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Journal articles on the topic 'The Concert of Europe'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Romanova, E. V. "THE CONCEPT OF “THE CONCERT OF EUROPE” IN XX CENTURY BRITISH AND AMERICAN HISTORIOGRAPHY." MGIMO Review of International Relations, no. 1(46) (February 28, 2016): 7–17. http://dx.doi.org/10.24833/2071-8160-2016-1-46-7-17.

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The article provides a critical analysis of the interpretations of the Concert of Europe by British and American historians of the XXth century. The interest in the study of this phenomenon is rooted in its relation to the problems of the maintenance of international order and stability. It is not only academic, being partly determined by the fact that throughout the XX century first Britain and then the USA was at the top of the world hierarchy, and accordingly played a leading role in the construction and maintenance of the European order. Current international environment, the experience of

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2

Mueller, John. "A New Concert of Europe." Foreign Policy, no. 77 (1989): 3. http://dx.doi.org/10.2307/1148766.

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Zelikow, Philip. "The new concert of Europe." Survival 34, no. 2 (1992): 12–30. http://dx.doi.org/10.1080/00396339208442639.

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4

Blanning, T. C. W. "Paul W. Schroeder's Concert of Europe." International History Review 16, no. 4 (1994): 701–14. http://dx.doi.org/10.1080/07075332.1994.9640692.

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5

Līduma, Diāna, Ārijs Orlovskis, Uldis Drišļuks, and Antra Dreģe. "CONTEMPORARY MUSIC PRODUCT SELLING EXPERIENCE IN LATVIA AND EUROPE." Problems of Management in the 21st Century 13, no. 1 (2018): 18–33. http://dx.doi.org/10.33225/10.33225/pmc/18.13.18.

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During the age when outcomes of the creative process develop in a great diversity, the issue about product sales and appropriate marketing implementation becomes topical both in clients’ attraction and in the existing products competition from the side of culture organizations’ management. The aim of the research is on the basis of the analysis outcomes of the international and Latvian leading contemporary music festivals and concert organizers’ work experience determine the currently existing trends in contemporary music product sales, including the most appropriate marketing activities for c

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RENDALL, MATTHEW. "Defensive realism and the Concert of Europe." Review of International Studies 32, no. 3 (2006): 523–40. http://dx.doi.org/10.1017/s0260210506007145.

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Why do great powers expand? Offensive realist John Mearsheimer claims that states wage an eternal struggle for power, and that those strong enough to seek regional hegemony nearly always do. Mearsheimer’s evidence, however, displays a selection bias. Examining four crises between 1814 and 1840, I show that the balance of power restrained Russia, Prussia and France. Yet all three also exercised self-restraint; Russia, in particular, passed up chances to bid for hegemony in 1815 and to topple Ottoman Turkey in 1829. Defensive realism gives a better account of the Concert of Europe, because it co

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ADANIR, FIKRET. "Turkey's entry into the Concert of Europe." European Review 13, no. 3 (2005): 395–417. http://dx.doi.org/10.1017/s1062798705000530.

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From the start, Turkey's aspirations to join the European Union aroused considerable opposition. Recently, the debate has focused increasingly on supposed disparities in the spheres of culture, politics or mentality, implying that this Muslim country would not be able to comply with European norms and values. Supporters of Turkey's candidacy, on the other hand, have pointed out that Turkey has always been an important element of the European balance of power and was, in the nineteenth century, even a member of the Concert of Europe. Both sides invoke history to justify their arguments. The pre

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8

Eshel, Ruth. "Concert Dance in Israel." Dance Research Journal 35, no. 1 (2003): 61–80. http://dx.doi.org/10.1017/s0149767700008779.

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Israel is a society of Jewish immigrants who have returned to their ancient biblical homeland. It is also a complex society made up of people of varied cultures and ideologies, enduring changing economic and political situations. For the past eighty years, Israeli dancers have reflected and helped to shape the internal dialogues of Israeli life and contributed to a global exchange of dance ideas, especially with modern dancers from Europe and America.The independence of ancient Israel came to an end in C.E. 73, when Romans destroyed the Temple in Jerusalem after fierce battles with the Jews. T

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Lysetska, Nataliia. "KONZEPT „EUROPA“ AN DER SCHWELLE ZWEIER JAHRTAUSENDE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 9(77) (2020): 51–55. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-51-55.

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The article deals with the analysis of the concept „Europa“ and its interpretation by the speakers of German linguistic culture at the turn of the two millennia. The semantic content of the concept „Europa“ was explored on the basis of Internet sources for identifying dominant and systemic relationships within this concept; the evolutionary process of forming the concept „Europa“ is shown as a fragment of the conceptual picture of the world; the concept „Europa“ of the XX century is discussed on the basis of the book by the ex-Chancellor of Germany G.Schmidt „Die Deutschen und ihre Nachbarn. M

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Millman, Richard. "Napoleon III and the Concert of Europe. William E. Echard." Journal of Modern History 57, no. 1 (1985): 142–43. http://dx.doi.org/10.1086/242802.

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11

YAMADA, NORIHITO. "GEORGE CANNING AND THE SPANISH QUESTION, SEPTEMBER 1822 TO MARCH 1823." Historical Journal 52, no. 2 (2009): 343–62. http://dx.doi.org/10.1017/s0018246x09007493.

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ABSTRACTHarold Temperley's The foreign policy of Canning, 1822–1827 (1925) has been widely acknowledged as the standard work on George Canning's foreign policy in 1822–7. Since its publication, historians have accepted its central theme: that the principal aim of Canning's foreign policy in 1822–7 was to destroy the post-1815 system of great-power concert in Europe. Temperley's book is remarkable for its consistency, and his account of Canning's policy with regard to the Spanish crisis of 1822–3 – that Canning's main concern was not to prevent foreign intervention in Spain, but to weaken the p

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12

Dahlbäck, Kajsa. "Den kvinnliga sopranen i barockrepertoaren." Trio 10, no. 1 (2021): 65–73. http://dx.doi.org/10.37453/trio.110126.

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The artistic doctoral project of soprano Kajsa Dahlbäck is in two parts. The theme of the concert series is “The female soprano within the baroque repertoire 1600–1750” and that of the thesis is “Singing-in-the-world – a phenomenological study on the singer’s inner work”. In her concerts, Dahlbäck has performed music from different parts of Europe and particularly from communities with female singers, such as for instance Italian nun convents, Vivaldi’s time at La Pietà in Venice and the court of Swedish Queen Christina in Stockholm and Rome. In her thesis, Dahlbäck shares insights from her ex

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Slantchev, Branislav L. "Territory and Commitment: The Concert of Europe as Self-Enforcing Equilibrium." Security Studies 14, no. 4 (2005): 565–606. http://dx.doi.org/10.1080/09636410500468792.

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14

Goodby, James. "Commonwealth and Concert: Organizing Principles of Post—Containment Order in Europe." Washington Quarterly 14, no. 3 (1991): 71–90. http://dx.doi.org/10.1080/01636609109443723.

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Jung, Karsten. "A New Concert for Europe: Security and Order After the War." Washington Quarterly 46, no. 1 (2023): 25–43. http://dx.doi.org/10.1080/0163660x.2023.2192137.

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Koivisto, Nuppu. "New data, new methods? Sources on ladies’ salon orchestras in Europe, 1870-1918." Muzikologija, no. 26 (2019): 41–60. http://dx.doi.org/10.2298/muz1926041k.

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This article addresses the problems that pertain to macro-historical data in music research. By presenting examples from recent research on European ladies? orchestras of the late nineteenth century, I aim to establish how large data sets could be used in a meaningful way. First, I shall present an overview of source materials. Second, methods for analyzing concert programmes will be critically assessed. Third, the possibilities of visualizing concert tours will be explored. Finally, special attention will be paid to questions regarding social class and gender.

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LILA, Fejzi. "Rising Nationalism in the Balkans." European Journal of Multidisciplinary Studies 4, no. 4 (2017): 31. http://dx.doi.org/10.26417/ejms.v4i4.p31-35.

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Balkans consists of the geographic and demographic diversity of the complex, with division of the region into new states, with local antagonisms. Balkan leaders, the Great Powers would urge the expansion of national states where and when he wanted interest and would not ignore claims it was one nation over another. The process of developing the nationalist movements and the state - forming in the Balkans, starting with the Patriarchies autonomous movements within the Ottoman Empire, involves the movement of Serbs, Greeks, Bulgarians, Romanians and Albanians. The fall of Bonaparte in 1815, was

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18

Moens, Alexander. "The European security and defence identity and the non‐concert of Europe." European Security 2, no. 4 (1993): 567–84. http://dx.doi.org/10.1080/09662839308407144.

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19

Schauer, Sophie, Stefano Bertocci, Federico Cioli, Jürgen Sieck, Natalya Shakhovska, and Olena Vovk. "Auralization of Concert Halls for Touristic Purposes." i-com 21, no. 1 (2022): 95–107. http://dx.doi.org/10.1515/icom-2022-0008.

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Abstract This paper presents the progress implemented during the AURA project, funded by the Creative-Europe program with project partners from Germany, Italy, and Ukraine. The project aims to create auralized applications for three music venues in each of the project countries, namely the Konzerthaus Berlin, the Teatro del Maggio in Florence, and the Opera House Lviv. Each will be digitally recreated and auralized before they are then used to conduct case studies. This paper gives insights into current digitalization and auralization techniques. The results of a digital survey will be laid ou

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Nisenbaum, A. A. "Parade-Concert: Genre Origins and Particularities." Art & Culture Studies, no. 3 (September 2023): 410–35. http://dx.doi.org/10.51678/2226-0072-2023-3-410-435.

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The evolution of Russian military music culture is marked by continuous modification, reflecting socioeconomic, social and political mainstreams of the country. Since the beginning of the 19th century, the growing level of national military music has made foreign colleagues pay special attention to it. This article describes the circumstances under which the parade-concert genre was formed at the end of the 1980s, the further development of which brought the military music art into a wide sociocultural context through inextricable bond with the mass performance genre. This is illustrated by th

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21

Zenderowski, Radosław, and Andrzej Rudowski. "Europa Środkowa — od idei literacko-kawiarnianej do koncepcji politycznych." Rocznik Europeistyczny 3 (June 14, 2018): 127–45. http://dx.doi.org/10.19195/2450-274x.3.10.

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Europa Środkowa stanowi zarówno ideę wspólnoty kulturowej, przestrzeń geopolityczną i geokulturową, jak i pewną koncepcję polityczną. W ostatnich kilku dekadach jesteśmy świadkami przejścia czy raczej interferencji od idei literacko-kawiarnianej ku politycznym formom instytucjonalizacji Europy Środkowej. Celem niniejszego artykułu jest ukazanie owej drogi oraz kluczowych dylematów stojących przed architektami politycznej Europy Środkowej. W artykule omówiono zatem dyskurs środkowoeuropejski w latach 70. i 80. XX w., a następnie poszczególne uwarunkowania i etapy politycznej instytucjonaliz

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22

Upalevski, Ilija. "Europa Środkowa – wspólnota tekstów. Intertekstualność jako przestrzeń funkcjonowania i podtrzymywania mitu środkowoeuropejskiego." Sprawy Narodowościowe, no. 48 (August 2, 2016): 160–81. http://dx.doi.org/10.11649/sn.2016.010.

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Central Europe – a community of texts. Intertextuality as a plane of functioning and maintaining the myth of Central EuropeIn this article I examine two primary (sets of) questions:1. How, why and by whom the concept of Central Europe has been (re)constructed, (re)defined and (re)imagined within the field of literature in the course of the 20th century(?); and2. Through what transformations this concept has gone during the major social and political shifts in the region(?). In order to do so I am employing Roland Barthes’ semiological approach on myth in the analysis of the texts in which conc

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23

Nisenbaum, Andrey A. "Tamburstock: Its Practical and Aesthetic Functions in Conducting Parade Concerts." Observatory of Culture 20, no. 2 (2023): 136–43. http://dx.doi.org/10.25281/2072-3156-2023-20-2-136-143.

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Parade concerts occupy a special place in activities of modern military bands. Years of practice show that the most relevant form of the parade concert performance entails two parts: a march parade and a concert section. The bandmaster uses the manual conductor’s technique in the concert section, while a twirling baton is used to manage the band in the march parade, the bandmaster of which is called the drum major or “tamburmajor”.This article describes the origin and functional particularities of the drum major’s position in the armed forces of Europe and Russia. Throughout the entire period

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24

de Monthoux, Pierre Guillet. "Le modèle suédois." Tocqueville Review 11, no. 1 (1990): 67–92. http://dx.doi.org/10.3138/ttr.11.1.67.

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La Suède est une utopie sociale du modernisme et un îlot de fonctionnalisme neutre depuis la fin de la Seconde Guerre mondiale. Quelle sera la voix de la Suède dans le concert discordant, mais porteur d’espoir, de l’’Europe moderne après 1990?

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de Monthoux, Pierre Guillet. "Le modèle suédois." Tocqueville Review 11 (January 1990): 67–92. http://dx.doi.org/10.3138/ttr.11.67.

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La Suède est une utopie sociale du modernisme et un îlot de fonctionnalisme neutre depuis la fin de la Seconde Guerre mondiale. Quelle sera la voix de la Suède dans le concert discordant, mais porteur d’espoir, de l’’Europe moderne après 1990?

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Loy, Johanna K., Nicki-Nils Seitz, Elin K. Bye, et al. "Trends in alcohol consumption among adolescents in Europe: Do changes occur in concert?" Drug and Alcohol Dependence 228 (November 2021): 109020. http://dx.doi.org/10.1016/j.drugalcdep.2021.109020.

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27

Erol, Gelenbe. "Renforcer la place des universités européennes dans le concert mondial." Revue des Electriciens et Electroniciens 2 (April 16, 2021): 102–7. https://doi.org/10.5281/zenodo.4696178.

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Les pays de l’UE peuvent se targuer de posséder quelques-unes des plus prestigieuses universités et organismes de recherche dans le monde. Pourtant la part des innovations technologiques que produit le continent reste faible au regard du potentiel de recherches que l’UE représente. Comment redresser la barre et mieux armer les universités européennes dans la compétition exacerbée que se livrent les grandes puissances ? Après une analyse du financement et du mode de fonctionnement comparés des universités dans le

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Gasché, Rodolphe. "Patočka on Europe in the aftermath of Europe." European Journal of Social Theory 21, no. 3 (2017): 391–406. http://dx.doi.org/10.1177/1368431017748148.

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Jan Patočka’s elaborations in ‘Europe after Europe’ concern a kind of irrationalism and nativism proper to European thought that has prohibited the embryonic core of the idea of Europe, namely, the renewed Socratic-Platonic motif of the ‘care of the soul’ in Christian Europe, to unfold its full potential. The article investigates a further ‘irrationalism’ that narrows the universalist thrust of the idea of Europe, precisely, by conceiving of it in terms of the Greek concept of an idea. This article draws on the inner resources of the notion of the idea in order to recast Europe as a Europe bey

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Daems, Tom. "A penology for Europe." Archives of Criminology, no. XLV/2 (December 31, 2023): 15–28. http://dx.doi.org/10.7420/ak2023.13.

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On 22 March 2016 Belgium suffered a severe terrorist attack on its national airport, in Zaventem, close to Brussels, and the Maelbeek metro station. Thirty-two people were killed that day. Another 340 victims, some of whom suffered particularly serious injuries, will carry the scars for the rest of their lives. Such terrorist attacks, in the heart of Europe, pose an enormous challenge, one that goes beyond the role of the police and the judiciary or questions about the design and security of open or semi-open spaces, such as markets, metro stations, concert halls, nightclubs or airports. In ad

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Vasilescu, Grigore. "Concept of Europenistics and European Studies." Moldoscopie 3, no. 86 (2019): 133–45. https://doi.org/10.5281/zenodo.4088236.

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The article considers the foundation and argumentation of Europenistics as a science or a scientific domain about processes, problems, perspectives of Europe, as a philosophy or a concept of contemporary European development in strong connection with concepts of Europeanism, Europeanity, Europeanization, European. It is made a correlation and a differentiation between Europenistics and European Studies. Also in article is studied in a concise way the complex and multidimensional content of Europenistics, highlighting the most important compartments such as: theoretical and practical aspects of

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Hughes, Bernard. "Guillaume Connesson Les Bains Macabre. Théâtre de l'Athénée Louis-Jouvet, Paris, 1 February 2020." Tempo 74, no. 293 (2020): 88–89. http://dx.doi.org/10.1017/s0040298220000066.

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Guillaume Connesson is a French composer widely performed across Europe and the US, but almost entirely unheard in the UK, in concert or broadcast. The article ‘Glimmers in a Dark Age’ (TEMPO 73/288 (2019), 70–80) was my attempt to introduce a British audience to a composer whose work I find compelling, beautifully crafted and worthy of wider attention.

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Гребнева, И. В. "МОДЕЛЬ DA CAMERA В CONCERTI GROSSI А. КОРЕЛЛИ". Традиції та новації у вищій архітектурно-художній освіті, № 4 (1 грудня 2018): 93–98. https://doi.org/10.5281/zenodo.1802908.

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The article is devoted to the peculiarities of the da camera model in concerti grossi of A. Corelli, the violin composer who was the actual “inventor” (N. Harnoncourt) of the “concerto grosso” in the instrumental music of Europe in the 17th-century. The study reveals and systematizes the general specifi c features of A. Corelli’s trans-formation of the Baroque dance suite genre, which formed the basis of the structure of four da camera concerts (9 to 12) in the cycle of 12 concerti grossi op. 6, intended by the author exclusively for the string orchestra. In the p

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Thurman, Kira. "Performing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Identity in Interwar Central Europe." Journal of the American Musicological Society 72, no. 3 (2019): 825–65. http://dx.doi.org/10.1525/jams.2019.72.3.825.

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When African American concert singers began to perform German lieder in central Europe in the 1920s, white German and Austrian listeners were astounded by the veracity and conviction of their performances. How had they managed to sing like Germans? This article argues that black performances of German music challenged audiences' definitions of blackness, whiteness, and German music during the transatlantic Jazz Age in interwar central Europe. Upon hearing black performers masterfully sing lieder by Schubert, Schumann, Brahms, and others, audiences were compelled to consider whether German nati

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Morin, Edgar, Peter Hawkins, and Barbara Lebrun. "The Salut les copains generation." Popular Music 39, no. 3-4 (2020): 393–400. http://dx.doi.org/10.1017/s0261143020000598.

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In Paris on 22 June 1963, the French youth magazine Salut les copains celebrated its first year in print by organising a free outdoor concert on the Place de la Nation. The artists headlining the gig were young male and female pop singers who had been propelled to the top of the French charts thanks to the regular broadcasting of their music on the show Salut les copains (on private radio station Europe 1 since 1959), and extensive coverage in the weekly magazine of the same name (since 1962). The 150,000-strong crowd at the concert exceeded all expectations, but also generated a sense of mora

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Wirawan, Rendy. "Concert of Asia: How the World Should Deal with the Rise of China." Interdependence Journal of International Studies 2, no. 1 (2021): 31–51. http://dx.doi.org/10.54144/ijis.v2i1.44.

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As the China rise rapidly and aggressively, the world continues to be vulnerable due to the uncertain geopolitical environment and detrimental great powers gesture. This happens roughly at the global stage but more ominous to the regional politics in Asia Pacific. The region needs to spend more effort to deal with the rising China and somehow also required to alter the US primacy in global politics. To assure regional stability and security, this article proposes the model of the ‘concert of power’ inspired by the Concert of Europe to be carried out in Asia, precisely in Asia Pacific. The Conc

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Rendall, Matthew. "Miroslav Šedivý, Crisis Among the Great Powers: The Concert of Europe and the Eastern Question." European History Quarterly 48, no. 1 (2018): 183–84. http://dx.doi.org/10.1177/0265691417747183aa.

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Rendall, Matthew. "A Qualified Success for Collective Security: The Concert of Europe and the Belgian Crisis, 1831." Diplomacy & Statecraft 18, no. 2 (2007): 271–95. http://dx.doi.org/10.1080/09592290701322358.

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Graziano, John. "The Early Life and Career of the "Black Patti": The Odyssey of an African American Singer in the Late Nineteenth Century." Journal of the American Musicological Society 53, no. 3 (2000): 543–96. http://dx.doi.org/10.2307/831938.

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The early career of the African American singer Matilda Sissieretta Jones (1868-1933), known as the "Black Patti," was unique in nineteenth-century America. Reviewers gave high praise to her singing, and she attracted large mixed-race audiences to her concerts across the country. Her fame was such that, during the early 1890s, she appeared as the star of several companies in which she was the only black performer. This article documents her early life in Portsmouth, Virginia, and Providence, Rhode Island; her two tours, in 1888 and 1890, to the Caribbean and South America; and her varied conce

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Gülboy, Burak Samih. "Reassessing the Concept of Peace in the Concert of Europe: A European Model of Security Based upon Cooperation of States against People." Journal of Applied And Theoretical Social Sciences 4, no. 2 (2022): 144–63. http://dx.doi.org/10.37241/jatss.2022.60.

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Concert of Europe was a system that was built for the purpose of maintaining the status quo between the European states and the means by which the system rested were constructed during the course of the Congress of Vienna. The Holy Alliance and the Quadruple Alliance (later Quintet) not only enabled Europe's Great Powers to cooperate in building and maintaining order, but also succeeded in creating common values that would keep cooperation alive. While the liberal and nationalist ideas brought by the French Revolution and spread by Napoleon's campaigns were alive both in European societi

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Teale, M. "Europe--matters of concern." Veterinary Record 125, no. 3 (1989): 72–73. http://dx.doi.org/10.1136/vr.125.3.72.

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Caballero, F. "Europe--matters of concern." Veterinary Record 125, no. 7 (1989): 161. http://dx.doi.org/10.1136/vr.125.7.161-b.

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Kamusella, Tomasz. "Central Europe in the Distorting Mirror of Maps, Languages and Ideas." Polish Review 57, no. 1 (2012): 33–94. http://dx.doi.org/10.2307/41557950.

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Abstract Central Europe is as much invented as the continent of Europe, and as any human concept for that matter. But when people subscribe to and act in accordance with a concept of this kind, it becomes reality, that is, part of social reality. This essay, in an interdisciplinary manner, traces the origins and the functioning of Central Europe as a concept through the lens of cartography, history and culture. From the vantage of intellectual and political discourse, the usually nebulous idea of Central Europe was a reply to the disappearance of empires in this region after 1918, and to the r

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Polinceusz, Łukasz. "Strategic International Environment – Is Europe Ready for a New Concert of the Superpowers? Central European Perspectives." Studia Europejskie-Studies in European Affairs 23, no. 1 (2019): 157–72. http://dx.doi.org/10.33067/se.1.2019.09.

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Wilczek-Krupa, Maria. "Back from obscurity: Emil Łapczyński (1837–1863). Concert artist, composer, insurgent." Polski Rocznik Muzykologiczny 22, no. 1 (2024): 17–42. https://doi.org/10.2478/prm-2024-0001.

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Abstract History is the science of humanity, and human memory, functioning as an unwritten source of knowledge, is one of its main research tools. Memory stores, selects and reveals, but it can also be fleeting—that is why filling its empty spaces is one of the most important tasks of researchers dealing with culture and the realities of the past. One of the “blank pages” in the history of Polish pianism is the oeuvre of Emil Łapczyński—a virtuoso who occupied leading spots in nineteenth-century newspapers and was compared with Józef Elsner or Henryk Wieniawski. In order to bring him back from

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Boterbloem, Kees. "Russia and Europe: The Koenraad van Klenk Embassy to Moscow (1675-76)." Journal of Early Modern History 14, no. 3 (2010): 187–217. http://dx.doi.org/10.1163/157006510x497997.

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AbstractIn this article based on Russian, Dutch, German, English, and Latin sources, Kees Boterbloem shows how the Dutch Embassy led by Koenraad van Klenk that visited Muscovy in 1675 and 1676 unfolded to the satisfaction of both the Russian hosts and their Dutch guests. This was in large measure the result of van Klenk’s expert knowledge about Muscovy and his sober assessment of the foreign policy priorities of Tsars Aleksei and Fyodor as well as his own country’s government. Meanwhile, the evidence regarding the embassy and its historical context are testimony to of a sudden intensified Musc

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Rendall, Matthew. "Russia, the concert of Europe, and Greece, 1821–29: A test of hypotheses about the Vienna system." Security Studies 9, no. 4 (2000): 52–90. http://dx.doi.org/10.1080/09636410008429413.

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Parfentyeva, Irina. "National-patriotic education of future teachers of musical art in the study of the disciplines of the conductor-choral cycle (on the example of the revival of the choral heritage of A. Wedel abroad)." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 65, no. 2 (2019): 224–27. http://dx.doi.org/10.33310/2518-7813-2019-65-2-224-227.

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The article deals with the problems of the national-patriotic education of future teachers of musical art by means of choral art on the example of one of the outstanding representatives of the Ukrainian composer and choirmaster school – Artemy Lukyanovich Vedel. The stages of knowledge of the choral heritage of the Ukrainian composer of the late eighteenth and early nineteenth centuries in Western Europe and America of the twentieth century are considered. Sources from periodicals allow us to analyze various forms of perception of his works by a foreign listener during concert performances. Na

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Harrington, Austin. "Ernst Troeltsch’s Concept of Europe." European Journal of Social Theory 7, no. 4 (2004): 479–98. http://dx.doi.org/10.1177/1368431004046704.

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Drakos, Konstantinos, and Cathérine Müller. "Terrorism risk concern in Europe." Economics Letters 112, no. 2 (2011): 195–97. http://dx.doi.org/10.1016/j.econlet.2011.04.003.

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Sawicka, Irena. "Syllabic patterns in South-Eastern Europe." Slavia Meridionalis 15 (September 25, 2015): 220–27. http://dx.doi.org/10.11649/sm.2015.018.

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Syllabic patterns in South-Eastern EuropeWhereas in most of the world’s languages syllable patterns are built according to the principles of sonority theory (they have the one-peak syllable pattern), in some Balkan languages, there occur deviations from the one-peak syllable pattern of a systemic nature. Such deviations occur also in the northern Slavic languages. They mainly concern the distribution of nasal consonants and appear either in the onset (Albanian) or coda (Romanian). At the very south of Europe the open syllable pattern occurs. Struktury sylabiczne południowo-wschodniej EuropyPod

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