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1
Žarskienė, Rūta. "The Sound of Trumpet will Stir the World and Raise the Dead: Prayers Accompanied by Brass Instruments in the Folk Piety Tradition." Tautosakos darbai 55 (June 25, 2018): 177–97. http://dx.doi.org/10.51554/td.2018.28504.
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The article focuses on a phenomenon that has so far evaded scholarly attention and research. Apparently, in Samogitia, where brass instruments still play at traditional Catholic or even Lutheran funerals and death anniversaries, participate in the Easter morning processions and the Catholic Church feasts (Lith. atlaidai), yet another practice of folk piety involving brass instruments is thriving: i.e. prayers at the graveside in summer time, during Catholic Church feasts and All Souls’ Day (more frequently still, All Saints’ Day). During her fieldwork of 2013–2017 in various parts of Mažeikiai and Skuodas districts, the author of the article gathered material on this folk piety practice in religious feasts of Saint Mary Magdalene, Saint Roch, and Saint Anne etc. taking place in Grūstė, Ylakiai, Židikai, Vaičaičiai and elsewhere. These feasts take place in cemeteries, while the Mass, their main sacral highlight, is performed in the cemetery chapel or in a nearby church. People gather to the feasts in order to visit the graves of their diseased and meet with their relatives, inviting brass musicians to perform the ritual at the graveside. The ritual comprises several parts: intention, the sign of the cross in the beginning and at the end, prayers (the Lord’s Prayer, the Hail Mary, and “Eternal Rest”), a stanza from a popular traditional religious hymn, which is both sung and played, the prayer “Eternal Rest”, which is both sung and played antiphonally this time, and traditional Catholic greeting (“Honor be to Jesus Christ”). These parts make up a slightly varying “scenario”, which usually takes 3 to 3,5 minutes to perform. The structure of ensembles (from 2 to 4 musicians), their age (from 12 to 83 years old), the actual instruments (trumpets, tuba, tenor, baritone, saxophone, etc.), and style of performance also vary. The self-educated musicians of the elder generation usually play in the traditional way, i.e. loudly, slowly and inaccurately. The younger generation representatives, usually having acquired some professional music education, have adopted more esthetic style of performance, using reduced volume and “intermediate” fragments to fill in the pauses. In 2017, the tendency was noted of forgoing prayers and including several stanzas of a particularly popular modern hymn instead of one. This would indicate an attempt at changing the tradition in order to adapt to the popular culture, or even belonging to it. In search for roots of this custom of folk piety, the author of the article employs the historical sources from the 17th–18th centuries. According to her analysis, the main point of the ritual – the prayer “Eternal Rest” – was actively used not only in the rituals of the 19th–20th century, but also as early as the Baroque period, while its origins may reach back to the medieval teachings on purgatory. The last line of this prayer (“May they rest in peace. Amen”) was used as a quiver prayer. The arrow as symbol was highly favored in Baroque heraldic, poetry, panegyrics; it used to be compared not only to prayer, but also to the loud and powerful sound of the brass instruments. The brass instruments acted as a concurrent accompaniment of both religious and secular festivals of the time, playing an important role both in the Roman Catholic and in the Evangelical Lutheran traditions. While seeking to clarify the reasons for trumpets being played at cemeteries and the meaning of this ritual, it appeared that in the Catholic Samogitia there still survives a belief in the trumpet accompanied prayer to have the power of alleviating the suffering of souls in the purgatory. People inviting the brass musicians to play at the graveside even in the modern times believe that such prayer goes straight to heaven and easily reaches the God.
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Battaner Moro, Elena. "A 19th-century speaking machine." Historiographia Linguistica 34, no. 1 (June 18, 2007): 19–36. http://dx.doi.org/10.1075/hl.34.1.03bat.
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Summary The Tecnefón is a speaking machine developed in Spain in the 1860s by Severino Pérez y Vázquez. Pérez’s main book on the Tecnefón was published in 1868. Within the context of speaking machines designed from the 18th century onwards, the Tecnefón is built on an acoustical basis; hence it is different from W. von Kempelen’s device, which tried to ‘replicate’ the phonatory system. The Tecnefón has three main parts: a drum that generates sound (the source), an air chamber to hold such sound, and a set of tubes, chambers, and other artefacts propelled by a keyboard. Pérez created a prototype of a speaking machine that performed five vowels and six consonants, so it could ‘speak’ many sentences in Spanish. To this he added accent and intonation with a lever. However, the Tecnefón was never finished due to institutional circumstances that prevented Pérez from pursuing his research.
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Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (March 1, 2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.
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Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
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Imhoff, Brian. "(MIS)Translating U.S. Southwest History." Romanian Journal of English Studies 10, no. 1 (March 1, 2013): 165–73. http://dx.doi.org/10.2478/rjes-2013-0014.
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Abstract Historians of the U.S. Southwest invariably rely on English-language translations of original Spanish documents for their interpretive work. However, a philological approach to the Spanish documents reveals all manner of translator shortcomings, some of which negatively impact the historical record. I document one such instance pertaining to the early history of Texas and argue that the failure to adhere to sound philological practice has produced an inaccurate historical canon. Data are taken from a Spanish expedition diary from the late 17th-century and from unpublished archival sources pertaining to it.
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Dinneen, Francis P. "A 17th-century account of Mohawk." Historiographia Linguistica 17, no. 1-2 (January 1, 1990): 67–85. http://dx.doi.org/10.1075/hl.17.1-2.07din.
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Summary Jacques Bruyas (c.l630-c.l701) left a set of notes on Mohawk in the late 1600s which were published in 1862. His account and work done on the language in the 20th century are compared. Where he fails to record all the sound-contrasts that are functional in the language and is unable to cope with allophones, modern workers may still disagree on how best to represent them. His lack of models for the description of a polysynthetic language, with a modest phonemic inventory, but complex morphophonemics, obscures morphemic boundaries. Bruyas had the reputation among contemporaries of being equally fluent in French and Mohawk, yet his notes fail to mention factors that are obviously frequent, complex and demanded for accurate communication. While the vocabulary in his account is perhaps better handled than in modern works, the selection is more guided by human interest than grammatical relevance.
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Berezin, Fedor Mixajlovič. "Mikołaj Kruszewski and 20th-century linguistics." History of Linguistics in Poland 25, no. 1-2 (January 1, 1998): 61–86. http://dx.doi.org/10.1075/hl.25.1-2.06ber.
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Summary The article deals with important issues in general linguistic theory discussed by Mikołaj Habdank Kruszewski alias Nikolaj Vjačeslavovič Kruševskij (1851–1887), in the author’s view an unjustly forgotten linguist of genius of the late 19th century, who could be seen as standing at the roots of the 20th-century structuralism, long before the appearance of F. de Saussure’s lectures on general linguistics. In his major book O čerk nauki o jazyke (An outline of the science of language) of 1883, Kruszewski conceived of language as a system of signs, laying stress on the semiotic function of language. His understanding of sound alternation is in many ways close to modern principles of phonology and morphonology. His hypothesis of the universal character of the sound laws too anticipated the discovery of language universals. As a result, the author agrees with Radwańska-Williams’ (1993) characterization of Kruszewski’s theory as ‘a lost paradigm’ in the history of linguistics. Well-known linguists of the 20th century such as Roman Jakobson (1896–1982), Jerzy Kuryłowicz (1895–1978) , and others rightly argued that Kruszewski was one of the founders of modern linguistic theory.
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Stankievech, Charles. "From Stethoscopes to Headphones: An Acoustic Spatialization of Subjectivity." Leonardo Music Journal 17 (December 2007): 55–59. http://dx.doi.org/10.1162/lmj.2007.17.55.
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Working from a phenomenological position, the author investigates “in-head” acoustic localization in the context of the historical development of modern listening. Starting from the development of the stethoscope in the early 19th century, he traces novel techniques for generating space within the body and extrapolates from them into contemporary uses of headphones in sound art. The first half of the essay explores the history, techniques and technology of “in-head” acoustics; the second half presents three sound artists who creatively generate headphone spatializations. The essay ends with reflections on how these sound “imaging” techniques topologically shape our subjectivities.
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TCHAROS, STEFANIE. "The Serenata in Early 18th––Century Rome: Sight, Sound, Ritual, and the Signification of Meaning." Journal of Musicology 23, no. 4 (2006): 528–68. http://dx.doi.org/10.1525/jm.2006.23.4.528.
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ABSTRACT By the turn of the 18th century serenatas performed in Rome's urban squares as political or dynastic propaganda were a well-established ritual. In this public forum the effect of sound produced by large instrumental forces was a central feature, yet the serenata was a complex performance in which music was but one element in a series of other displays. Though undoubtedly an important part of the serenata, music's role in this multifaceted performance and its effect on audiences remain unclear. Part of that ambiguity stems from the serenata's ability to service both public and private consumption. Patrons exploited this dual nature, using the more spectacular elements of the serenata to influence the public at large, while also relying on other elements (primarily word and sound) to sway elite audiences. In the context of Rome and its dynastic politics, Giacomo Buonaccorsi's and Pietro Paolo Bencini's serenata Le gare festive in applauso alla Real Casa di Francia (1704) demonstrates how the serenata's dichotomous structures and multiplicity of meaning were deeply linked to larger cultural frameworks and social tensions——in this case, brewing over the War of Spanish Succession. The serenata was both a musical work and a performed event effectively shaped by the genre's ritual practice and by history and politics in late 17th- and early 18th-century Rome. The logic of the serenata's ritual practice shows significant correspondences to the genre's narrative strategies. Within the serenata, allegory served as the catalyst to express layers of meaning to diverse audiences. But more than that, allegory provided the means by which music was contained and its delivery marked. For public audiences, sound was as much visual as it was aural, an immediate and palpable special effect. For privileged listeners, music required reflection as to how spectacular effects acquired deeper meaning when anchored in the significance of the poetic text. Thus music in the serenata was not merely an element in a multifaceted performance but was multidimensional in itself, uniquely straddling both sides of the public/private divide.
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Stanisławska, Dorota. "The history of Polish viola literature – the 19th and 20th centuries." Notes Muzyczny 2, no. 16 (December 30, 2021): 101–16. http://dx.doi.org/10.5604/01.3001.0015.5493.
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After the Romanticism era, when virtuoso music was dominated by the violin, cello and piano, there was a noticeable tendency among composers to search for new and fresh sound inspired by instruments previously functioning mainly in an orchestra. One of the instruments which acquired a new glory back then was the viola. Even though Western European literature earned a permanent place in the repertoire of violists worldwide, Polish pieces representing this genre are lesser-known and performed not as often, except for a few compositions. The library of Polish 20th century viola works is quite rich, but many compositions did not stand the test of time and we would look for them in vain within the performance canon; others were not published in print or recorded, and their manuscripts are owned by private collections. Some autographs of compositions have gone missing and only their titles have been preserved to this day. The present article is an attempt to systematise the state of knowledge about Polish viola compositions written before the end of the 20th century.
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Ivanov, A. V. "For Never Was a Mazier Mystery Than That of Phoneme and Its History." Nauchnyi dialog 11, no. 6 (August 30, 2022): 9–29. http://dx.doi.org/10.24224/2227-12952022-11-6-9-29.
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The aim of the research is to study and systematize etymological, historical-linguistic and historiographic information about the terms fonema / phoneme / Phonem based on the results of the analysis of Russian, English and German theoretical and lexicographic sources published in the 19th—20th centuries. Sources in French are used where necessary. The methods of historical-linguistic, historiographical, definitional, etymological, semantic and lexicographical analysis are used in the study. It has been established that in the ancient Greek language, which is the source of the origin of the word φώνημα, the latter was used in two general meanings: (1) ‘voice, sound’, (2) ‘word, speech’. In the second half of the 19th century, in the new European languages, the word underwent adaptation, subsequent semantic rethinking and acquired a terminological status. The term phonème was first used by the French amateur linguist A. Dufriche-Desgenettes in 1861 in the generalized phonetic meaning ‘sound’. In the phonological sense, this term is found by F. de Saussure in 1879. The term fonema (phoneme) was introduced into Russian linguistic terminology in 1880 by N. V. Krushevsky and, starting from 1881, was widely used in the works of I. A. Baudouin de Courtenay, V. M. Dobrovsky and others. The first use of the English term phoneme in the meaning of ‘sound’ should presumably be attributed to 1914, and not to 1894, as evidenced by English lexicographical sources. In a highly specialized (phonological) sense, the term was fixed in English linguistic terminology already in 1919, when the corresponding word usage was recorded in the work of G. Perera and D. Jones. In the vocabulary of the German language, the term Phonem in the meaning of ‘sound’ appeared in 1855 thanks to the Bulgarian philosopher P. Beron. In a similar sense, the desired term is found in 1875 by E. Boehmer. In its phonological meaning, the German term Phonem occurs for the first time in the works of I. A. Baudouin de Courtenay in 1895.
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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 2 – The making of stringed keyboard instruments in the 18th century." Notes Muzyczny 2, no. 10 (December 20, 2018): 25–44. http://dx.doi.org/10.5604/01.3001.0012.9811.
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The article is the continuation of the cycle of texts devoted to hammer mechanism instruments from the 18th century, which was initiated in the previous issue of the magazine “Notes Muzyczny”. This instalment presents an overview of the phenomena related to keyboard instrument making in the described period – classification of instruments in terms of terminology, structure and sound (cf. classification of instruments in table 1). A general tendency of the development of keyboard instruments in the 18th century seems to be the search for original construction-related solutions of individual instrument makers, assuming, however, that there was a paramount pursuit of expanding expressive capacities. A greater diversification of sound was an answer to the changing musical language of the galant and Empfindsamkeit styles, which were aimed at touching audiences, referring to their sensitivity and not just their intellect. Subsequent subchapters present a review of the most important inventions of that vivid period. A special emphasis was placed on new forms of instruments, some of which only became part of history as experiments – unfinished projects or singular copies – whereas others functioned in the musical life of the 18th century for a longer time. The described instruments are, respectively: Hebenstreit’s pantalon, French hammer mechanism projects by Jean Marius, tangent pianos, instruments for home use – table pianos and other miniature forms, and also the development of the Vienna-type mechanism as presented by the instrument maker Andreas Stein, and hybrid instruments combining different types of mechanisms in one body.
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Wang, Yuteng. "Planimeter: A Magical Tool to Calculate Area." Highlights in Science, Engineering and Technology 15 (November 26, 2022): 245–51. http://dx.doi.org/10.54097/hset.v15i.2641.
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It might sound unbelievable that a specific combination of rods and wheels can be used to calculate the area of any closed curve, especially after hearing that it was invented in the 19th century. The magical tool is called planimeter and it achieves high accuracy in measuring an area by merely tracing around its boundary once using the tracer. The planimeter’s advent has brought immeasurable convenience in surveying and measuring. This article introduces the main versions of it, including its history, mechanics, and the working principle.
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Poortvliet, Marjolein. "The grammaticalization of Dutch klinken." Rise and Development of Evidential and Epistemic Markers 7, no. 1-2 (November 23, 2017): 190–212. http://dx.doi.org/10.1075/jhl.7.1-2.08poo.
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Abstract This article demonstrates the diachronic development of present-day Dutch klinken as an evidential copular verb meaning ‘to seem, based on (auditory) evidence’ from the Middle Dutch intransitive verb klinken meaning ‘to give off a clear sound’. I identify four semantic stages in the history of klinken, which are divided by processes of semantic bleaching (14th–16th century, 16th–17th century) and subjectification and copularization (during the 16th century). I claim that the process of copularization is the trigger of both the evidential meaning and the subjective interpretation that copular constructions with klinken receive. Furthermore, I show that, unlike the development of eruitzien ‘look’ and voelen ‘feel’ from cognitive perception verbs, klinken has developed much like the Dutch copular verbs schijnen ‘seem’ and blijken ‘turn out’: from an intransitive verb with a sensory-related meaning.
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Isermann, Michael. "Letters, Sounds and Things: Orthography, phonetics and metaphysics in Wilkins’sEssay(1668)." Historiographia Linguistica International Journal for the History of the Language Sciences 34, no. 2-3 (2007): 213–56. http://dx.doi.org/10.1075/hl.34.2-3.03ise.
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For a long time, and well beyond the publication of John Wilkins’sEssay Towards a Real Character(1668), a latent tension characterised the orthographic tradition. It was caused by two incompatible principles whose problematic relationship had never been addressed. One is the idea of the logical, chronological and semiotic primacy of speech over writing, or of sound over character, a principle which lives on in modern linguistics. The other is the doctrine of an abstract unity of sound/potestasand character/figurain the letter/littera, an axiom that appears to have been abandoned only with the emancipation of modern phonetics from its former orthographic frame of reference. With the advent of the real-character movement in the 17th century, a way was suddenly opened up for the problematic issue to be discussed and resolved. Since a real, i.e., non-sound-related, character implied at least a non-priority of speech over writing — if not a priority of writing —, the first principle could be reformulated so as to be made consonant with the idea of an abstractlittera. This paper tries to bring out Wilkins’s sophisticated discussion of thelittera, his attempt to localise the abstract unity of sound and character in the configuration of the articulatory organs, as well as the utilisation of hislitteraconcept for his design of a real character of sounds. In a parallel line of argument, it is claimed that Wilkins’s orthography, or doctrine of letters, forms the conceptual equivalent to his metaphysics, or science of things. More than that, the two disciplines are so interlocked that things and letters can be seen to converge in letter-things, or thing-letters.
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Isermann, Michael M. "Letters, sounds and things." Historiographia Linguistica 34, no. 2-3 (November 13, 2007): 213–56. http://dx.doi.org/10.1075/hl.34.2.03ise.
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Summary For a long time, and well beyond the publication of John Wilkins’s Essay Towards a Real Character (1668), a latent tension characterised the orthographic tradition. It was caused by two incompatible principles whose problematic relationship had never been addressed. One is the idea of the logical, chronological and semiotic primacy of speech over writing, or of sound over character, a principle which lives on in modern linguistics. The other is the doctrine of an abstract unity of sound/potestas and character/figura in the letter/littera, an axiom that appears to have been abandoned only with the emancipation of modern phonetics from its former orthographic frame of reference. With the advent of the real-character movement in the 17th century, a way was suddenly opened up for the problematic issue to be discussed and resolved. Since a real, i.e., non-sound-related, character implied at least a non-priority of speech over writing — if not a priority of writing —, the first principle could be reformulated so as to be made consonant with the idea of an abstract littera. This paper tries to bring out Wilkins’s sophisticated discussion of the littera, his attempt to localise the abstract unity of sound and character in the configuration of the articulatory organs, as well as the utilisation of his littera concept for his design of a real character of sounds. In a parallel line of argument, it is claimed that Wilkins’s orthography, or doctrine of letters, forms the conceptual equivalent to his metaphysics, or science of things. More than that, the two disciplines are so interlocked that things and letters can be seen to converge in letter-things, or thing-letters.
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Phan, John D. "Sesquisyllabicity, Chữ Nôm, and the Early Modern embrace of vernacular writing in Vietnam." Journal of Chinese Writing Systems 4, no. 3 (September 2020): 169–82. http://dx.doi.org/10.1177/2513850220937355.
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In East Asia, the relationship between script and language is determined to a great extent by the typological character of the languages involved. This is particularly so because sinographic writing generally relies on the syllable as the smallest unit of sound expressible. However, many languages that have adapted Sinitic writing throughout history display complex syllable structure not easily expressible by the monosyllabically inclined sinograph. Moreover, some languages have even displayed changing syllable structure throughout documented history. This article examines the so-called “monosyllabicization” of the Vietnamese language, and its impact on the history of the sinographic vernacular script known as Chữ Nôm. I argue that by the 17th century, the emergent monosyllabic character of Vietnamese was remarked upon by elites as a new justification for embracing vernacular writing, previously considered uncouth.
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Joest, Christoph. "Die sog. “Règlements” als Werk des Pachomianers Horsiese († nach 386)." Vigiliae Christianae 63, no. 5 (2009): 480–92. http://dx.doi.org/10.1163/157007209x410996.
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AbstractSince Jerome's Latin translation of the monastic rules attributed to Pachomius (287-347) these have never vanished from the memory and the tradition of Western monasticism. This contrasts strongly with a cluster of rules written in Coptic. These were not published until the 19th century, and in accordance with the edition of Louis-Théophile Lefort they are usually called the 'règlements' (regulations) of Horsiese. This attribution has, however, been questioned. The present article aims to offer a sound basis for the view that Horsiese is indeed the author of these rules.
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Pompino-Marschall, Bernd. "Von Kempelen et al.: remarks on the history of articulatory-acoustic modelling." ZAS Papers in Linguistics 40 (January 1, 2005): 145–59. http://dx.doi.org/10.21248/zaspil.40.2005.263.
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The contribution of von Kempelen's "Mechanism of Speech" to the 'phonetic sciences' will be analyzed with respect to his theoretical reasoning on speech and speech production on the one hand and on the other in connection with his practical insights during his struggle in constructing a speaking machine. Whereas in his theoretical considerations von Kempelen's view is focussed on the natural functioning of the speech organs – cf. his membraneous glottis model – in constructing his speaking machine he clearly orientates himself towards the auditory result – cf. the bag pipe model for the sound generator used for the speaking machine instead. Concerning vowel production his theoretical description remains questionable, but his practical insight that vowels and speech sounds in general are only perceived correctly in connection with their surrounding sounds – i.e. the discovery of coarticulation – is clearly a milestone in the development of the phonetic sciences: He therefore dispenses with the Kratzenstein tubes, although they might have been based on more thorough acoustic modelling.
Finally, von Kempelen's model of speech production will be discussed in relation to the discussion of the acoustic nature of vowels afterwards [Willis and Wheatstone as well as von Helmholtz and Hermann in the 19th century and Stumpf, Chiba & Kajiyama as well as Fant and Ungeheuer in the 20th century].
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Sutulova, Nataliia. "Piano sound phenomenon in English-language scientific discourse." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 24–39. http://dx.doi.org/10.34064/khnum2-27.02.
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Statement of the problem. The process of achieving an aesthetically appealing and artistically true piano sound has long been a subject of research for musicians. In recent decades, domestic performance practice has relied on this issue mostly on the professional literature created back in the Soviet period. But the process of integrating Ukrainian musical education and performance into the European and world cultural space requires the study of alternative sources, primarily English-language ones, that reflect the experience of performers in different countries of the world, as well as correlations and the introduction of relevant terminology into scientific and practical circulation. Analyzing recent publications, we established that the phenomenon of the piano in general and piano sound in particular is considered from different points in the works of J. Parakilas (2000), E. Hiebert (2013), V. Raad (1977), G. Fitch (2016a,b; 2022), Shen Li and R. Timmers (2021), M. Keane (2013), Chuan C. Chang (2009), I. Masters (2021), and others. The purpose of this article was to study the approaches to the phenomenon of piano sound available in the English-language scientific literature. For the first time, a number of Englishlanguage sources dedicated to the phenomenon of piano sound have been included in domestic scientific circulation. Systematic and comparative methods, as well as terminological analysis used in the study, made it possible to distinguish different contexts, in which the phenomenon of piano sound is presented in scientific discourse: performance-practical, psychological, historical, organological (due to the structural features of the instruments). Research results. One of the approaches to the study of the piano sound phenomenon is the study of the history of the piano, its place in European culture and its social functions, as in the work of J. Parakilas (2000), where the author describes the history of the functioning of the piano during the 18th–20th centuries. The sound of the piano in the historical, stylistic and organological contexts is considered by I. Masters (2021), who investigated the structural and sound features of the London and Viennese pianos (second half of the 18th century) and their influence on the specifics of the piano texture, structure of themes, articulation and stroke palette of the works of pianists and composers of the London and Vienna schools. A purely performance and practical perspective is found in Chuan C. Chang’s book (2009), which covers most aspects of piano playing. Another example of a purely practical approach to the study of piano sound is the articles by G. Fitch (2016a,b; 2022), where he considers the process of creating an aesthetically pleasing sound. Another perspective on piano sound and playing is interdisciplinary, where musicology interacts with acoustics, psychology, and physiology (Keane, 2013; Li, & Timmers, 2021). Conclusions. A review of professional sources shows that the piano sound in the modern English-language scientific discourse is considered as a complex multifaceted phenomenon. The main and special concepts describing the sound of the piano are “tone”, “voicing”, “layering”. The first two terms have an ambiguous interpretation: some authors understand the quality of the instrument’s sound as the result of the performer’s actions, others as a certain manner of playing, and others as, first of all, the character of the sound determined by the design and technical condition of the instrument.
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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (March 1, 2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.
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Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.
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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.
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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Fuentealba, Alvaro, Leonardo Duran, and Narkis S. Morales. "The impact of forest science in Chile: history, contribution, and challenges." Canadian Journal of Forest Research 51, no. 6 (June 2021): 753–65. http://dx.doi.org/10.1139/cjfr-2020-0471.
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In this article we describe Chile’s transition from an agriculture productive model that originated in the 19th century into a more complex economic model that incorporates forest production, explaining the role of forest sciences in this process. Forest science has made great contributions to the country, especially in terms of improving forestation and forest management techniques that have allowed the rapid expansion of the forestry industry and prevented soil erosion on degraded lands. However, native forests have been neglected and vast areas of forest have been replaced with exotic plantations. This process has highlighted the imperative need for developing a new productive model to ensure not only a fair distribution of wealth but also the use of science-based sustainable forest management practices to protect native forest ecosystems nationwide. A national strategic plan for managing, conserving, and restoring native forests is needed not only to align the forest industry with sustainable development but also to develop sound climate change strategies to achieve the country’s goal of becoming carbon neutral by 2050. Under this scenario forest science can play an important role by producing much needed evidence-based knowledge.
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Guseinova, Zivar M. "The Theoretical Codex of the Mid-17th Century as a Phenomenon of Church-Singing Art." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 589–606. http://dx.doi.org/10.21638/spbu15.2021.402.
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The first musical-theoretical manuals of ancient Russia appeared in the 15th century. They were rather small in volume and contained information that was predominantly educational. The changes that were taking place in the singing system over several centuries were reflected in new types of manuals, conveying the peculiarities of the singing art (znamenny chant) of the time. By the middle of the 17th century, the codices began to occupy a significant place in manuscripts, which contained monuments of Russian liturgical singing. They were large-scale consolidated documents, including a selection of relatively independent musical-theoretical manuals, each of which revealed a separate aspect in the theory of znamenny chant, carried out according to special musical signs — kriuki (hooks). The tradition of handwritten copying of documents contributed to the fact that each type of theoretical manual was simultaneously in many copies that never matched the text with absolute accuracy and always contained discrepancies. The codex, analysed in this article, in the mid-17th century manuscript of V. F. Odoevsky’s Collection No. 1, which is kept in the Russian State Library, is a set of numerous copies of different theoretical manuals that were formatted by that time. These are the notable azbuka (ABC) that explain individual neums; kokizniki and fitniki, expounding upon the principles of formula singing; manuals that reveal the sound-naming system, as well as a meaningful layer of author’s comments that interpret and generalizing material for educational purposes.
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Bergès, Sandrine. "What’s it got to do with the price of bread? Condorcet and Grouchy on freedom and unreasonable laws in commerce." European Journal of Political Theory 17, no. 4 (June 17, 2018): 432–48. http://dx.doi.org/10.1177/1474885118782391.
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István Hont identified a point in the history of political thought at which republicanism and commercialism became separated. According to Hont, Emmanuel Sieyès proposed that a monarchical republic should be formed. By contrast the Jacobins, in favour of a republic led by the people, rejected not only Sieyès’s political proposal, but also the economic ideology that went with it. Sieyès was in favour of a commercial republic; the Jacobins were not. This was, according to Hont, a defining moment in the history of political thought. In this article, I offer a different analysis of that particular moment in the history of the commercial republic, one that instead of focusing on Sieyès and the Jacobins, looks at the thought of Girondins philosophers Nicolas de Condorcet and Sophie de Grouchy. I argue that their arguments provide sound models for a commercial republic, reconciling late 18th century republican ideals in which virtue was central, with the need for a flourishing and internationally active market economy.
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Edwards, Jay D. "Long Distance Implantation of Vernacular Architecture Traditions: The Canadians in Early Louisiana." Material Culture Review 88-89 (December 9, 2020): 45–78. http://dx.doi.org/10.7202/1073852ar.
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This study explores the architectural contributions of Canadians to Louisiana in the 18th century. One of the most revealing arenas in American architectural history concerns the origins of new vernacular traditions in locations being settled for the first time by Europeans. Between the late 15th and 18th centuries, many settlement experiments occurred along the coastlines of the Atlantic. Yet the dearth of reliable documentation from the earliest years of colonial establishment renders elusive a sound understanding of the factors which shaped these foundational architectural transformations. The result: a loss of understanding of the very essence of our American vernacular traditions. This study examines one such case for which a relative abundance of documentation survives—the Canadians in Louisiana. It traces the architectural transformations that materialized when Canadians attempted to found a new colony on the Mississippi Gulf Coast and the lower Mississippi River Valley, beginning in 1699.
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Kilarski, Marcin, and Katarzyna Dziubalska-Kołaczyk. "On extremes in linguistic complexity." Historiographia Linguistica 39, no. 2-3 (November 23, 2012): 279–303. http://dx.doi.org/10.1075/hl.39.2-3.05kil.
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Summary This article examines common motifs in the accounts of the sound systems of Iroquoian, Polynesian and Khoesan languages as the most well-known cases of extremes in phonetic complexity. On the basis of examples from European and American scholarship between the 17th and early 20th century, we investigate continuities in the description of their seemingly ‘exotic’ inventories and phonotactic structures when viewed from the perspective of European languages. We also demonstrate the influence of phonetic accounts on the interpretation of other components of language and their role in the construction of biased images of the languages and their speakers. Finally, we show that controversies in descriptions of ‘exotic’ languages concern issues that remain relevant in modern phonetic research, in particular complexity of phonological systems, while notions which were conceived as ‘misconceptions’ have re-emerged as unresolved research questions, e.g., the status of clicks and small and large consonant inventories.
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Lehning, J. R. "Village Bells: Sound & Meaning in the 19th-Century French Countryside. By Alain Corbin (New York: Columbia University Press, 1998. xx plus 416pp. $35.00)." Journal of Social History 33, no. 4 (June 1, 2000): 967–68. http://dx.doi.org/10.1353/jsh.2000.0071.
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Usatenko, Tamara, Galyna Usatenko, and Myroslava Marushchenko. "«GRAMMAR» OF PANTELEIMON KULISH IN THE CONTEXT OF UKRAINIAN WRITING." Almanac of Ukrainian Studies, no. 25 (2019): 120–27. http://dx.doi.org/10.17721/2520-2626/2019.25.19.
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The article is devoted to the defining of the phenomena of Ukrainian cultural movement of the 19th century, when under conditions of comprehensive Russification of the Ukrainian community and the influence of the Church Slavonic language as well as of complete lack of education in the native language, the processes of creation of the Ukrainian literary language took place. The new Ukrainian spelling was established, the struggle for teaching in schools in the Ukrainian language was intensified, various styles, and lot of genres of literature in the native language were developed. These searches and comprehension by advanced representatives of political, cultural and social life are considered. It is determined that the spirit of romanticism, European revolutions, the abolition of serfdom, scientific and industrial shifts gave birth to a galaxy of unique Ukrainian thinkers, scientific societies, writers, etc. Among them, Panteleimon Oleksandrovich Kulish (1819-1997) was a significant person due to his energy, ability to organize a business, multifaceted talent, profound knowledge. One of the resonance works of the diverse creative heritage P.O. Kulisha is studied in the article, that is a book for initial education in native language − the "Grammar" of the Ukrainian language, which was highly appreciated by T. Shevchenko. Its structure, the content of each part, the pedagogical role as well as the concept of the author, manifested in its preface and the final part were described. The study emphasizes that in the processes of creating a new literary Ukrainian language, its spelling, writing textbooks, grammars in Ukrainian for initials education, two periods are noticeable: the first one – the 20-30th years of the 19th century, when the problems of the necessity of a new literary language arose, the new literature, preservation of the ethnographic, folklore heritage of the people, the second one – the 40-60th-years was the period of active participation of a new generation of Ukrainian thinkers in the development of the Ukrainian literary language, the creation of new spelling, new literature for primary education in native Ukrainian language. The role of "Grammar" in the formation of a new Ukrainian literary language and its phonetic spelling, in the formation of education in the Ukrainian language, the creation of textbooks in the Ukrainian literary language, and the development of Ukrainian writing are underlined. The emphasis was also put on the introduction of the author's, phonetic spelling, the so-called "Kulishivka" in the "Grammar", which is the basis of the modern Ukrainian spelling. Despite the prohibition of "Valuevsky (1863)" and "Yamsky (1876)" decrees, books and newspapers, although very limited were published in Ukrainian. The article also highlights the following discourses: the role of "Grammar" wrote by P. Kulish (the theory and practice of creating a Ukrainian literary language, the new Ukrainian spelling, which caused the intensification of imperial repressions) and its contemporary significance for the new Ukrainian space of ideas, meanings, communication, methods of publications in the Ukrainian language, as well as some grammatical factors of the theory or history of writing: the language of sound - the language of the book: thinking - writing, writing - thinking; sound - letter, letter - sound; "science of reading" - writing, etc. Comparison of discourses contributes to the conclusion that the development of the living language, sound of language during writing has been improved so complex and multifaceted in the 19th century that passed later in the 20th century, and even in the 21st century remain controversial, as evidenced by the lengthy discussion of the “Project of the New Ukrainian spelling”.
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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.
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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.
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Chen, Chih Ho, and Sheng-Min Hsieh. "The Research of Aesthetics of Type as Image in Motion-Targeting Video Poetics at Type Motion: Type as Image in Motion Exhibition in Taiwan." Advances in Social Sciences Research Journal 7, no. 6 (June 22, 2020): 190–207. http://dx.doi.org/10.14738/assrj.76.8387.
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Characters are signs and symbols that record our thoughts and feelings and allow the documentation of events and history. Later, the appearance of motion images marked a new milestone in the use and application of characters. Not only were the original function of characters improved and enhanced, text that integrate sound and images are also able to communicate much more diverse and abundant information. This technique is commonly found in cinema, television, advertisement, and animation. Thanks to technological advances, the combination of characters, texts, or types and images once again changed how we read. It has also created new meaning for our time. Today, type image seems to have achieved an aesthetic autonomy of their own. This has a profound impact on image and art creation and human communication.
The emergence of cinema art in the late 19th century brought motion into written media and greatly expanded the possibilities of art. In today’s world of instant communication media, text and images face unprecedented changes. Chinese characters are one of the most ancient writing systems in human history. Unlike western alphabet, each Chinese character has its own form, sound, and meaning. Chinese characters are a highly figurative cultural element. This essay takes Chinese characters and the works featured in the concrete poetry/sound poetry and fragment poetry categories in the National Taiwan Museum of Fine Arts “Type Motion: Type as Image in Motion” exhibition as the subject of study to examine the history of text and media and changes in the way we deliver information and communicate. This essay also provides an analysis of the relationship between text and motion image and the interdependency between culture and technology and media. The connections and differences between Chinese characters in different time and space is also investigated to highlight the uniqueness of the characters as a medium, its application in motion writing techniques and aesthetic forms.
This essay focuses on the following four topics:
Artistic expression and styles related to the development of type as image in motion.
Video poetics: the association between poetics and video images, poetic framework, and analysis of film poetry.
Structure, format, characteristics, and presentation of meaning in concrete poetry/sound poetry, and fragment poetry.
how Chinese characters are used in Taiwan and the aesthetic features of type through the exhibited works.
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Pepenene, Limakatso, and Ntsele Radebe. "Retelling the history of Lesotho : an interplay between orality, painting and film in Kalosi Ramakhula’s works." Issue 1 1, no. 1 (June 12, 2018): 75–87. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a5.
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Kalosi Ramakhula is the producer of Moshoeshoe: The Mountain King Volumes 1, 2 and 3, a series of videofilms which narrate the history of Lesotho in the 19th century. His production emerges as a rewriting of history in a context where historical documentation is predominantly authored by historians and ethnographers who complement their research through oral resources. Ramakhula uses a unique approach which incorporates visual art by way of historical paintings created to accomplish a coherent mixture with the established print, sound and vision media of documentary cinema. He collaborates with contemporary Basotho artists commissioned to produce elaborate naturalistic paintings of historical significant characters, sites, events and social practices of the period being depicted. Through an exploration of the concepts of multimodality and intermediality, the article uses a semiotic analysis of selected paintings to examine the multiple layers of potential meanings communicated by the film-maker. We argue that Ramakhula’s retelling strategy explicitly creates a link with the experience of nation building in the past and the present. The paintings are a significantly expressive form of media in this regard, creating a consciousness of Bosotho-ness as the one concept that in principle remains constant despite transformation over the centuries. Ramakhula’s work is seen therefore, as having the potential to create space for negotiations around contemporary debates on nation building in Lesotho.
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Rudy, Jarrett, Magda Fahrni, and Nicolas Kenny. "Railways and the Urban Soundscape: Montreal, 1850s–1950s." Urban History Review 49, no. 2 (February 1, 2022): 217–40. http://dx.doi.org/10.3138/uhr-2020-0006.
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Recent work on the history of railways has focused on the ways in which they changed the experience of space. Studies of urban settings have examined the role of railway tracks in delineating and reaffirming identities of class and ethnicity; they have also looked at the housing and neighborhoods that grew up around railway yards. This article contributes to the literature on railways and urban space by exploring the meanings of train sounds, in particular those produced by bells and steam whistles, in Montreal. The sounds made by trains were among the loudest to arrive in the 19th-century world, and had a particularly dramatic impact upon urban areas. Train whistles and bells had diverse meanings, depending on the precise moment and place at which they were sounded, the duration of the sound, and who was listening. These meanings were integrated into various forms of urban knowledge, and constituted one element of what historian David Garrioch calls “a semiotic system,” part of a larger “urban information system.” This article explores the confrontation between two interpretations of the sounds made by train bells and steam whistles in the region of Montreal between 1850 and 1950, namely, the conflicts between those who saw bells and whistles as elements of a language of safety for railway workers and city dwellers, on the one hand, and, on the other, those who increasingly viewed them as an unwelcome source of urban noise.
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Lazer-Pankiv, Olesia, and Ioan Zalevskyi. "ON THE HISTORY AND MODERN CONDITION OF THE ERASMIAN PRONUNCIATION OF ANCIENT GREEK." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 30 (2021): 39–41. http://dx.doi.org/10.17721/1728-2659.2021.30.10.
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The article presents the results of a study of some aspects of the formation and use of Erasmian pronunciation of the Ancient Greek language (in particular, the vagueness of the concept, lack of standardization and certain linguistic inconsistencies), based on analysis of the original work of Erasmus of Rotterdam "Dē rēctā latīnī graecīque sermōnis prōnūntiātiōne dialogus" and works devoted to the analysis of Ancient Greek pronunciation and the history of the Greek language in general. Attention is paid to the non grata status that Erasmian pronunciation has in Greece, as well as to alternative views on the origins of the mentioned work of Erasmus, to which, from the 16th century to the present day, opponents of both the Erasmian pronunciation and the reconstructed systems in general refer. Some important facts from the history of Erasmian pronunciation are outlined, in particular that Erasmus was not the pioneer in the search for the "true" pronunciation of Classical Greek (a Spanish humanist Antonio de Nebrija researched this issue at least a quarter of a century before the publication of Erasmus's work); in writing the Dialogue, Erasmus relied on the work of his predecessors, with whom he was maintaining friendly communication; Erasmus's work was not a clear enough proposal for a new reformed system, and the scholar himself continued to use the Byzantine pronunciation and recognized its status. The article gives examples of some differences between variants of Erasmian pronunciation. It is concluded that the Erasmian pronunciation from its inception was not a clearly defined system, and, despite the revolutionary and impressive breakthrough of this linguistic initiative, had some errors, which were compensated by later attempts in the Ancient Greek pronunciation reconstruction in the 19th–21st centuries. It is suggested that, given the significant non-uniformity of present-day Erasmian pronunciation variants (which sometimes leads to complications in international communication between specialists), it is advisable to use, or at least be familiar with modern, more clearly defined and scientifically sound reconstructions, and / or Modern Greek pronunciation which is especially important for rapport with Greek colleagues in classical studies.
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Berge, Anna. "Re-evaluating the reconstruction of Proto-Eskimo-Aleut." Journal of Historical Linguistics 8, no. 2 (December 27, 2018): 230–72. http://dx.doi.org/10.1075/jhl.17017.ber.
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Abstract The relationship between Unangam Tunuu (Aleut) and Eskimo was established in the early 19th century, and the 20th century especially saw a number of efforts on the reconstruction of Proto-Eskimo-Aleut (PEA). Reconstruction has supported assumptions of a largely genealogical relationship between the EA languages, assumptions which include a long history of independent development in isolation from other languages and language families. The reconstruction of PEA, however, is incomplete; many apparent cognates have irregular or imperfectly understood sound correspondences. Furthermore, advances in archaeology and genetics have called into question many assumptions about EA prehistory and about the isolation or lack thereof of Unangam Tunuu. In this study, I re-examine the proposed cognates and evaluate them based on the strength of their correspondences and their distribution within the lexicon, with reference to new findings regarding technological innovations and periods of cultural contact. Several patterns emerge, including a large group of proposed cognates with overly-specific semantic correlations relating to technologies or cultural practices post-dating the split of EA languages, a gender-based difference in the number of cognates relating to cultural activities, and a correlation between known borrowings and high levels of cognates in certain semantic domains. Results suggest extensive language contact, especially in the past millennium.
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Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.
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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.
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Vasic, Aleksandar. "The beginnings of Serbian music historiography: Serbian music periodicals between the world wars." Muzikologija, no. 12 (2012): 143–64. http://dx.doi.org/10.2298/muz120227007v.
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The transition of the 19th into the 20th century in Serbian music history was a period of music criticism, journalism and essay writing. At that time, Serbian musicology had not yet been developed as an academic discipline. After WWI there were many more academic writings on this subject; therefore, the interwar period represents the beginning of Serbian music historiography. This paper analyses Serbian interwar music magazines as source material for the history of Serbian musicology. The following music magazines were published in Belgrade at the time: Muzicki glasnik (Music Herald, 1922), Muzika (Music, 1928-1929), Glasnik Muzickog drustva ?Stankovic? (Stankovic Music Society Herald, 1928-1934, 1938-1941; from January 1931. known as Muzicki glasnik /Music Herald/), Zvuk ( Sound, 1932-1936), Vesnik Juznoslovesnkog pevackog saveza (The South Slav Singing Union Courier, 1935-1936, 1938), Slavenska muzika ( Slavonic Music, 1939-1941), and Revija muzike (The Music Review, 1940). A great number of historical studies and writings on Serbian music were published in the interwar periodicals. A significant contribution was made above all to the study of Serbian musicians? biographies and bibliographies of the 19th century. Vladimir R. Djordjevic published several short biographies in Muzicki glasnik (1922) in an article called Ogled biografskog recnika srpskih muzicara (An Introduction to Serbian Musicians? Biographies). Writers on music obviously understood that the starting point in the study of Serbian music history had to be the composers? biographical data. Other magazines (such as Muzicki glasnik in 1928 and 1931, Zvuk, Vesnik Juznoslovenskog pevackog saveza, and Slavenska muzika) published a number of essays on distinguished Serbian and Yugoslav musicians of the 19th and 20th centuries, most of which deal with both composers? biographical data and analysis of their compositions. Their narrative style reflects the habits of 19th-century romanticism and positivism: in some of these writings the language also has an aesthetic function. Serbian interwar music magazines also published some archival documents contributing to the future research of Serbian music history. Interwar period in the then Yugoslavia was a time of rapid development and modernization in various fields of culture. There was a great demand for music writings of general interest. Therefore, Revija muzike (January - June 1940) was totally oriented towards the popularization of music and the arts (such as drama and film). This magazine also published some popular articles on music history. Serbian interwar music periodicals were least active in the field of musicological analysis. However, in 1934, Branko M. Dragutinovic published a detailed analytic study of Josip Slavenski?s composition Religiofonija (Religiophonics) in Zvuk. There were also some interdisciplinary history articles in Serbian interwar music magazines. Being well aware of the fact that music history comprises not only music itself, but also music writing, schools, institutions and music life, our music writers used ?indirect? sources, such as literature and art, as well as music. Serbian interwar music periodicals opened many fields of research, thus blazing a trail in postwar Serbian musicology.
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Kushner, Scott. "Collecting and media change, or: Listening to Phish via app." Convergence: The International Journal of Research into New Media Technologies 26, no. 4 (April 4, 2019): 969–89. http://dx.doi.org/10.1177/1354856519838741.
Full textAbstract:
Practices of collecting are constrained by media circumstances. To show how changing media circumstances can occasion changes in collecting practices, this article explores one case study, an iOS app developed by a Phish fan to allow streaming audio of fan-made recordings of Phish concert performances. Such practices are part of a history of unofficial music collecting that parallels the history of recorded sound. This case study shows how one collecting community’s practices evolved in the context of changing media conditions: from cassette tape to CD-R to MP3 to streams (and a parallel motion from print to online message boards to app). This progression illustrates the ways that different ways of listening to and accessing recorded music afford different possibilities of collecting music, different links between listener and music, and different relationships among listeners. More precisely, Phish concert recordings, which lent themselves to collection when circulated on cassette, are no longer available to collect when they circulate as streaming media, because streaming is characterized by a relationship of access rather than possession. Among devoted fans, streaming recordings provoke a cultural emphasis on knowledge about music, rather than accumulation of recordings. My argument is rooted in prevailing theories of collecting, which situate collecting as a component of consumer culture emerging from the capitalist expansion stimulated by 19th-century mass production. Ultimately, I argue that when an object of collecting is displaced by changing media conditions, new collecting practices emerge to fill the void.
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Normanskaja, Julia V. "Первый черемисский словарь — архаический текст или конкорданс слов из нескольких марийских диалектов? (О. А. Сергеев. Василий Крекнин, Иоанн Платунов «Краткой черемиской словарь с российским переводом»: лингвистический анализ (с приложением словаря). Йошкар-Ола, 2020. 348 с.)." Ural-Altaic Studies 42, no. 3 (September 2021): 90–99. http://dx.doi.org/10.37892/2500-2902-2021-42-3-90-99.
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This review analyzes the ways in which the Concise Cheremis-Russian Dictionary differs from the literary Mari language in order to answer the following question: was the dictionary compiled in the Pizhan subdialect of the Yaransk dialect of Northwestern Mari, which was spoken at that time in the Kukarskaya Sloboda, where the dictionary was created, or, as O. A. Sergeev claims, “words belonging to all the main dialects of the modern Mari language can be found in the Concise Cheremis-Russian Dictionary” [Сергеев 2020: 17]? To answer this question, a comprehensive graphic-phonetic analysis of the dictionary has been carried out. Three innovative features inherent in the Yaransk dialect have been identified (PMari *ć > ц, PMari *-j > 0, PMari *ńč́, *ńʒ́, *nǯ > нз) together with five more features that are characteristic of other first books: the preservation of the PMari *i, the reflection of PMari *ӧ as o and PMari *w as b, and the retention of vowel harmony. The only feature that occurs neither in the nineteenth-century books, nor in the modern dialects is the PMari *ӧ > е/э, which may indicate a later origin of Mari ӧ < Finno-Ugric *е than previously thought. Thus, the review shows that the dictionary could have been written in the Pizhan subdialect of the Yaransk dialect, which differed significantly from its modern state in the 18th century as it retained many archaic features characteristic of other first books. The analysis of the dictionary allows one to refine the history of the Yaransk dialect and the dating of certain sound changes.
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Steadman-Jones, Richard. "‘An Inversion of Opticks’: Glimpses of English in the Hindustani Scholarship of John Gilchrist (1759–1841)." Historiographia Linguistica International Journal for the History of the Language Sciences 33, no. 1-2 (2006): 169–93. http://dx.doi.org/10.1075/hl.33.1-2.10ste.
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This paper focuses on the linguistic work of John Gilchrist (1759–1841), one of the first British grammarians to produce a detailed and systematic study of the language known in the 18th century as ‘Hindustani’. An interesting feature of Gilchrist’s grammatical texts is the fact that, within the framework of a grammatical account of a South Asian language, they often include short passages discussing contemporary problems in the analysis of English. In these passages, Gilchrist engages directly with the work of writers such as John Horne Tooke, Samuel Johnson, Robert Lowth, and Thomas Sheridan, taking up a position in relation to their work and drawing upon his research on Hindustani to support or challenge their analyses of English. In one typical example, discussed in this paper, he mobilises evidence from his own work in support of Thomas Sheridan’s innovative account of the vowel in words such as mine and thine, an analysis that characterises this sound as a diphthong rather than a simple articulation. In the light of Gilchrist’s later visibility as a political radical, some commentators have seen his allusions to Horne Tooke as evidence that his linguistic work has a demonstrably radical character. However, the diversity of the thinkers with whom Gilchrist engages suggests that it is better to interpret his interventions in the analysis of English as attempts to build a reputation as a scholar, not only in the colony but in the metropolis as well. As such, the passages in which Gilchrist discusses the nature of English can be seen as political in the sense that they helped him to find a platform from which he could voice his radical ideas. But they do not always constitute a radical account of the language itself, their importance lying in the opportunities they offered for self-promotion and, indeed, self-transformation.
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Steadman-Jones, Richard. "‘An inversion of opticks’." New Approaches to the Study of Later Modern English 33, no. 1-2 (July 17, 2006): 169–93. http://dx.doi.org/10.1075/hl.33.1.10ste.
Full textAbstract:
Summary This paper focuses on the linguistic work of John Gilchrist (1759–1841), one of the first British grammarians to produce a detailed and systematic study of the language known in the 18th century as ‘Hindustani’. An interesting feature of Gilchrist’s grammatical texts is the fact that, within the framework of a grammatical account of a South Asian language, they often include short passages discussing contemporary problems in the analysis of English. In these passages, Gilchrist engages directly with the work of writers such as John Horne Tooke, Samuel Johnson, Robert Lowth, and Thomas Sheridan, taking up a position in relation to their work and drawing upon his research on Hindustani to support or challenge their analyses of English. In one typical example, discussed in this paper, he mobilises evidence from his own work in support of Thomas Sheridan’s innovative account of the vowel in words such as mine and thine, an analysis that characterises this sound as a diphthong rather than a simple articulation. In the light of Gilchrist’s later visibility as a political radical, some commentators have seen his allusions to Horne Tooke as evidence that his linguistic work has a demonstrably radical character. However, the diversity of the thinkers with whom Gilchrist engages suggests that it is better to interpret his interventions in the analysis of English as attempts to build a reputation as a scholar, not only in the colony but in the metropolis as well. As such, the passages in which Gilchrist discusses the nature of English can be seen as political in the sense that they helped him to find a platform from which he could voice his radical ideas. But they do not always constitute a radical account of the language itself, their importance lying in the opportunities they offered for self-promotion and, indeed, self-transformation.
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Iepure, Sanda, Carmen-Andreea Bădăluţă, and Oana Teodora Moldovan. "An annotated checklist of groundwater Cyclopoida and Harpacticoida (Crustacea, Copepoda) from Romania with notes on their distribution and ecology." Subterranean Biology 41 (December 23, 2021): 87–108. http://dx.doi.org/10.3897/subtbiol.41.72542.
Full textAbstract:
Romania, by its position in East-Central Europe has a complex geological history, high landscape heterogeneity and variable climatic conditions, ranging from temperate-continental in the northeast to sub-Mediterranean in the southwest. These conditions have created repeated waves of colonisation of groundwater by copepods, which raise particular interest in this group from a biogeographical perspective. The earliest investigations on groundwater copepods, dating back to the beginning of the 19th century, have resulted in a wealth of information on the richness of this group, making Romania one of the best studied regions from this perspective in Europe. Groundwater copepods in Romania are currently represented by 107 species and subspecies, of which 60 are harpacticoids (56%) and 47 are cyclopoids (43.9%). Of these, 50.5% are strict stygobites (32.7% harpacticoids and 17.7% cyclopoids). Among stygobite copepods 29 species (35 harpacticoids and 19 cyclopoids) are endemic to the country. Almost 86% of the species are single-site endemics (single cave, or single hyporheic or phreatic site) and the rest are restricted in distribution to a single aquifer or hydrographic basin. The aim of the present checklist represents a significant contribution to the knowledge of groundwater copepods in Romania and provides a sound baseline for future comparative faunal studies focused on the affinities and origins of copepods and the analysis of their biogeographical distribution patterns at regional and continental scales.
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Lyan, Tszitao. "The image of Andrea from the opera “Andrea Chenier” by U. Giordano: the history of vocal interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 29–42. http://dx.doi.org/10.34064/khnum1-50.03.
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Formulation of the problem. U. Giordano is a bright representative of the late romantic tradition of the Italian opera of the turn of the 19th-20th centuries. Among the brightest stage versions of his most famous opera “Andrea Chenier”, within this study we have selected a number of the key implementations of Andrea Chenier’s part, which show the constant and mobile signs of the interpretation of this famous opera image. The purpose of the study is to identify the features of interpreting the image of Andrea Chenier from the opera of the same name by the performers of various schools in the aspect of the interaction of historical traditions and modern tendencies from viewpoint of comparative interpretation science. Analysis of recent publications on the topic of the article. The Italian opera of the XIX century is the object of many fundamental researches. The monograph of O. Stakhevych [7] demonstrates a multifaceted approach to the problems of becoming and development the bel canto style; in the study by M. Cherkashina [9], the music theatre of Bellini and Donizetti is presented as an independent phenomenon of Italian operatic history in its first period. I. Drach [2] points to debatable and sometimes subjectivity of interpretation of the concept “bel canto”. The evolution of the Italian opera already at the beginning of the XX century is considered in the study of L. Kirillina [3]; reference information about the Italian opera can be found in English-language articles from Grove’s dictionary [17]. An interesting concept is the book of A. Mallach [14] – the author traces the very fast path of the Italian opera from verismo to modernism. As for U. Giordano’s creativity directly, beside the small articles of encyclopaedic character [12; 13], the publication of M. Morini [15] is the most fundamental and complete. It collected not only researches of the composer’s creativity, but also reviews by contemporaries U. Giordano, his correspondence, registers of his performances and music recordings. The study of C. Ruizzo [16] contains arguments about the components of verismo in the work of U. Giordano, in particular, analyzes the finale of the III pictures of the opera “Andre Chenier”. Regarding this opera, we will separate the mini-guide by Burton D. Fisher [11], the articles of I. Sorokina [8], G. Marquezi [5], H. W. Simon [6], C. Duault [10]. The authors discuss not only the dramatic features of this opera masterpiece, the figure of the main character, but also the influences that this opera made, for example, on “Tosca” by J. Puccini. Statement of the main content of the article. The opera “Andrea Chenier” is a sign composition of the verismo era, despite the fact that its main character is the well-known politician, French poet and journalist. After composing (1895) and the premiere (1896, Milan), the opera was staged in Genoa, Mantua, Parma, Turin, New York (1896), Kharkov, Moscow; Budapest, Buenos-Aires, Florence, Naples, Prague, Santiago (1897), Antwerp, Barcelona, Berlin, Cairo, Lisbon, Rio de Janeiro (1898); in 1907, in the production of Covent Garden, E. Caruso played the title role. The composer and librettist brought to the stage as the protagonist of opera bright, courageous and ambitious person, so it is not surprising that both separate arias and the party of Shenier still belong to the repertoire of many prominent tenors of the planet – F. Tamagno, J. Martinelli, E. Caruso, B. Gigly, G. Lauri-Volpi, A. Cortis, F. Corelli, M. Del Monaco, P. Domingo, L. Pavarotti, M. Alvarez. The opera “Andre Chenier” is a model of the golden age of verismo, and it is endowed with all the main features of this direction of Italian art. However, the protagonist, in addition to being a poet, is also a revolutionary, that is, an uneasy person, a hero, and it is the fact that deduces this work for the stylistic limits of verismo by demonstration of a strong, extraordinary character. These features are embodied in the musical characteristics of Chenier. The main thing in interpreting his famous Improvisation “Un di al’azzurro spazio” (the 1 act of the opera) by E. Caruso is the very elaboration, exact construction of the melodic line and the bright climax, that is, combination the features both a lyrical and a dramatic role specializations that E. Caruso was possessed in equal measure. B. Gigli’s singing (which we consider an example of a dramatic embodiment of the image) is characterized by the refinement of the mezzo voce and the richness, when he sings in full voice, therefore his performance of the Improvisation, in general, is more emotional (a high-profile register, a rhythmic emphasizing that gives a distinct organization the image). M. Del Monaco performs the Improvisation not so much playing by the shades of his strong voice as leading the almost continuous melodic line, which gives mostly lyrical colours to the Chenier’s image. The aria “Come un bel di Maggio” from the 4 act performed by F. Corelli is a model of the exalted lyrics, the lyrical culmination of the opera. F. Corelli performs the aria legato that is tellingly to the bel canto tradition, with a full sound, as if the sound hovers and penetrates everywhere through the skilful addition of dramatic notes (the last sounds of the upper tenor range – si, la of the first octave). P. Domingo interprets Andrea’s image as a whole more dramatically, but in a fairly wide range – from the pathetic (Act 1), the sublime, lyrical (recognition in love in the Act 2) to the tragic (monologue “Yes, I was a soldier” of the Act 3) and the dramatic (Act 4). His striking rubato, aimed at acutely emotional expression, is impressive, P. Domingo has literally speaking in the some parts of the recitatives and even the arias, and that, in conjunction with accelerando, fills the musical language by the speech expression. The interpretation by P. Domingo corresponds to Chenier’s status as a revolutionary hero. Conclusions. Composing the opera, U. Giordano counted on the Italian tenor in the main role, according to the traditions of the bel canto era (strong upper notes, wide range, and equal voice sounding in different registers). The tradition of interpreting the image of Chenier, laid by the first performer J. Borgatti, generally is preserved. The analysis of the most famous interpretations of the Chenier’s part (performed by E. Caruso, B. Gigli, M. Del Monaco, F. Corelli, P. Domingo, J. Carreras, and L. Pavarotti) demonstrated the leading role of the Italian bel canto school. This applies to the principle of canto è riflesso, singing without forcing the sound, the role of breathing, which transforms into the singing sound, the predomination of the head register (la voce di testa), and the integrity of the cantilena. For instance, M. Del Monaco and F. Corelli are lyrical tenors; they sing brightly, with a shine light decoration of high notes. In the performance of B. Gigli, there is a constant movement forward; L. Pavarotti, F. Corelli, J. Carreras, being within the limits of the lyric and dramatic role specifications, transmit in music the power of deep feelings. Instead, B. Gigli and, P. Domingo especially demonstrate the power of drama in the role specification of the Italian tenor, thereby enhancing the heroic side of the image of Shenier. The prospect of further study of the topic is associated with the emergence of new interpretations of the image of A. Chenier in the 21st century, which opens up new dimensions of the science about art interpretation.
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Mackert, Michael. "Franz Boas’ Theory of Phonetics." Historiographia Linguistica 21, no. 3 (January 1, 1994): 351–84. http://dx.doi.org/10.1075/hl.21.3.04mac.
Full textAbstract:
Summary Franz Boas’ (1858–1942) Statements on phonetics can only be appreciated adequately if they are read against the background of 19th-century experimental psychology, acoustics, physiology, and psychophysics. This paper demonstrates that Boas adhered to a theory of phonetics which included a physical and a psychological component. The former component was informed by contemporary ideas on phonetics put forward by Hermann Helmholtz (1821–1894), Wilhelm Wundt (1832–1920), Hermann Paul (1846–1921), and Mikołaj Kruszewski (1851–1887). Within this component, Boas included the production of speech sounds, their acoustical nature, and the mechanical workings of the ear. For Boas, speech-sounds were averages consisting of groups of oscillations which gave each sound its peculiar character. The ear analyzed speech-sounds into their component groups of oscillations, and the resulting sensations were individually transmitted into consciousness. The psychological component of Boas’ theory was influenced by Gustav Fechner’s (1801–1887) psychophysics, and it was initially based on Herbartian psychology. This second component included mental representations (Vorstellungen) of sounds, the process of apperception, and Fechner’s law of thresholds (Schwellengesetz). Boas’ theory presupposed a model of the mind as machine in which the ear was seen as a mechanical extension of the mind. Within this mechanical model of the mind, the recognition of speech-sounds was deterministically governed by the law of thresholds and the process of apperception. The interaction of the law of thresholds with the process of apperception was responsible for the phenomenon of alternating sounds. With the help of his theory, Boas countered positions which considered such seemingly fluctuating sounds as the hallmark of ‘primitive’ languages. In order to distance himself from Heymann Steinthal’s (1823–1899) Eurocentric linguistics, which was rooted in the Herbartian tradition, Boas later abandoned his Herbartian framework in favor of an associationist theory of psychology.
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Maszczyńska, Dominika. "Nannette and Johann Andreas Streicher - their role in shaping musical life in Vienna in the early 19th century." Notes Muzyczny 1, no. 13 (June 9, 2020): 49–80. http://dx.doi.org/10.5604/01.3001.0014.1937.
Full textAbstract:
Nannette and Andreas Streicher were important figures in the musical life of Vienna in the early 19th century. The article introduces their profiles, describes the history of their company, their social, cultural and teaching activity as well as different types of artistic activity. It also explains how keyboard instruments shaped sound and aesthetics-related piano ideals at the turn of the 19th century. The versatile activity of the Streichers, which first of all included instrument building, piano play- ing, composition, teaching and organisation of musical life, made a great contribution to Europe’s cultural heritage. We can notice their numerous connections with outstanding figures of musical life of that time, one that deserves particular attention is their acquaintance with Beethoven. Nannette Streicher was an extremely talented builder who not only coped with the typically masculine craft at that time, but she was also significantly successful in that field. Her instruments were popular, earning general recognition, and the innovative solutions introduced by her also influenced the work of other builders and further development of the piano. Their marriage became the basis for a very fruitful cooperation. Andreas’s numerous connections and his familiarity with the community became an important part of the activity of the company and contributed to its development. Nannette and Andreas shared their passion and passed it on to their son Johann Baptist, who successfully continued their piano making tradition and introduced further improvements, earning a great reputation as well. Social, cultural and teaching activities of the Streichers also played an important role in the musical life of Vienna. Andreas Streicher taught his students the secrets of piano technique and apart from that he shaped their musical and aesthetical awareness. His Kurze Bemerkungen are a valuable source of knowledge also for modern-time performers who can – thanks to this text – learn more about the piano playing aesthetics at the turn of the 19th century as well as a number of universal music and performance topics, which remain accurate to this day. Concerts organised in their house had an educational function too, on the one hand they shaped the tastes of music lovers and supported composers, allowing them to present their latest pieces, and on the other hand they contributed to the promotion of young performers for whom concerts there were often the first step leading towards Vienna’s professional musical stage. The development of the topic of the article in this issue of “Notes Muzyczny” is the trans- lation of the text by Andreas Streicher entitled: Some observations on the playing, tuning and maintenance of pianos built in Vienna by Nannette Streicher nee Stein.
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Теплова, И. Б. "Musical Folklore of Resia in Historical Retrospective: From Auditory Recordings to Digital Technologies." OPERA MUSICOLOGICA, no. 2022 (February 18, 2022): 112–33. http://dx.doi.org/10.26156/om.2022.14.1.007.
Full textAbstract:
Музыкальная культура Резии (территория Итальянской Славии) сохраняется на протяжении сотен лет благодаря изоляции в альпийских предгорьях. Статья посвящена берущей начало в середине ХIХ века истории изучения резианского фольклора, а также современным тенденциям, связанным с сохранением нематериального культурного наследия. Научный интерес исследователей разных специальностей нашел отражение как в публикациях (И. И. Срезневский, И. А. Бодуэн де Куртенэ, Элла фон Шульц), так и в экспедиционных (А. Ломакс, Д. Наталетти, Ю. Страйнар, М. Матичетов) и иных коллекциях звукозаписей. Собрание звуковых материалов нашего современника Габриэле Керубини в мае 2018 года было передано в дар Санкт-Петербургской государственной консерватории в память о выпускнице консерватории, основоположнице изучения резианского музыкального фольклора Элле фон Шульц (Адаевски); первые нотации народных мелодий и теоретическое исследование, выполненные ею в 1883 году, свидетельствуют о своеобразных чертах резианской музыкальной культуры. Экспедиционные звукозаписи итальянских (1954 год) и словенских (1962–1986 годы) этномузыкологов зафиксировали многообразие микролокальных традиций бытования различных жанров фольклора и богатство индивидуальных стилей музыкантов-инструменталистов. Коллекция Г. Керубини демонстрирует эффективное сочетание традиционных и современных (с использованием цифровых технологий) подходов к фиксации образцов народной музыки; данные подходы направлены на сохранение фольклорного наследия и включение его в современную культурную практику. On the territory of Italian Slavia, Resia’s musical culture has survived due to isolation in the Alpine foothills for hundreds of years. The article is devoted to the history of the study of Resian folklore, which dates back to the middle of the 19th century, as well as to modern trends related to the preservation of intangible cultural heritage. The scientific interest of researchers of various specialties was reflected in publications and sound recordings of different years (I. I. Sreznevsky, J. N. I. Baudouin de Courtenay, Ella von Schulz, Ju. Strainar, M. Matichetov). The collection of sound materials of our contemporary Gabriele Cherubini was donated to the St. Petersburg State Rimsky-Korsakov Conservatory in May 2018 in memory of Ella von Schultz (Adaïewsky) — a graduate of the Conservatory, founder of Resian musical folklore studies. Her first notations of folk melodies and a theoretical research carried out in 1883 testify to the peculiar features of the Resian musical culture. Sound recordings made by Italian (1954) and Slovenian (1962–1986) ethnomusicologists during the expeditions recorded the diversity of micro-local traditions of existence of various genres of folklore and richness of the individual styles of instrumental musicians. G. Cherubini’s collection demonstrates both traditional and modern (using digital technologies) approaches to fixing folk music samples, aimed at preserving the folklore heritage and including it in the modern cultural practice.
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Leparskienė, Lina. "Tatars by the Vokė River: Historical Memory and Personal Experiences." Tautosakos darbai 63 (July 20, 2022): 62–80. http://dx.doi.org/10.51554/td.22.63.03.
Full textAbstract:
In the historical narrative of Lithuania, the Vokė River is inseparable from the settling of Tatars in the territory of the Grand Duchy of Lithuania in the end of the 14th century, under the rule of Vytautas the Great. Until the present day, members of this Muslim ethnic community continue to live in villages and towns scattered along the banks of the river. According to their life stories, identity narratives and dreams analyzed in this article, the Tatars primarily perceive the landscape by the Vokė River through their community life, and in terms of their personal and family life evolving in this space. People reflecting on the historical narrative emphasize the importance of their voluntary decision to be there, contradicting popular historiographic theories of their ancestors having been moved there as prisoners of war or under the orders of the Lithuanian rulers. A string of villages situated along the Vokė River from its source to the mouth near the town of Grigiškės, have names that sound Turkic or Slavic; elderly local Tatars call them akolicas and point out to their peculiar layout, recognizing Tatar features even in the faces of the local inhabitants of other nationalities. The locals call their main settlement and the center of the Muslim community, the village of Keturiasdešimt Totorių (‘Forty Tatars’) in the Old Russian – Sorok Tatary. This place name was known as early as the 16th century, testifying to the deep entrenchment of the Tatar inhabitants in the culture of Lithuania, in which the Old Russian language was used for official writings and spoken by the nobility. From the 17th century, the Polish language took over, becoming both written and spoken language, adopted by the noble Tatars as well. Currently, local Tatars mostly use the local Belorussian dialect or Polish and Russian languages; this sets them apart from their fellow-countrymen living in the Kaunas Region who have started speaking Lithuanian during the interwar period. The author of the article regards Slavic languages as part of the cultural identity of the Vilnius Region and as an important mark of the ethnic Tatar culture related to their regional and noble identity, and to their attempts at fostering the Tatar families by means of frequently seeking spouses from the Tatar settlements in Belarus or Poland.
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Tchougounnikov, Serge. "The formal method in Germany and Russia: the beginnings of European psycholinguistics." Linguistic Frontiers 1, no. 2 (December 1, 2018): 90–101. http://dx.doi.org/10.2478/lf-2018-0008.
Full textAbstract:
AbstractGerman–Austrian psychology is a direct source of the European formalism movement both in the German context (Germany, Austria) as well as in Russia. This interest of the formalists in the corporeal component of linguistic and literary production has resulted in a particular research stream, which could be defined as a ‘linguo-somatic orientation’. In particular, this is the case of Alois Riegl’s [1] perceptive ‘tactile–optical’ method; Adolf von Hildebrand’s [2] architectonic conception; Konrad Fiedler’s [3] ‘sensorial aesthetics’; W. Wölfflin’s [4] ‘basic concepts’ of the art history, W. Worringer’s [5] psychological arts typology as well as Oskar Walzel’s sound-corporeal poetics elaborated during 1920 [6]. Within Russian formalism, psychological notions (such as ‘representation’, ‘sensation’, ‘apperception’, ‘series’, ‘clear and dark zones of consciousness’, ‘verbal gestures’ and ‘sound gestures’) are fundamental in nearly all the formalist conceptions (Viktor Šklovskij, Evgenij Polivanov, Lev Jakubinskij, Osip Brik, Boris Eixenbaum and Jurij Tynianov). This psychological background constitutes a rather heterogeneous constellation composed of psychological aesthetics and psychological linguistics of the second half of the 19th century. Independently of its intrinsic theoretical values, the formalist way of thinking about language and literature is based on the implicit dominance of psychology, which takes its sense only with respect to the German cognitive tradition, appropriated by the Geisteswissenschaften of this time. In this respect, European formalism participates in the large movement of psychologisation of the humanities. To this extent, the case of Russian formalism is really representative: it invites the rethinking of the genealogy of European structuralism in general. This accumulation of conceptual tools borrowed from the German psychological tradition also reveals a cognitive charge of the formalist theories. The latter constitute a conceptual link between the properly psychological past of the European Geisteswissenschaften and the ‘cognitive’ future of the actual research programmes. Beyond the borrowing of conceptual tools from the psychological trend, the formal method has found in psychology its inspiration for producing new models of analysis. This intrinsically cognitivist dimension of the formalist programme explains its late success during the 1950s–1960s, the period often and abusively called the period of the cognitivist revolution. In reality, it deals with the re-emergence of the research programme of the cognitivist sciences, rather exhaustively formulated by the German psychological tradition..
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Shalygina, O. V. "Time and space in the motor aesthetics of A. Volynsky." Solov’evskie issledovaniya, no. 4 (December 15, 2019): 100–113. http://dx.doi.org/10.17588/2076-9210.2019.4.100-113.
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The article describes the original aesthetic and philosophical concept – the motor aesthetics of Akim Volynsky. Volynsky uses the concept of «motor aesthetics» in the Kniga likovanii, describing the value of circular lines for the «all aesthetics, visual, sound and motor», and particularly pirouette for motor aesthetics. The term «motor aesthetics of Akim Volynsky» is used in this article for the first time and is studied by the author from an interdisciplinary perspective. Motor aesthetics is developed by Volynsky for plastic art as a language of description of classical ballet, he introduces the basic concepts, formulates the laws, defines the basic philosophical categories that underlie it. The importance of Volynsky's work on the formation of the language of classical ballet description is recognized in the professional environment and theater criticism. The study of the motor aesthetics of Akim Volynsky is relevant in connection with the study of the philosophical foundations of intermedial analysis. The article deals with the problem of time and space in the motor aesthetics of Akim Volynsky for the first time. The direct connection of Volynsky's later works on ballet with his early article on Kant is revealed, the conclusion about the originality of Volynsky's philosophical position in relation to the categories of time and space is made. Using the thesaurus of Kant's transcendental aesthetics, Volynsky defines the two-act structural relationship of time and space according to the «par coupe» (fr) principle, which he regards as universal. It was concluded of Volynsky's motorial aesthetics value not only in the history of classical ballet and theatre criticism, the history of of the Russian literature and philosophy of the late 19th - early 20th century, but also in the modern philosophical anthropology and ontology.
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Zubarev, Sergei A. "Academic Music in the Practice of Russian Military Bands in the 19th – Early 21st Centuries." Scientific and analytical journal Burganov House. The space of culture 18, no. 4 (September 10, 2022): 56–65. http://dx.doi.org/10.36340/2071-6818-2022-18-4-56-65.
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The article is devoted to the theoretical and practical aspects of military musicians’ arrangement practice, considered in the context of developing a system of Russian military orchestras. When studying the socio-cultural foundations of the formation and development of the art of arrangement, factors that reveal the role of Russian composers in the history of military musical culture are highlighted (such works as P.Tchaikovsky’s Skobelev March, A.Rubenstein’s Cavalry Trot are noted). The works of A.Ermolenko (The Evolution of Instrumentation in Russian Wind Music Until the 70s of the 19th Century), G.Salnikov (On the Basic Principles of Transcribing Symphonic Works for a Brass Band), D.Braslavsky (Arrangement for Variety Ensembles and Orchestras), B.Kozhevnikov (Instrumentation for a Brass Band), E.Aksenov (Problems of Theoretical Instrumentation), V.Emelyanov (Instrumentation as an Artistic Factor in Music) were used as fundamental ones to explain this issue. In the process of studying the stages of improving the system of military bands, special attention is paid to studying the features of the development of the military band service in the 19th and 20th centuries. It is noted that several works of academic music performed by military bands belong to this time: the choir and aria from the opera La Sonnambula, the duet from the opera Bianca and Fernando by V.Bellini, the overture, march, choir and a drinking song from the opera Undina by P.Tchaikovsky. In this context, the problems of the formation of the arrangement art are touched upon on the example of A.Alyabyev’s work (the use of orchestral means necessary for a full orchestral sound). When considering the features of the development of military musicians’ arrangement practice in the first half of the 20th century as well as during the collapse of the USSR, attention is paid to the processes of oblivion and revival of the traditions of orchestral wind performance, the emergence of new genres such as the drill show. In this perspective, the activities of famous military bands of the specified period are considered, for example, the Alexandrov Russian Army Song and Dance Ensemble. In conclusion, the author notes that unique conditions for the development of military musicians’ arrangement practice have been created in the national culture, making it possible to preserve the traditions of the military band service and form the value principles of academic art.
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Isabel, Heidy, Aurelia Maria Indri Rooselinda, Joe Harrianto, and Marisol Hernandez Tolosa. "The Gender Equality Movement in South Korea: The Semiotic Analysis of Blackpink Ddu-du Ddu-du." Calathu: Jurnal Ilmu Komunikasi 4, no. 1 (June 29, 2022): 31–41. http://dx.doi.org/10.37715/calathu.v4i1.2457.
Full textAbstract:
Although women in South Korea today are actively engaged in a wide variety of fields and thus making significant contributions to society. This begun during the late 19th century. Looking through their history, South Korean already recognize the concept of female empowerment. The effect of modernization and globalization, people began to generate several discussions and new views. Especially where the world has begun to recognize Korean pop culture, Hallyu or K-Pop which led Korean culture to continue to experience the change to be accepted globally. Some views or social movements have begun to influence the cultural content produced in South Korea, one of it is Blackpink. They proudly have a strong and unapologetic stage presence, unique sound, and style. They are seeking to empower females and their fans in an incredibly upfront and obvious way. Their single in 2018, Ddu-Du Ddu-Du artistic music video which convey a deeper meaning about empower female using symbols that depict about power and women. With semiotics by Roland Barthes, this research discusses the awareness of power by engaging in dialogue and theory uses to interpret or explain social action that intends to encourage people to interact and learn about empowering female. Despite the strong culture of confucianism and patriarchy, South Korea already recognizes the concept of female leaders or women empowering from their history and in addition to the effect of modernization and globalization. Blackpink described being a strong and proud person who has the identity of a woman and conveys a message to become a strong woman to build one's own identity and be proud of it. Blackpink motivates women to actively contribute in various parts of society and proofing that women with all their talents and ambitions could be an inspiration and a new figure of a tough woman in the modern era and be the part of the feminism act in the postmodern feminism.
Keywords: women empowerment; semiotic; Roland Barthes; Blackpink; Ddu-Du Ddu-Du music video