale." Didattica della matematica. Dalla ricerca alle pratiche d’aula, no. 9 (May 27, 2021): I—IV. http://dx.doi.org/10.33683/ddm.21.9.0.
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«Sovente ho messo piede sui ponti che uniscono (o dovrebbero unire) la cultura scientifica con quella letteraria scavalcando un crepaccio che mi è sempre sembrato assurdo. C’è chi si torce le mani e lo definisce un abisso, ma non fa nulla per colmarlo; c’è anche chi si adopera per allargarlo, quasi che lo scienziato e il letterato appartenessero a due sottospecie umane diverse, reciprocamente alloglotte, destinate ad ignorarsi e non interfeconde. È una schisi innaturale, non necessaria, nociva […]». (Primo Levi, 1985, p. 14) Così scriveva Primo Levi per sottolineare l’irragionevolezza di una separazione radicata tra cultura scientifica e cultura umanistica. Siamo d’accordo con lo scrittore: si tratta davvero di un’irragionevole separazione, e intendiamo metterci dalla parte di coloro che provano a fare qualcosa, per quanto piccolo, per colmare l’abisso. Così, il numero 9 della rivista, primo numero speciale, cerca di fornire spunti per unire i due “mondi” evocati nella citazione, scegliendo due particolari discipline: la matematica e la lingua italiana, troppo a lungo erroneamente intese come separate sia sul piano scientifico, sia su quello didattico. Continua a leggere...
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SOTOME, Rui, Aya SHIRAI, Tota MIZUNO, Naoaki ITAKURA, and Kazuyuki MITO. "Effectiveness of color and shape matching learning software for playing the piano in figurenotes system for children with intellectual disabilities." Japanese Journal of Ergonomics 57, Supplement (May 22, 2021): 2E2–4–2E2–4. http://dx.doi.org/10.5100/jje.57.2e2-4.
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W. Steinmann, Victor. "MELIOSMA MEXICANA (SABIACEAE), UNA ESPECIE NUEVA DE LA SIERRA MADRE ORIENTAL DE MÉXICO." Acta Botanica Mexicana, no. 79 (April 1, 2007): 89. http://dx.doi.org/10.21829/abm79.2007.1041.
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Se describe como especie nueva a Meliosma mexicana (Sabiaceae). Es endémica de la Sierra Madre Oriental de México en los estados de Querétaro y Tamaulipas. Crece desde los 800 hasta los 1900 m de altitud en el bosque mesófilo de montaña y el bosque de pino-encino húmedo. Pertenece al subg. Meliosma sect. Lorenzanea y es morfológicamente parecida a M. dentata, a la cual aparentemente remplaza en el noreste de México. Meliosma mexicana se distingue de M. dentata por tener hojas esencialmente enteras, glándulas estipitadas que varían de color rojizo a negruzco, y frutos subglobosos de 0.6 a 0.7(0.8) cm de largo.
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Pereira, Vinicius Carvalho. "Literatura e tecnologia: Wlademir Dias-Pino e o poema como máquina analógica / Literature and Technology: Wlademir Dias-Pino and the Poem as an Analogical Machine." Caligrama: Revista de Estudos Românicos 26, no. 2 (September 17, 2021): 199. http://dx.doi.org/10.17851/2238-3824.26.2.199-216.
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Resumo: Dentro dos estudos sobre Literatura e Tecnologia no Brasil, cabe lançar maior luz sobre as poéticas de vanguarda do século XX que tomaram o livro impresso como máquina a ser desmontada, transformada e reengenhada. Nesse contexto, o poeta, designer e artista multimodal Wlademir Dias-Pino antecipou, no suporte do papel, conquistas estéticas que só mais tarde seriam realizadas em meio digital. Antes do advento da literatura eletrônica, o artista já fizera do poema uma máquina analógica, cujas engrenagens variavam do verbal ao não verbal, do colorido ao preto e branco, do discursivo ao fragmentário. Neste artigo, procede-se a uma leitura por desmonte, isto é, a uma engenharia reversa, da imbricação entre o literário e o maquínico na poética de Wlademir Dias-Pino, com enfoque nos textos “A máquina que ri”, A máquina ou a coisa em si, A AVE e um de seus poemas-processo sem título, a fim de compreender como, ainda em meio analógico, o artista propôs uma estética de engrenagens visuais, voltagens poéticas e tensões imagéticas.Palavras-chave: Wlademir Dias-Pino; máquina analógica; literatura e tecnologia.Abstract: Among the studies on Literature and Technology in Brazil, more attention should be paid to twentieth-century avant-garde poetics that dealt with print books as machines to be disassembled, transformed and reengineered. In this context, the poet, designer and multimodal artist Wlademir Dias-Pino anticipated on paper aesthetical achievements only later made in digital media. Before the rise of electronic literature, the artist had already made poetry into an analogical machine whose cogs ranged from the verbal to the nonverbal, from color to black and white, from the discursive to the fragmentary. In this paper we carry out a reading by disassembling, i.e., doing a reverse engineering, of the connections between the literary and the machinal in Wlademir DiasPino’s poetics, focusing on the texts “A máquina que ri”, A máquina ou a coisa em si, A AVE and one of his untitled process-poems, in order to understand how, still in analogical media, he created an aesthetics of visual cogs, poetic voltage and imagistic tensions.Keywords: Wlademir Dias-Pino; analogical machine; literature and technology.
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Pramudya, Nicolas Agung. "Penciptaan Karya Komposisi Musik Sebagai Sebuah Penyampaian Makna Pengalaman Empiris Menjadi Sebuah Mahakarya." Gelar : Jurnal Seni Budaya 17, no. 1 (August 6, 2019): 14–23. http://dx.doi.org/10.33153/glr.v17i1.2597.
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ABSTRAK Komposisi Musik “Katur Ibu” adalah komposisi musik yang ide penggarapannya berangkat dari sebuah cinta, pengorbanan dan kasih sayang yang dikemas dengan format tradisi dan modern menghadirkan warna baru dalam komposisi penciptaan, yang membentuk sebuah karya musik yang utuh. Jenis karya seni tidak menata pada kejadian menurut alur yang sebenarnya akan tetapi lebih kepada suasana yang mendukung. Komposisi musik “Katur Ibu” terdiri dari 5 bentuk utama dengan menggunakan tempo Allegro, moderato, adagio, andante, dan vivance, yang dapat menggambarkan suasana tenang, sedih, gembira dan semangat, pengkarya maknai sebagai guratan sisi pandang terhadap realita yang terlintas dalam fikiran pengkarya seperti emosi penyesalan, kegamangan, ketulusan dan impian. Penyajian komposisi musik “Katur Ibu” memakai beberapa instrument pokok dan intrumen pendukung yaitu, Piano sebagai melodi utama, flute, bass elektrik, drum pad DTX, saron, bonang, kendang Sunda dan keyboard sebagai Accompainement dalam komposisi musik yang dikemas dalam konsep pertunjukan ini. Kata kunci: Komposisi, pengalaman empiris, Katur Ibu. ABSTRACT “Katur Ibu” Music Composition is a musical composition which the cultivation ideas depart from a love, sacrifice and affection that is packaged in a traditional and modern format presenting a new color in the composition of creation, which forms a complete musical work. types of artworks do not arrange the events according to the actual plot but rather to the atmosphere that supports it. The musical composition “Katur Ibu” consists of 5 main forms using tempo Allegro, moderato, adagio, andante, and vivance, which can describe the atmosphere of calm, sadness, joy and enthusiasm. The composer means as a side view of reality that comes to mind such as emotions of regret, anxiety, sincerity and dreams. The presentation of “Katur Ibu” music composition uses several basic instruments and accompanying instruments, including, Piano as the main melody, flute, electric bass, DTX drum, saron, bonang, Sundanese drum and keyboard as Accompainement in the musical composition that is packaged for the show. Keywords: Composition, empirical experience, Katur Ibu.
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Yakymchuk, O. M. ,. Belova N. V. "Messiaen analyzes Messiaen: author’s comments on the piano cycle «Twenty Contemplations on the Infant Jesus»." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 36–49. http://dx.doi.org/10.34064/khnum2-14.03.
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Background. Most of Messiaen’s works has an author’s comment. The composer usually prefaces his compositions with preambles, epigraphs, analytical notes. There are also two wide theoretical works devoted to explaining the technique of Messiaen’s compositions and grounds of his system: «Technique of my musical language» (1942) and «Treatise Messiaen addresses to a listener, when he commented on the thematic structure of the cycle, providing semantic and figurative orientations for perception. The composer immediately determines the cross-cutting themes that pass through the cycle: the theme of God, the theme of mystical love, the theme of the Star and the Cross, the theme of chords, showing in what plays they sound and how they are transformed. It all looks quite understandable and can really help the listener navigate in music. However, it may seem that Messiaen deliberately disorients the reader of his Notes. For example, the theme of chords, in his definition, is “abstract, it is similar to the series, but very specific and very easily recognizable due to its colors: gray-and-blue, steel, supersaturated red and bright orange, violet-and-lilac, shrouded brown and surrounded by purple-and-crimson” [4: 32]. It is clear that the addressee of such a text is an extraordinary listener of academic concerts, and, it should be admitted, – an extraordinary performer. The same conceptual multidirectionality is also characteristic for the treatise «Technique of My Musical Language» created shortly before the «Twenty Contemplations on the Infant Jesus». In the treatise one does not to look for a good statement on the bases of the musical composition – it is a colorful and mysterious mix of concepts, images, various spheres of human knowledge and arts. Such a complicated explanation of a mixture of different concepts can lead to hopelessness even a musicologist who operates by traditional notions of musical form. How can one understand the form where «development precedes the exposition»? How does the principle of fugue combine with the Indian rhythms? How can be the traditional principles of Gregorian chorus unfolded through the modes of limited transposition? We should admit that if we only read the texts of Messiaеn, we would definitely go to a dead end. However, the problem someway disappears, if you start listening to his music, especially the one that is being discussed. Based on music, not text, one can find that the musical process is entirely explained by the concepts used by Messiaen, although some, undoubtedly, require certain effort to decrypt. Messiaen’s musical (including thematic) material is represented traditionally in complex, where the melodic-harmonic basis is inseparable from its rhythmic realization. As for the musical forms and principles of musical organization, presented in the Messiaen’s works, «Twenty Contemplations on the Infant Jesus» can be considered as the “catalog” of those and others. Some concepts the composer introduced he uses for the first time, some of these he re-thinks in a new way in his system. Thus, the entire musical theory, presented by Messiaen in his “Notes”, may be translated into “a normal” language comprehensible for us. Why would Messiaen complicate the perception of his texts if he wanted to be clear? Indeed, even a musicologist (not to mention a listener or a performer) has to make some effort for expanding his knowledge beyond the scope of musicology in order to understand adequately his comments. It is likely that the Word used by Messiaen is a kind of invitation to co-creation. The programs of his works, according to the definition of musicologist K. Zenkin, preserve “the entire impossibility of translation” of the musical images, returning “music into music that has absorbed all the fullness of color and poetic sensations” [1: 8]. Another explanation for such a strong connection of Messiaen’s music with the Word lies, obviously, in his belonging to the French Church, particularly, to its organ tradition. The desire to interpret and explain is characteristically for the Church tradition. Throughout his life Messiaen was performed the duties of a church organist in the St. Trinity Church in Paris, and he could not fail to be influenced by the Church. Among the most important for the composer ideas and concepts, which appear in the texts of his verbal comments, those that related to Christianity in general and Catholicism in particular are predominant. Conclusions. If we go deep into the question of the religiosity of Messiaen, then it will lead us very far, since religiosity was one of the most important foundations of his outlook in general. Is it a possible to listen to his music without the comments? Of course, the magic of Messiaen’s music will influence onto an audience and without the texts, but the quite substantial component will disappear from it. We can conclude that a person who meets with the music of Messiaen – and it does not a matter, simply he listens to it, performs it or analyzes it with notes – becomes involved in the orbit of the Messiaen’s Universe, where the music embodies the Word in a Divine sense, and where the Word filled with life and meaning of the Music. ornithology» (1949–1992, not finished). Obviously, that the composer tries to present his ideas to the audience. But whom are his words turned to? To the listener, performer, to the musicologist analyzing his compositions? Why is his music not enough, and the composer obviously tries to clothe his ideas in a wordy form yet? Understanding of the composer’s intentions is important and for performing of his music, and for its adequate perception. In addition, a composer’s word in the XX century became usual for us, it is a part of the modern cultural paradigm. The objective of this research is the studying of author’s comments on the piano cycle «Twenty Contemplations on the Infant Jesus» and identification of the meaning of a Word and its communicative purpose for the commented music. The article used the analytical and comparative methods applying to author’s texts of Messiaen («Notes on the piano cycle “Twenty Contemplations on the Infant Jesus”», «Technique of My Musical Language») as well as to the results of the musicological studies related to these texts, with there after generalization of the observations and the opinions. Results of the study. The cycle «Twenty Contemplations on the Infant Jesus» is indicative for Messiaеn’s creativity. «Notes on the piano cycle “Twenty Contemplations on the Infant Jesus”» were written in 1978 and published in the edition “Hommage à Olivier Messiaen” by Paris publishing house “La recherché artistique”, 1978. In the first edition, the composer presented an epigraph and a brief explanation to each of the twenty plays. But over time, he understood that this was not enough, so he added to the first short comments the more detailed explanations on composition methods (including his own), the construction of musical forms, specificity of imaginative content, the designation of leitmotivs and their transformation.
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Martínez-Ávalos, José Guadalupe, Jordan Golubov, Salvador Arias, and José Ángel Villarreal-Quintanilla. "Una nueva especie de Mammillaria (Cactaceae) para Tamaulipas, México." Acta Botanica Mexicana, no. 97 (October 1, 2011): 83. http://dx.doi.org/10.21829/abm97.2011.252.
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Se propone a Mammillaria cielensis (Cactaceae), como una especie nueva de la Reserva de la Biosfera “El Cielo” (RBC) en Tamaulipas, México. Es morfológicamente muy similar a M. zublerae Repp., de la cual difiere en el tamaño del tallo, la forma redondeada del ápice, los tubérculos de menor tamaño y glabros, aréolas con lana blanca, las espinas radiales y centrales más numerosas y ligeramente más cortas, frutos de diferente color y tamaño, la semilla de mayor tamaño, con testa porosa y el hilo de mayores dimensiones. Su distribución conocida se restringe al bosque de pino encino en el área de la RBC, al sur del estado de Tamaulipas, México. Se presenta una comparación con las especies afines.
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Arif, Sania, Corinna Willenberg, Annika Dreyer, Heiko Nacke, and Michael Hoppert. "Sasso Pisano Geothermal Field Environment Harbours Diverse Ktedonobacteria Representatives and Illustrates Habitat-Specific Adaptations." Microorganisms 9, no. 7 (June 29, 2021): 1402. http://dx.doi.org/10.3390/microorganisms9071402.
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The hydrothermal steam environment of Sasso Pisano (Italy) was selected to investigate the associated microbial community and its metabolic potential. In this context, 16S and 18S rRNA gene partial sequences of thermophilic prokaryotes and eukaryotes inhabiting hot springs and fumaroles as well as mesophilic microbes colonising soil and water were analysed by high-throughput amplicon sequencing. The eukaryotic and prokaryotic communities from hot environments clearly differ from reference microbial communities of colder soil sites, though Ktedonobacteria showed high abundances in various hot spring samples and a few soil samples. This indicates that the hydrothermal steam environments of Sasso Pisano represent not only a vast reservoir of thermophilic but also mesophilic members of this Chloroflexi class. Metabolic functional profiling revealed that the hot spring microbiome exhibits a higher capability to utilise methane and aromatic compounds and is more diverse in its sulphur and nitrogen metabolism than the mesophilic soil microbial consortium. In addition, heavy metal resistance-conferring genes were significantly more abundant in the hot spring microbiome. The eukaryotic diversity at a fumarole indicated high abundances of primary producers (unicellular red algae: Cyanidiales), consumers (Arthropoda: Collembola sp.), and endoparasite Apicomplexa (Gregarina sp.), which helps to hypothesise a simplified food web at this hot and extremely nutrient-deprived acidic environment.
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Mykhailova, Olha. "The figurative world of Florent Schmitt’s piano works (following the diptych “Mirages”)." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 230–46. http://dx.doi.org/10.34064/khnum2-19.13.
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Statement of the problem. An important place in the creative heritage by F. Schmitt (1870–1958) is occupied by music for piano, which in the last decade actively entered to the repertoire of many foreign pianists. At the same time, it remains beyond the focus of Ukrainian performers. From this viewpoint, the relevance of the study is seen in revealing characteristic features of F. Schmitt’s composing style and shaping national musicians’ vision of the creative work of the composer. The purpose of the paper is to fill in the gaps in knowledge about the work of F. Schmitt, to analyze the figurative world of the composer’s piano pieces, to evaluate the influence of cross creative inspirations using the example of the diptych “Mirages”. In this regard, cultural-historical, comparative and structuralfunctional research methods are used. Presentation of the main material. F. Schmitt turned to piano music during all his creative life, leaving more than 30 works, among which cyclic compositions predominate. The range of images is extremely wide: genre scenes, environmental conditions, lyricism, fantasy, etc. Here the influence of impressionism and the art of C. Debussy can be traced. Musicians all over the world were in awe of the talent of this master. Suffice it to recall the unprecedented collaborative work by famous European composers at the turn of the centuries – the multi-genre series of miniatures “Le Tombeau de Claude Debussy”, written in memory of the great creator. F. Schmitt also showed his admiration of the genius of “Claude de France” in the piece “Et Pan, au fond des bles lunaires, s’accouda”. At first, it existed as one of the numbers of “Le Tombeau de Claude Debussy” (1920), and later, together with “La tragique chevauchée”, it made up the diptych “Mirages” (1921). The poem “Philomela” by a French poet Paul Fort was a kind of inspiring impetus for writing the diptych. The appeal for creative inspiration to related art forms was a frequent occurrence in France at the turn of the 19th and 20th centuries. This took place due to a special cultural environment, marked by a fruitful co-working of writers, artists and musicians. Poets were composed verses inspired by the works of visual art they had seen, artists were created illustrations for literary works that had affected them, composers, in turn, were written music pieces, which embodied poetic images. Paul Fort’s poem have several interwoven semantic plans. In the piece “Et Pan, au fond des bles lunaires, s’accouda” F. Schmitt follows the multiplicity of these plans. On the one hand, he preserves the plot narrative, on the other hand, he emphasizes landscape descriptiveness. According to the content of the poem, the music is divided into episodes, and each of which reveals a new facet of the narrative. This is expressed by a change in pace, key signatures and texture. The sound image of the piece, its texture, metro-rhythm, composition, recording techniques were equally determined both by the inspiration that came from the lines by P. Fort, and by the dedication to the memory of C. Debussy. The piece is characterized by all-encompassing register, juxtaposition of colors, chiaroscuro – the features, by which the musical language of C. Debussy is recognized. At the same time, the contrast of texture, registers and metro-rhythmic complexes involves certain redundancy of information that contradicts the signs of Debussy’s manner of expression, who tended to be more compact and monolithic. This suggests that F. Schmitt creates a kind of anthology of C. Debussy’s legacy, organizing the piece on the principle of stringing small, diverse fragments. Parallels with the cycles “Images”, “Estampes”, and “Préludes” can be noticed in the resulting microsuite composition. In the piece “La tragique chevauchée” F. Schmitt clearly recreates the spirit of the dramatic events of the poem by George Byron, following the literary plot in music. Two contrasting thematic spheres prevail. The first sphere, which sets the main tone, is characterized by the rapid pace remarked by the author’s notice “Emporté et violent”, a bouncing dotted rhythm, acute accentuation, toccata texture, sudden dynamic changes, dissonant tremolo harmonies. It reflects the outer side of the action – a crazy gallop of a horse running wild with fear, overcoming an endless series of obstacles on the way, and the physical suffering of an exhausted rider. The other one, which is less amplitudinous, is represented by a melancholic, as if crying, cantilena, symbolizing the inner experiences of the tormented hero. The grotesque expressive means in the foreground are a kind of scenery for the action, while the cantilena element, as if remaining in the background, bears the stamp of the inner drama of G. Byron’s poem. Conclusions. Despite the fact that the diptych “Mirages” is not a program composition, the pieces that make it up give rise to vivid, distinct images. Emotional richness, play of timbres, picturesqueness endowed the work with orchestral potential, which drew the attention of contemporaries. At the initiative of S. Koussevitsky, it was instrumented and found a new life on the symphonic stage. It is noteworthy that the eminent conductor’s interest in the timbre side of F. Schmitt’s music did not end there and was realized in “Symphonie Concertante pour piano & orchestra”, op. 82 (1931), written at the request of S. Koussevitsky. This fact opens up new turn in the perspectives for the study of F. Schmitt’s creative work. The symphonic version of the diptych “Mirages” arouses curiosity in terms of the original idea implementation. The composer’s piano works require study taking into account their orchestral potential.
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Latta, Steven C., and John Faaborg. "Winter Site Fidelity of Prairie Warblers in the Dominican Republic." Condor 103, no. 3 (August 1, 2001): 455–68. http://dx.doi.org/10.1093/condor/103.3.455.
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Abstract Wintering Prairie Warblers (Dendroica discolor) were studied in pine forest, desert thorn scrub, and desert wash habitats of the Sierra de Bahoruco, Dominican Republic from October–April 1996–1998 and January–February 1999. We used mist netting, color banding, and extensive resighting of color-banded birds to quantify habitat-specific demographies, site fidelity, and fitness indices. Males predominated early in the season in pine habitat while females predominated in the desert. Sex ratios were more equal through the drier months of late winter although females continued to be more frequent in the desert. Adult birds predominated throughout all habitats and time periods. Nonterritorial wanderers were far more common in desert habitats than in pine forest, and females predominated among these wanderers. Site persistence was moderately high, but variable between habitats and time periods, and was significantly lower in the drier months in thorn scrub than it was in the desert wash or pine forest. Annual return rates were generally high and did not vary significantly among years. Birds showed significant declines in pectoral-muscle-mass scores in both of the desert habitats but not in the pine forest. Data presented here emphasize the importance of dry-season events and habitat heterogeneity in the winter ecology of migratory birds. Fidelidad al Territorio Invernal de Dendroica discolor en la República Dominicana Resumen. En los meses de octubre a abril de 1996 a 1998 y enero y febrero de 1999, investigamos a Dendroica discolor en el bosque de pino, en los matorrales del desierto y en el arroyo seco de desierto en la Sierra de Bahoruco, República Dominicana. Para llevar a cabo esto, se utilizaron redes ornitológicas y anillos colorados. Se realizó una revisión extensiva de las aves anilladas para cuantificar la demografía en los tres hábitats, la fidelidad al territorio invernal, y los índices de aptitud (“fitness”). Al comenzar el invierno, los machos predominaron en el bosque de pino mientras que las hembras lo hicieron en el desierto. La proporción entre los machos y las hembras mantuvo una mayor igualidad entre los sexos en los meses más secos del invierno, aunque hay que considerar que las hembras predominaban en el desierto. Se observó que las aves adultas predominaban en los tres hábitats durante todo el período investigado. Las aves sin territorio eran más comunes en el desierto y eran mayormente hembras. La fidelidad al lugar fue moderadamente alta pero variable entre los hábitats y los períodos y fue significativamente más baja en los meses secos en los matorrales del desierto que en los arroyos secos y los bosques de pino. La tasa anual de retorno de esta especie fue generalmente alta y no varió significativamente entre años. La masa de los músculos pectorales bajó significativamente en las aves que se encontraban en los matorrales del desierto y en el arroyo seco pero no en los bosques de pino. Los datos mencionados aquí acentúan la importancia de eventos que ocurren en la época seca del período invernal y de la heterogenidad del hábitat en la ecología invernal de las aves migratorias.
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Borgogni, Antonio, Marco Lazzari, Alice Ponzoni, and Stefano Tomelleri. "Ad occhi aperti verso il futuro. Il ruolo del digital storytelling nella progettazione partecipata di percorsi di orientamento." EDUCATIONAL REFLECTIVE PRACTICES, no. 1 (April 2021): 78–92. http://dx.doi.org/10.3280/erpoa1-2021oa11520.
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Il progetto qui descritto è stato pensato per supportare, attraverso azioni di tutoraggio tra pari basate sul digital storytelling, studenti provenienti in particolare da istituti superiori professionali nell'orientamento verso i Corsi di studio in Scienze dell'educazione.Il progetto si è basato su due principali costrutti teorici. L'approccio fenomenologico, riflettendo sulla progettazione esistenziale autentica e inautentica e discutendo sulle parole scelta e differenza. Il paradigma della complessità, ragionando in opposizione al sovrano sotterraneo costituito dal paradigma della semplificazione.Oltre a ciò, l'orientamento universitario viene presentato anche sul piano della rilevanza politica alla luce del basso indice di mobilità sociale del nostro Paese che colpisce anche coloro, qui nominati metafragili – in qualità di diplomati desiderosi di ottenere una laurea, che difficilmente potranno raggiungere livelli di antifragilità.Le azioni messe in atto (tutoraggio, orientamento tramite le tecnologie, autovalutazione delle capacità di svolgere le professioni in uscita, formazione per gli studenti e i tutor universitari) e i significati dell'approccio narrativo basato sul digital storytelling sono stati rivisitati concentrandosi sulle relazioni tra aspettative e contesto organizzativo alla luce dell'irriducibilità semiotica di cui la narrazione è portatrice.Nelle conclusioni, il percorso progettuale è stato ricontestualizzato nell'attuale emergenza pandemica focalizzandosi sulle opportunità di apprendimento trasformativo dell'organizzazione universitaria.
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Kalina, Pavel. ""COLOR FACIEI": COURT AESTHETICS, FRANCISCAN THEOLOGY, AND SCULPTOR'S PRIDE IN THE TOMBSTONE OF MARGARET OF BRABANT BY GIOVANNI PISANO." Source: Notes in the History of Art 21, no. 2 (January 2002): 1–5. http://dx.doi.org/10.1086/sou.21.2.23206738.
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Arpaia, Christian. "Storie di confine_Critical Zones // Historias de confines_Zonas críticas." Ecozon@: European Journal of Literature, Culture and Environment 7, no. 2 (October 25, 2016): 176–82. http://dx.doi.org/10.37536/ecozona.2016.7.2.1100.
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I took these pictures while travelling on my motorbike in Southern Italy. Except for the first two (“Caged_N,” a view of Naples from behind the bars of an ancient cloister now hosting one of the city’s universities; and “Ashes,” a view of Naples’ Città della Scienza), they were all taken in the summer. Summer, in fact, is the season during which contrasts and colors are most powerfully sublimated against these lands’ vast horizon, disclosing sceneries made of abandonment, forgetfulness, and stubborn elemental creativity. This is the fate of the South: to be alive in spite of everything, in spite of bad politicians and of colonizations disguised as (short-term) “development” policies. Though, this being alive conveys very much the weight of a problematic life, which is often a struggle against the challenges of space_time_matter. Or, even worse, against the violence of organized crime, as in the case of “Ashes,” given to the flames in 2013 and now slowly resurrecting.Defined by environmental economist Manlio Rossi Doria “la terra dell’osso,” the bone land, the internal territories of the South survive in their elemental combinations, crisscrossed by huge (and often disproportionate) infrastructures that remain often “cathedrals in the desert” (like the majestic Musumeci’s Bridge, portrayed in the picture “Minimo Strutturale”) and by building developments that cover catastrophic events (in this case, the earthquake of 1980) with abstract—and therefore equally catastrophic—solutions (“Piano Regolatore”). In this silent landscape, testimonies from the territory’s “original characters” take not only the shape of abandoned agrarian houses (“Agrarian Reform”), but also that of the surprising inventiveness of ancient ways to create the built environment. This is the case of Basilicata’s historic town Matera (“Matera”), that, from being a site of backwardness and abandonment, has turned today into a UNESCO World Heritage Site and will be the European Capital of Culture in 2019. Resumen Hice estas fotografías mientras viajaba en mi moto por el sur de Italia. Salvo por las dos primeras (“Caged_N,” una vista de Nápoles desde detrás de las rejas de un antiguo claustro que ahora acoge una de las universidades de la ciudad; y “Ashes”, una vista de la Città della Scienza de Nápoles), todas se hicieron en verano. El verano, de hecho, es la estación durante la que los contrastes y los colores se subliman más poderosamente contra el vasto horizonte de estas tierras, revelando paisajes hechos de abandono, olvido, y terca creatividad elemental. Este es el destino del Sur: estar vivo a pesar de todo, a pesar de los malos políticos y de las colonizaciones disfrazadas de políticas de “desarrollo” (a corto plazo). Sin embargo, este estar vivo expresa mucho el peso de una vida problemática, que a menudo es una lucha contra los desafío del espacio_tiempo_materia. O, incluso peor, contra la violencia del crimen organizado, como en el caso de “Ashes,” entregado a las llamas en 2013 y ahora resucitando lentamente. Definida por el economista medioambiental Manlio Rossi Doria como “la terra dell’osso,” la tierra del hueso, los territorios internos del Sur sobreviven en sus combinaciones elementales, entrecruzados por infraestructuras enormes (y a menudo desproporcionadas) que permanecen a menudo “catedrales en el desierto” (como el majestoso puente de Mudumeci, retratado en la imagen “Minimo Strutturale”) y por desarrollos de construcción que cubren sucesos catastróficos (en este caso, el terremoto de 1980) con soluciones abstractas—y por lo tanto igualmente catastróficas—(“Piano Regolatore”). En este paisaje silencioso, los testimonios de los “personajes originales” del territorio toman no sólo la forma de casa agrícolas abandonadas (“Agrarian Reform”), sino también la de la sorprendente inventiva de las formas antiguas de crear el entorno construido. Este es el caso de la histórica ciudad de Basilicata, Matera (“Matera”), que, de ser un lugar de atraso y abandono, se ha convertido hoy en Patrimonio Mundial de la UNESCO y será la Capital Europea de la Cultura en 2019.
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Ingrassia, Raimondo. "Il whistle-blowing come strumento di controllo interno delle organizzazioni." STUDI ORGANIZZATIVI, no. 2 (December 2009): 40–70. http://dx.doi.org/10.3280/so2009-002003.
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- Uno di problemi che si pongono quando si parla di abusi dei colletti bianchi nel mondo del lavoro č quello di sottoporre al giudizio della collettivitŕ condotte discutibili sul piano etico, manageriale, professionale e giuridico delle quali perň č difficile avere conoscenza in quanto esse vengono consumate al riparo di organizzazioni legali e, spesso, poco permeabili alla societŕ. Una forma di controllo privilegiata per la qualitŕ delle informazioni che č in grado di fornire č la denuncia pubblica degli abusi del prestatore di lavoro legato all'organizzazione da un rapporto di dipendenza. La cultura anglosassone ha metaforicamente etichettato tale pratica con il termine di "whistleblowing", letteralmente "soffiare il fischietto", cioč dare un segnale di allarme per gli abusi osservati nel luogo di lavoro. Questo articolo intende offrire una rassegna sistematica dei principali temi esistenti in materia. Sono pertanto oggetto di trattazione i seguenti argomenti: le relazioni fra gli abusi dei colletti bianchi e le organizzazioni legali; le tipologie di abusi piů comuni; il profilo identitario di coloro che denunciano; i fattori oggettivi che influenzano le decisioni di denuncia; i rischi legati alle attivitŕ di denuncia; l'efficacia, la tutela giuridica e le policy del whistle blowing. La tesi conclusiva č che la denuncia pubblica degli abusi deve fare leva sulla responsabilitŕ personale e che il contesto organizzativo e istituzionale nei quali i prestatori di lavoro operano devono svolgere una funzione di incentivo e protezione dell'iniziativa individuale.
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Horetska, Nataliia. "Stylistic features of the performing ancient instrumental music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 110–32. http://dx.doi.org/10.34064/khnum1-57.07.
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Background, objectives and methodology of the research. Musical performing art of the XX–XXI centuries demonstrates a steady and growing interest in a huge array of music from pre-classical eras – the Middle Ages, Renaissance, Baroque. The baroque music occupies a leading position in the field of instrumental performing as an obligatory part of the educational (works by J. S. Bach) and concert repertoire. The problem of interpretation of early music, acutely posed by musicians of the XX century – up to the reconstruction of all historical performance parameters – retains its relevance. In this regard, we note that the performance of a piece of music does not always make off the strongest impression precisely in its “primary” – restored – form, since reconstruction is limited by the volume of our historical knowledge, while modern musical instruments have a much wider range of expressiveness, than theirs historical predecessors, and the modern interpreter – “de facto”, due to his location in the historical space – a much richer thesaurus. So, the aim of this article is systematization, from the standpoint of the teaching experience of its author in the piano class, observations and practical recommendations regarding the style of performing of ancient instrumental music and approaches to its interpretation by a pianist on an instrument of modern construction. The methodology of the study includes an appeal to the intonation theory of B. Asafiev (1971), when considering the dynamic processes of formation of the musical form and the functioning of articulatory units – motifs, phrases, rhetorical figures, strokes, etc.; to the provisions of the works of M. Mikhailov (1981), E. Nazaikinskiy (2003), O. Katrich (2000) concerning the theory of styles; V. Kholopova (1979) and G. Ignatchenko (1983), when considering performance techniques that emphasize the originality of the texture of baroque music; as well as generally accepted methods of scientific research: analysis, selection, structuring of information with its subsequent generalization. Presentation of research results. The study of ancient instrumental music in the piano class is extremely important for the formation of a competent specialist, a musician of a wide range. In the cognitive process, such stages must be passed as determining the style, genre, form of the musical work, identifying the features of the musically expressive means used in it and finding appropriate ways to embody them. It is necessary to make as complete an idea as possible of the past historical epoch, its philosophy, aesthetics, different types of art and their interaction. The purpose of work on pieces of ancient music should be directing а performer to the general laws of “style of the era” (according to M. Mikhailov, 1981), because, despite national differences, by the middle of the XVIII century, a certain “panEuropean” style was formed, which was of great importance for the formation of the next generations of musicians. One of the brightest manifestations of the musical style of the seventeenth and eighteenth centuries is a close connection between music and the art of rhetoric. When referring to ancient music, performers must take into account the enormous influence that rhetoric had on the formation of musical thinking at that time. The close relationship of the latter with the oratory, which is based on a set of laws and rules, led to the influence of musical-rhetorical figures on the semantics of musical language, and, consequently – on the intonation-declamation sphere of musical text, ways of articulation. The latter were largely determined by the design features of ancient tools. The variety of characteristic techniques of instrumental sound production – expressive touches, among which a special place was occupied by the string strokes (legato, detache, martele, etc.) – has become an integral part of the style of European music of the XVII–XVIII centuries. Transferring them to the field of piano technique is necessary for adequate interpretation of works of this period, requiring the pianist to find appropriate analogues that allow to some extent to reproduce the figurative, articulatory, timbre-color, texture characteristics of the performed work. Modern piano, which due to a fundamentally different method of sound production does not claim to be an authentic reproduction of baroque music, has its own rich arsenal of expressiveness, which allows you to offer the listener no less interesting interpretive content of music of past eras. The art of outstanding pianists of the XX–XXI centuries, to whose audio and video recordings modern performers turn in search of a reference sound (G. Gould, S. Richter, S. Feinberg, T. Nikolaeva, M.Argerich, F. Gulda, G. Sokolov, A. Schiff and others) demonstrates this fact clearly. Conclusions. Not reconstruction, but reproduction of the style, image and spirit of early music becomes the leading principle of working on it in the piano class. And here the pianist should come to the aid of a conscious intonation, based on knowledge of both the general laws of the reproduced style and its characteristic details. The outstanding interpreter of early music V. Landowska (1991: 350) wrote: “One cannot ignore the reading of Quantz’s treatises on playing the flute, Leopold Mozart on the violin, Tosi-Agricola on singing, François Couperin, Rameau, Frescobaldi, Marpurg, K. F. E. Bach and many others – about playing keyboard instruments”. Finding “unexpected treasures” in them, “the disciples are delighted, because they begin to realize what they simply did not pay attention to before. In such cases, you find yourself witnessing an explosion of joy, somewhat reminiscent of the discovery of love”.
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AGATI, Maria Luisa. "Κωδικολογία: νέες κατευθύνσεις και όρια." BYZANTINA SYMMEIKTA 21, no. 1 (March 17, 2012): 195. http://dx.doi.org/10.12681/byzsym.1059.
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<p><span style="line-height: 150%; font-variant: small-caps; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"><span style="line-height: 150%; font-family: 'Times New Roman','serif'; font-size: 11pt">LA CODICOLOGIA: RUOLO, ORIENTAMENTI E NUOVE FRONTIERE</span></span></p><p><span style="line-height: 150%; font-variant: small-caps; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"></span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt">Esame del significato della Codicologia, nel termine e nel concetto, dall’intuizione di Montfaucon attraverso le interpretazioni più significative della storia degli studi, per arrivare alle conclusioni dell’autrice, che, ponendo in primo piano la simbiosi tra libro/contenitore e testo/contenuto, intende la Codicologia nel senso più integrale dello studio del libro manoscritto, non avulso dalla dimensione filologica che nel progredire degli studi “materiali” sembra oggi accantonata. La Codicologia come “</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt">Archeologia</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> del libro” apre comunque nuove prospettive con metodologie di ricerca che mirano ad un approccio dinamico, puntando soprattutto alla ricostruzione dei gesti e della psicologia dell’artigiano medievale. Ne sono testimonianza le differenti interpretazioni di <em>mise en page</em>, o il campo di indagine sulla rigatura, col chiarimento dei concetti di tecnica e di metodo, e del funzionamento dei diversi strumenti meccanici, su cui purtroppo le fonti sono reticenti. Tutto ci</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; font-size: 11pt">ò</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> pu</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; font-size: 11pt">ò</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> ricevere nuova luce solo da uno studio comparato tra le diverse civilt</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; font-size: 11pt">à</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> del Mediterraneo, che vede l’incontro</span><font face="Times New Roman"><span style="line-height: 150%; font-family: 'MgOldTimes UC Pol Normal'; color: black; font-size: 11pt">/</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt">scontro tra Cristianesimo e Islam, e le ricerche in corso di chi </span></font><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt">scrive</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> hanno gi</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; font-size: 11pt">à</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> dato diversi esiti positivi. Per esempio, l’utilizzo dell’orientale <em>mastara</em> viene recepito sistematicamente nelle tecniche metabizantine, ma non </span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; font-size: 11pt">è</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> esclusivo nella produzione greca occidentale, influenzata dal mondo latino: solo la Storia pu</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; font-size: 11pt">ò</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> dare spiegazione di fenomeni o tradizioni </span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt">altrimenti</span><span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 11pt"> incomprensibili, indispensabile supporto alla critica testuale.</span></p>
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Gale, Emily Margot. "Stolen Youth." Journal of Popular Music Studies 33, no. 1 (March 1, 2021): 42–49. http://dx.doi.org/10.1525/jpms.2021.33.1.42.
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In 1847 Atwill of New York published “The Lament of the Blind Orphan Girl.” Composed by William Bradbury, the song is written for voice and piano in a lilting 3/8 meter. Mary, the song’s protagonist, sings of “the silvery moon” and “bright chain of stars” over diatonic harmonies. A dramatic shift to the minor mode supports the climax: “Oh, when shall I see them? I’m blind, oh, I’m blind.” Mary explains that she and her brother have also lost their parents. On the sheet music cover a wreath of flowers encircles an image of a young white woman kneeling beneath a tree, alone at a grave. The title page notes: “As sung with distinguished applause by Abby Hutchinson.” Orphan songs pervade nineteenth-century pop repertory. Scholars have analyzed Latvian, Hmong, Danish, and German orphan songs, but US orphan songs have generated little more than passing references. Other examples include: “The Orphan Nosegay Girl” with words by Mrs. Susanna Rowson from 1805; “The Colored Orphan Boy,” composed by C. D. Abbott and sung by S. C. Campbell of the Campbell Minstrels from 1852; and “The Orphan Ballad Singers Ballad” by Henry Russell from 1866. Orphans were not just a topic; in the latter half of the nineteenth century, actual parentless youth featured in bands such as the Hebrew Orphan Asylum Band of New York City. This paper connects the stolen childhoods in orphan songs to those of enslaved youth. If free children were aware of slavery and the movement to abolish it as historian Wilma King has shown, what did it mean for Abby Hutchinson, who started performing abolitionist songs with her brothers at age twelve, to sing as the sentimental stock character of the orphan? Songs like the one above may have been a way that young abolitionists empathized with enslaved youths robbed of their youths.
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De la Paz-Pérez Olvera, Carmen, and Raymundo Dávalos-Sotelo. "Anatomía de la madera de seis especies de Pinus (Pinaceae) del estado de Durango, México." Madera y Bosques 22, no. 3 (December 13, 2016): 113–32. http://dx.doi.org/10.21829/myb.2016.2231460.
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Se presentan las características anatómicas de la madera de Pinus arizonica Engelmann, P. cooperi C. E. Blanco, P. durangensis Martínez, P. herrerae Martínez, P. leiophylla Schlecht. & Cham. y P. teocote Schlecht. & Cham. El material de estudio para cada especie se obtuvo de dos a cuatro árboles por especie recolectados en bosques de pino-encino en los municipios de Santiago Papasquiaro, San Dimas y Durango, del estado de Durango, México. Para las características microscópicas se hicieron cortes de 20 µm de grosor que se tiñeron con safranina-verde rápido o con fucsina básica-azul de astra y material disociado teñido con pardo de Bismark. Para las características macroscópicas se elaboraron tablillas de 7 cm x 5 cm x 1 cm. La proporción de madera temprana es tres veces mayor que la madera tardía en todos los ejemplares. Los valores del grosor de la pared y el diámetro del lumen entre madera temprana y tardía son diferentes. Los radios y los canales resiníferos axiales y radiales presentaron diferencias en su tamaño y su abundancia; P. herreraepresenta los anillos más anchos P. leiophylla y P. teocote los más angostos. Las características macroscópicas de las seis especies son similares entre individuos de la misma especie independientemente del sitio de recolección, en términos generales. El color y el veteado están influenciados por la proporción de madera temprana y tardía presente en cada anillo y la anchura de los mismos. P. arizonica y P. cooperi presentaron diferencia de color entre albura y duramen. Las especies estudiadas tienen características que las hacen muy útiles y representan un valioso recurso para la entidad.
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Sarriugarte Gómez, Íñigo. "John Cage y su influencia en la obra del video artista Nam June Paik." Anuario Musical, no. 64 (December 30, 2009): 237. http://dx.doi.org/10.3989/anuariomusical.2009.64.45.
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En 1958, el artista coreano Nam June Paik (*1932; †2006) conoce en Alemania a John Cage (*1912; †1992), músico vanguardista, quien estaba profundamente interesado en el budismo zen. Su encuentro con Cage fue vital, ya que el compositor norteamericano convencerá a éste para que oriente su carrera hacia la vanguardia artística, dejando su faceta de pianista clásico. La filosofía de Cage queda reflejada en composiciones como 4’33’’, de 1952, donde el espectador no escucha el sonido del piano, ya que este no es tocado, sino un silencio que es entrecortado por el sonido ambiental. Hay varias versiones de esta pieza, marcándose los silencios mediante procesos al azar con el sistema del “I Ching”. En este sentido, el silencio empleado por John Cage se relaciona con la vacuidad del budismo zen. Igualmente, Paik hace uso del silencio en numerosos trabajos, como en “TV Clock” de 1963, donde se observan 24 televisiones manipuladas a color, a la vez que se siente el silencio, nuevamente entrecortado por las propias circunstancias momentáneas del espectador.
Esta infl uencia del budismo zen en la música de Cage se observa cuando argumenta que la música compuesta de melodías tiene el mismo valor que el sonido dedicado por nosotros como ruidos. Este aspecto, entre otros, influyeron a Paik, cuyas video imágenes se definen como atributos de trabajos tradicionales que no impresionan a la audiencia, sino que sugieren condiciones variables. Algunas de sus obras relacionadas con la filosofía de Cage han sido “Hommage à John Cage” en 1959; “Estudio para pianoforte” de 1960; y “Global Grove” de 1973, donde Paik trabaja a modo de collage las imágenes de sus colaboradores vanguardistas John Cage, Allen Ginsberg y Merce Cunningham.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum2-49.05.
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Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.
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Mungpanklang, Nabhapol, Somchai Seviset, and Songwut Ekawutwongsa. "Study and Design Thailanna Style’s Showcase." Mediterranean Journal of Social Sciences 11, no. 1 (January 10, 2020): 24. http://dx.doi.org/10.36941/mjss-2020-0003.
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The purpose of this research is to study the Lanna art form, design showcase in Lanna art style and evaluate the satisfaction of those interested in buying a Lanna style showcase. The Lanna art forms that we studied are Lung Piang, Fat-Short, Flora patterns, Red color, Dark brown-black and gold patterns. Also the wood that has been using is Teak wood material, which is medium softwood. When analyzed together with the conceptual framework to design a showcase of Lanna art style, with experts and professionals join the evaluation of draft design 3 sets 9 drafts and eliminate to 1 draft only in order to use it as a prototype. Use descriptive statistics to analyze and summarize data. The research found that showcase in Lanna art style, draft B which uses the design concept of Lanna art has overall result in the highest level ( = 4.62, S.D. = 0.52). Then this draft is taking to produce the prototype and evaluate the satisfaction, the research found that satisfaction level in terms of conservation, inheritance, and pride of wisdom in art and cultural is at the highest level ( = 4.41, S.D. = 0.69), followed by beauty. And characteristics has satisfaction level at high level ( = 4.25, S.D. = 0.78). Safety, functional, structural and material satisfaction is at a high level ( = 3.97, S.D. = 0.70).
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Avery, Tamlyn. "“Split by the Moonlight”: Beethoven and the Racial Sublime in African American Literature." American Literature 92, no. 4 (October 6, 2020): 623–52. http://dx.doi.org/10.1215/00029831-8780863.
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Abstract As Nathan Waddell has recently argued of the literary modernists whose aesthetic incorporation of the Beethovenian legend complicates the dominant view of modernism as an antitraditionalist enterprise, Ludwig van Beethoven’s music has in fact left a more significant and complicated mark on African American literature relating to the sublime properties of his musical aesthetic than has previously been recognized. As a point of departure, I apply Michael J. Shapiro’s definition of the racial sublime as a confrontation with the “still vast oppressive structure that imperils black lives” to the setting of twentieth-century African American literature, where Beethoven’s Romantic sublime often stands in for the racial sublime. This transference, I argue, is not an expression of the artist’s repressed instinctual conflict, the mere sublimation of their devotion to “white” culture and the cult of genius, as Amiri Baraka once suggested. Rather, Beethoven’s music formed a persistent and powerful political allegory of the racial sublime for many prominent twentieth-century authors in their literary works, where the sublime constitutes a sublimation of direct forms of power into a range of aesthetic experiences. This can be observed in the Beethovenian ekphrasis featured in prose works by James Weldon Johnson, Langston Hughes, James Baldwin, and Ralph Ellison—four writers whose works have also been considered indebted to blues and jazz musical influences and who approach the racial sublime not through language but by appealing to music’s nonsignifying suggestiveness, in order to capture the intensities that radiate out of these encounters. As this article reveals, their allegorical uses for Beethoven are not unitary. The forcefield of the racial sublime is registered allegorically through the performative sublime of Sonata “Pathétique” in Johnson’s The Autobiography of an Ex-Colored Man (1912); the sublime melancholy of the “Moonlight” Sonata in Hughes’s tragic short story “Home” (1934); the spiritual sublime of Beethoven’s piano concerti and the Ninth Symphony in Baldwin’s short story “Previous Condition” (1948); and the heroic sublime of the Fifth Symphony in Ellison’s bildungsroman Invisible Man (1952).
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Cannon, Joanna. "Anita Fiderer Moskowitz. The Sculpture of Andrea and Nino Pisano. Cambridge-New York: Cambridge University Press, 1986. 2 color pls. + 350 figs. + xii + 242 pp. $145." Renaissance Quarterly 43, no. 2 (1990): 417–20. http://dx.doi.org/10.2307/2862387.
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Hintz, Raisa Carolina, Rafaela Caramori Saab, Eugenio Garcia, Sergio Paulo Hilgenberg, Leonardo Fernandes da Cunha, Tatiana Miranda Deliberador, and Carla Castiglia Gonzaga. "Tratamento de trauma oclusal anterior com pino de fibra de vidro associado à coroa de dissilicato de lítio Anterior occlusal trauma treatment with fiberglass pin associated to lithium disilicate crown." RSBO 15, no. 1 (September 13, 2018): 66. http://dx.doi.org/10.21726/rsbo.v1i1.592.
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Introdução: A aparência estética é uma das preocupações do ser humano, o que leva a uma busca constante por uma estética que expresse harmonia, naturalidade e expressividade. Sendo assim, os procedimentos restauradores têm contribuído positivamente para a resolução dos desafios odontológicos estéticos. Objetivo e relato de caso: Relatar um caso clínico com associação de clareamento dental, confecção de pino intrarradicular e coroa indireta em dissilicato de lítio em que foi devolvida ao paciente a estética desejada. Pacientede 23 anos de idade fraturou o incisivo central superior direito na infância; insatisfeito com a instabilidade de cor do dente, buscou novas alternativas de tratamento. Conclusão: A associação de diferentes tratamentos na Odontologia estética pode apresentar resultados satisfatórios para o restabelecimento estético e funcional de dentes anteriores.Introduction: The aesthetic appearance is one of the human being concerns, leading to constant search for an aesthetic that expresses harmony, naturalness and expressiveness. So, the restorative procedures have contributed positively to overcome the aesthetic dentistry challenges. Objective and case report: Report a clinical case in association to dental whitening, making of intraradicular pin and indirect crown of lithium disilicate when it was returned to the patient the desired aesthetic. A 23 years old patient fractured the right central incisor in the childhood, dissatisfied with the tooth color instability, he looked for new treatment alternatives. Conclusion: The association of different treatments in the aesthetic dentistry might present satisfactory results to the aesthetic and functional reestablishment of anterior teeth.
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Dedusenko, Zhanna. "Features of the embodiment of the genre of sonata for violin and piano in the works by Gabriel Fauré (on the example of Sonata № 2, in E Minor, op. 108)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 157–70. http://dx.doi.org/10.34064/khnum1-59.11.
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Background. The article reveals the genre-style, form-building and dramatic features of G. Fauré’s Sonata No. 2, in E Minor, op. 108. It is determined that this work, in contrast to his first sonata in A Major op. 13, written in the early period of the composer’s life and embodying romantic elation and inspiration, belongs to the late period of G. Fauré’s work, which is distinguished by a complex harmonic and polyphonic writing, sophisticated form and dramatic content characteristic of the early 20th century music and the First World War. The purpose of this article is a characteristic of genre-stylistic and compositional-dramaturgical features of G. Fauré’s Sonata for violin and piano № 2, in E Minor, op. 108. Results. The Second Violin Sonata by G. Fauré, in contrast to the First, has a different dramaturgy and is built on the principle of dramatic antithesis. A special place – and this brings its logical patterns closer to Beethoven’s – is given to the sonata allegro of the first movement, the excitement and explosiveness of which contrasts not only with the lyrical Andante of the second one, in A Major, but also with the enlightened and carefree Allegro non troppo of the finale in E Major. The logic of the formation in the first movement is associated with the originality of the passage of musical events and has a spiral structure consisting of five turns. The musical image of the second movement’s theme is interesting, as it is born from the conjugation of several voices, combining the features of rhythmic variability. This gives the theme a special, truly French charm. There are several dynamic build-ups in the second movement throughout Andante, which shows the implementation of the wave dramaturgy principle. Rondo shows the freshness of musical colors and spontaneity of expression. The last refrain of this part is especially interesting from the dramatic, thematic and ensemble points of view. The general culmination of the Sonata takes place in the refrain. It includes the main intonational ideas and serves as a generalization of the key events of the composition. At the highest climax of Rondo the main and secondary themes from the first movement of the Sonata appear. Thus, the idea of concentric circles, which was noted in the sonata allegro, is implemented in the finale of the Rondo. Conclusion. The analysis of the Second Violin Sonata by G. Fauré allows us to speak not only about a special implementation of the form in this work, but, in comparison with the First Sonata, about a great variety of ensemble writing, marked by the polyphonization of texture. The timbre contrast of the violin and piano allows the composer to set off the emerging replicas, arrange them in different sound spaces, which may resemble the organ register. The loss of any “character” by the members of the ensemble is most consistently traced in the sonata allegro. Another regularity can be traced in the reduction of the background, which is supplanted by the thematization of the texture. This is emphasized by the frequent change of role-playing functions of the instruments and the multitude of ensemble details that ensure the mobility of the musical texture and its multidimensionality. In this Sonata G. Fauré shows a special sensitivity to the harmonic component of the musical language. This search for expressive possibilities of harmony subsequently becomes a distinctive feature of the modern French musical language, which affects the sound image of a chamber ensemble, leading to the interpretation of chamberness as a refined variability of sensations.
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Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.
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Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is clear that at the very beginning of his work Zhu Jian’er had the skill of a versatile depiction of inner experiences and difficulties encountered in the life of the hero. The second number or. 1 No. 2 “Waves washing sand” – imbued with a lyrical and philosophical mood. In the musical-figurative sphere, the landscape poetry occupies a central place with philosophical overtones, symbolically revealing the images of waves on the sand, characterizing the lyrical experiences of the hero and his sadness. op. 1 No. 3 “Lullaby” – the lyrical center of the cycle, a song of meditation with a predominant shade of sadness and philosophical overtones – the theme of enlightenment, the general meaningful canvas corresponds to the genre of lullabies, the appeal to the child, full of tender feelings. The fourth song Or. 1 No. 4 “I want to return to my homeland”, serves as a kind of finale. The basis of the song is the topic of separation, which is very popular in the songwriting of Chinese composers. The content of the song is symbolic: it is not only dreams of a distant friend, family and friends, but also a reflection of emotional feelings of separation from the motherland. Songs “Spring, when you return” and “Dream” were created by the composer in 1944, are devoted to events from the life of the composer. Zhu Jian’er saturates the musical fabric of the song with unstable harmonies, offers a more complex texture solution to the piano part (alternating polyphonic and homophonic-harmonious presentation) and gives it greater independence as an independent layer of musical tissue. The vocal melody also acquires a new look. An arioso-declamatory by nature, it embodies all the nuances of a poetic text that is pronounced with a special sentimental feeling (“Spring, when you return”) or a joyful hope (“Dream”). The analysis completes the generalized characterization of the composer’s early song-writing, in which the inherent features are distinguished. The skill and artistic significance of his songs testify to the fact that Zhu Jian’er succeeded in original compositions with vivid national characteristics. In the early chamber-vocal works of Zhu Jian’er, musical embodiment was achieved both in luminous, lyrical, and sad, even grim character themes related to the reflection of deep emotional, indeed – philosophical aspects of being revealed through a change of experiences. The theme of many songs is associated with the embodiment of the thoughts and feelings of a person, with the chanting of a beautiful nature. Conclusions. The least studied early period of creativity, in particular, the sphere of chamber-vocal music formed the individuality of the compositional style of Zhu Jian’er. Zhu Jian’er’s songs are characterized by vivid musical images and colorful writing, vividly representing the individuality of the composer’s musical language. These works alone allow us to say that in his early years the composer Zhu Jian’er was a high-level musician.
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Lermontovа, E. "Editing violin works for four-string domra as an artistic interpretation of the author’s text (in connection with the sound-making will of the performer)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 145–59. http://dx.doi.org/10.34064/khnum1-52.10.
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Background. In recent years, there has been an undiminished interest of scientists to the problem of transcription. In particular, a number of dissertation research is devoted to this question (M. Borisenko, B. Borodin, N. Ivanchej, M. Parshin, T. Smirnova). However, the editing of violin music for four-string domra in terms of the interpretation of the author’s first text did not become the subject of a special study. It should be noted the identity of the building violin and four-string domra. The violin and domra have unique sound images, which also determines the specificity of the artistic translation, its meaning and result. Objectives. The purpose of the study is to comprehend the phenomenon of editing violin works for four-string domra as an artistic interpretation of the author’s first text (in connection with the sound creation will of the performer). Methods. In connection with the communicative specifics of the violin music editions for the four-stringed domra, the methodological basis of the proposed research was the concept of J. Lotman, according to which the interpretation of the text is possible thanks to the translation mechanism. In accordance with the specifics of the musicians artistic practice, the methodological basis of the study was the concept of K. A. Martinsen about the sound-making will of the performer, which also manifests itself in the creation of editions of violin works for four-string domra and then their performing interpretation. The proposed article is devoted to the specifics of the manifestation of the sound-making will in the process of translating into the language of another instrument (from the violin original to the timbrearticulation re-toning of a domrist). Results. K. A. Martinsen holds the idea that the pianists technique must be inextricably linked with his artistic ideals, that is, the sound-making will. In the case of revisions of the repertoire of the violin for four-string domra, one can also speak about the sound-making will, which manifests itself not only in the artistic concept of interpreting the first text, but also the will to timbre, which is connected with the work on sound quality and its coloring. The strong-willed start is clearly manifested when timbre-articulation re-intoning in the editorial offices of violin music for four-string domra. The will to intonate a musical text is associated with the timbre-articulation features of the instruments. In connection with the interpretation of the musical text, intonation is relevant (concept by T. Verkina), that is, generated by the individual interpretation of the performer, the study of the composers text and he understanding of the sound images of the work. The sound will manifests itself through the sound extraction and sound science, which are inextricably linked with the specifics of articulation. In connection with the acoustic characteristics, the difference in the articulation apparatus is different, the timbre color of the sound of each of the instruments – the violin and the domra – is different. Hence the difference in the volitional regulation of intonation – the performing will to sound, timbre, sound, continual deployment of musical thought. The color of the work that acquires a new timbre-articulatory interpretation also changes. Due to the specifics of the domra sounding, a priori intermittent discrete sound is inherent, however, a separate sound due to the will of the performing musician to sound science is extended into the sounding continual melody. There is no doubt that domra is a singing instrument. The piano is a keyboard- stringed percussion instrument, which in the hands of the pianist-musician also becomes melodious. The predecessors of the piano – the harpsichord, the clavichord – the sound could be extended with the help of a trill. Performers on domra this task achieve with the help tremolo as one of the most common methods of playing the instrument. Tremolo on domra can be likened to treble vibrato. For the dombrist, the will to sound is consistent with the desire to extend each individual sound extracted by a pinch, and to include it in the melodic line. A violinist connects sounds with the help of a bow, in connection with which his instrument differs from a domra in articulation, a way of sound and sound. The nature of the violin contributes to greater continuity of intonation, while the domrist achieves a similar result, contrary to the nature of the instrument. When creating editions of violin works for four-string domra, one should speak about the memory of the first text (the violin original and its performance versions). After all, for the creator and performer of the editors of violin compositions for four-string domra, the first text acts as a source of sound images, ideas about the specifics of its timbre field and articulation, artistic expressiveness of strokes, which determines the specifics of communicative processes in this form of artistic practice. At the same time, the translation of the text is required, which requires the domrist-interpreter to connect editorial thinking and sound creation will. Conclusions. So, addressing the classics of the violin repertoire, the dоmrists are guided by the violin original in its graphic and sound projections. The domrists sound-making will is initiated by the desire to re-enter the original violin version, which is inextricably linked with the instruments nature – the conditions of sound formation, the specifics of its timbre and articulation, and the performing intonation. The main provisions of the publication can be used for further study of the revisions of violin works for four-string domra as an artistic phenomenon in the relationship of the three components: the text of the work – the nature of the instrument – the performer’s interpretation.
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Kostohryz, S. О. "Genre-style priorities for the development of composer’s work for the balalaika in Slobozhanska Ukraine." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 87–99. http://dx.doi.org/10.34064/khnum2-13.07.
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The article proposes analyze of the balalaika art and technical potential. The complex of texture- and register and timbreand phonic methods of suites performing, which represent the Ukrainian interpretation tradition of the genre, is determined. Instrumentalism principles and impacts in balalaika performance in the composer’s works of the twentieth century are revealed. Texture features of the works for balalaika suite genre are considered, the characteristics on the genesis stage of balalaika are marked: simplifi ed chord texture with narrow range, predominant two and three-voice texture in cantilena, minute passage technique with a small set of traditional rotations. Texture types of musical thematic presentment and the level of virtuosity of the stringed instruments in the sound formation are determined. The object of research is the professional performance on the balalaika. The subject of research is performing on balalaikas of Kharkiv as a component of Ukrainian musical art. In terms of instrumentalism as a type of thinking the method of sound production on the balalaika, dependent by the direct contact of the right hand fi ngers with a string, which is basic, creating countless bar, dynamic and timbral combinations, is revealed. In for balalaika M. Stetsun “With Balalaika in Spain” analyzed genre prototypes of the, that the impacts of the new romantic suite, characterized by a compound of stable (required) and free-variable cycle parts, based on the experience of the other genre forms of music-making, are immediately traced. Attention is paid to the unplugged (where violin takes the leading position), dynamic (where piano owns leading positions) and texture capabilities. Balalaika qualities are analyzed: limitation of natural acoustic properties requires texture mobility and frequent use of the tremolo; dynamic capabilities are also limited, as the result the “step” dynamics development is applied; texture possibilities are largely constrained by the range and technology. The principle of genre and stylistic synthesis, in which song and dance origins of national folklore and shaping structural logic borrowed from the experience of the Ukraine tradition are organically combined, is formulated. Multiple ties with folk traditions, which include: reliance on folklore themes and quotes; development techniques of the song thematic (inner thematic variation, imitation roll, undervoice polyphony, hidden two-voice texture); metro-rhythmic formula, coming from the dance genre; irregular accent, intended to the saturation of images with internal dynamics are revealed in the Concerto for balalaika and orchestra by A. Gaidenko. The use of styling techniques of playing folk music instruments in the balalaika party, which was used for the creation of a bright and deep national painted images typing, is specially emphasized. Overbalance of the lyrical narrative thematic invention, where folk type of the thematic invention makes to rearrange semantic accents in the genre interpretation, is identifi ed in “Variations on the Ukrainian Theme” by Gregory Tsitsalyuk. Improvisation, interpreted by the composer as a fi xed freedom, numerous brilliant colored soloist’s ritornels together with the main themes performing at the piano, broken chords, scale-wise passages – all marked methods indicate a high level of both externally-demonstrative and deep-semantic level of the music content. The arsenal of technical complexity methods of performing (articulation, strokes, complex elements), running on the disclosure of the musical work style; diversity of the texture design of musical thematic invention; genre and semantic specifi city (landscapes, personal experiences, household sketches, dance and song images), which is also connected with the balalaika specifi cs; and the dynamic profi le of musical drama cycle is detected. The idea of the historically formed specifi cs of textured and tonal articulation intoning on the balalaika in its academic status is adopted. Such levels of analysis like detection of existing texture and melodic formulas and connected with it fi ngering and articulation complex; timbre and texture and register variance confi rmed the instrumentalism genre specifi city. Articulation, timbre and texture technological formulas of balalaika performance, in terms of suite genre, which are universal from the point of view of the instrumental thinking specifi city, are found; their role in other genre and stylistic creativity conditions for balalaika are justifi ed. There are identifi ed such outlooks of research as the Concerto for balalaika and orchestra by P. Haydamakа, A. Gaidenko and the creation of a special “dictionary” as a system of typical historically selected texture and genre formulas. Piece, which reveal the balalaika evolution in the musical performing culture, served the basis for research. Current stylistic processes and their transformation in modern concert- and pedagogical practice were depicted in f piece for balalaika by G. Tsitsalyuk, P. Haydamakа, A. Gaidenko like in the mirror. Analyzed examples demonstrate the individual stylistic interpretation of genre, typical for the development of academic instrumentalism in the XX century. It was found, that art of balalaika performing infl uences the instrumental style of composing and keeps a memory of genre of composing and performing art in this sphere (methods of instrumental phonation and timbre- and phonic development).