Releasing the 'Loudie'

2020 ◽  
Author(s):  
◽  
Christian Kjos
Keyword(s):  
18Th Century ◽  
Historical Sources ◽  
Early Music ◽  
Basso Continuo ◽  
Wide Range ◽  
Keyboard Music ◽  
Music Community ◽  
Baroque Era ◽  
Oriented Approach

My artistic research project at the Norwegian Academy of Music aims to highlight the role of the harpsichord player and the interpretation of basso continuo in G. F. Handel’s continuo cantatas – i.e. cantatas for one voice with continuo accompaniment only. How the continuo realization is shaped in performance of this repertoire is crucial to the overall sound since there are no other obbligato instruments, unlike in the instrumental cantatas. A wide range of possible solutions emerge in the intersection between improvisation, composition, imagination, and speculation within a source-oriented approach. To give these cantatas a musical guise that is rarely heard among performer’s today, I focus on an advanced and soloistic harpsichord continuo that includes different use of imitation, counterpoint, harmonic additions, ‘duet-making’ with the vocal part and other rarely heard features; inspired by certain German 18th-century continuo treatises such as Heinichen’s Der Generalbass in der Composition (Dresden, 1728), Mattheson’s Grosse Generalbass-schule (Hamburg, 1731) and Daube’s General-Bass in drey Accorden (Leipzig, 1756) in addition to several preceding Italian(ate) and English sources, as well as idioms from Handel’s own keyboard music. There are frequently significant discrepancies between how historical sources describe basso continuo playing and how today’s harpsichordists interpret and perform their part within the context of the HIP-movement. In the last decades, two contrasting approaches stand out: those who accompany discretely with few parts and a transparent accompaniment: unofficially nicknamed ‘Softies’; and those who play generally fuller: ‘Loudies’ – from which my project receives its title. With this project, I aim to deepen the understanding of the discipline of continuo playing and to develop realizations that go beyond mere chordal playing often heard today in a much-neglected repertoire by one of the greatest composers of the Baroque era. Hopefully, this will challenge existing views and conventions among several branches of today’s early music community, where strong performers and personas foster strong opinions.

Performance topics in harpsichord music in the second half of the 18th century – Part 1

2019 ◽  
Vol 1 (11) ◽  
pp. 29-42
Author(s):  
Marek Pilch
Keyword(s):  
18Th Century ◽  
Piano Music ◽  
Necessary Condition ◽  
Proper Selection ◽  
Basso Continuo ◽  
Starting Point ◽  
Keyboard Music ◽  
The Right ◽  
Selection Of

The present article is connected in terms of its topic with the text entitled Harpsichord or piano? Different concepts in the 18th century keyboard music published by the author in “Notes Muzyczny” no. 1 (9) 2018, and it is the continuation of the discussion on the capacities and ways of performance of music from the Classical period, which is now understood as piano music, on the harpsichord. Subsequent parts will touch on peculiar performance topics connected with the role of the harpsichord in that period: the understanding and rendering of the dynamics, the performance of arpeggios, and the ornamentation. The starting point of the author’s deliberations is the textbook by Daniel Gottlob Türk entitled Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen. (Leipzig, Halle 1789) and textbooks by other theoreticians of that period (J. J. Quantz, C. Ph. E. Bach), as well as modern publications (F. Neumann, C. Brown, S. Rampe, J. Trinkewitz). The possibility of the rendering of the dynamics understood as the capacity to influence the strength of single sounds is not the necessary condition for performing keyboard compositions from the second half of the 18th century. Neither is it the feature placing keyboard instruments in any particular hierarchy of values. In the 18th century sources it is hard to find any opinions stating that harpsichords were perceived as worse than other keyboard instruments due to the impossibility of shaping the dynamics of individual sounds. The most significant remarks referring to the performance are the topics connected with expression. The dynamics is not the only mean thanks to which a performance becomes expressive. It is possible to play in an expressive way on the harpsichord, yet it is achieved thanks to articulatory measures, agogic nuances, the right way of hitting keys and the proper selection of texture while playing basso continuo.

On Imitation Forms in the Four-Part Divine Service (“Difficult”) by Vasiliy Titov

2020 ◽  
pp. 63-79
Author(s):  
Н.Ю. Плотникова
Keyword(s):  
Large Scale ◽  
18Th Century ◽  
Choral Works ◽  
Wide Range ◽  
Baroque Era

Василий Титов (ок. 1650 – ок. 1715) — выдающийся русский композитор эпохи барокко, в хоровых произведениях которого для различных составов (от трех до двадцати четырех голосов) ярко представлена имитационная техника. Его «Служба Божия» для двух дискантов и двух басов, созданная в 1680–1690-е годы, в одном из рукописных сборников середины XVIII века получила название «трудная», в первую очередь в связи с большим количеством имитационных форм (простые и канонические имитации, бесконечные каноны и канонические секвенции), а также с необычным для партесного стиля типом тематизма, приближающимся к инструментальному. Особый интерес представляют фугированные формы, помещающиеся в экспозиционных разделах частей крупного многочастного цикла Службы, их канонические структуры и своеобразная ладовая организация. В задачи автора статьи входит выявление и характеристика имитационных форм Службы с опорой на теорию С. И. Танеева и методику современного полифонического анализа, определение роли полифонии в построении крупных тексто-музыкальных форм. Vasiliy Titov (c. 1650 – c. 1715) is an outstanding Russian composer of the Baroque era, who brilliantly used imitation techniques in his choral works for choirs of wide range (from three to twenty-four voices). In one of the manuscript сollections of the mid-18th century, his Divine Service for two treble and two bass voices, composed in the 1680–90s, is referred to as ‘difficult’ — primarily due to the multitude of imitations (both simple and canonic, including perpetual canons and canonic sequences), as well as to the peculiarities of the work’s thematic material, close to the instrumental nature, which is unusual for the partesny style. Of particular interest are the fugue forms that are located in the exposition sections of the parts of a large multi-part cycle of the Service, their canonical structures and a kind of modal organization. The tasks of the author of the article include identifying and characterizing the imitation forms of the Service based on the theory of Sergey I. Taneyev and the methodology of modern polyphonic analysis, and defining the role of polyphony in large-scale vocal forms.

scholarly journals Musical interpretation of Hezekiah’s illness in Johann Kuhnau’s Biblical sonata

Menotyra ◽  
2019 ◽  
Vol 26 (3) ◽  
Author(s):  
Aleksandra Pister
Keyword(s):  
Old Testament ◽  
18Th Century ◽  
Rhetorical Figures ◽  
Keyboard Music ◽  
Musical Rhetoric ◽  
Compositional Choices ◽  
Musical Interpretation ◽  
Baroque Era ◽  
And Shifts ◽  
Narrative Element

The article discusses Johann Kuhnau’s fourth keyboard sonata, Der todtkranke und wieder gesunde Hiskias (The Mortally Ill and Then Restored Hezekiah), from his last volume of six keyboard sonatas published in Leipzig in 1700, known popularly as “Biblical Sonatas.” Titled as Musicalische Vorstellung einiger biblischer Historien (Musical Representation of Several Biblical Stories), the set presents a remarkably thorough and detailed musical depiction of selected scenes from the Old Testament. This is also a rare collection of keyboard music to provide a detailed narrative commentary, consisting of verbal synopses of selected stories in German, which preface each sonata, and commentaries in Italian written into notation, which underline portrayed situations, events and affections. To examine the plot-based narrative underlying the storyline of this particular sonata, some authentic discourses have been taken into consideration for analytical purposes. These included the composer’s foreword to the collection of his “Biblical Sonatas,” synopsis of the story depicted in the fourth sonata, and a comprehensive theory of musical rhetoric and the doctrine of the affections found in various 17th and 18th century sources. In this article, the author specifies distinct musical-rhetorical figures that resemble (by analogy) or refer to certain extra-musical objects or phenomena and serve as vehicles for creating different moods and establishing the atmosphere. Depending on which narrative element – action or affections – is brought into focus in each of the six sonatas, the author distinguishes between two types of sonatas, namely ‘action sonatas’ and ‘affective sonatas.’ Affections and shifts in mood experienced by Hezekiah make an important narrative element in the storyline of the fourth sonata. Hence this particular sonata falls under the category of ‘affective sonatas.’ The analysis of this sonata revealed that the narrative is constructed therein in several layers. Firstly, there is a verbal layer: to depict the story in detail and with much consistency, the composer thought it necessary to accompany notation with the synopsis of the story and verbal commentaries. Moreover, quotations from the Protestant chorale Ach Herr mich armen Sünder (Ah Lord, poor sinner that I am) imply verbal connotations of their verses. Secondly, it contains a musical-affective layer: musical devices (such as musical-rhetorical figures, key, rhythm, metre, and the like) are employed there to convey the indicated affections, such as wailing (lamento) or, in other words, sorrow, confidence (confidenza) and joy (allegrezza). The author observes that many compositional choices made by Kuhnau adhere to the standard methods of expressing affects as they were defined in the Baroque treatises. Thirdly, there is an associative layer: certain fragments and elements resemble (by analogy) and refer to extra-musical objects and/or phenomena, such as Belshazzar’s face turning pale and his limbs trembling in terror, the sesquialtera ratio (3:2), which symbolizes the numerical proportion of steps on Ahaz’s sundial and the years of Hezekiah’s life. The alternating musical textures, normally associated with sadness (adagio) and merriment (allegro), can be also mentioned as a characteristic narrative feature in this sonata. Although Kuhnau claimed to have depicted Biblical stories according to his own imagination, the analysis revealed that his writing in this sonata does not veer away from the typical musical vocabulary of the Baroque era, which nowadays requires a more sensitive ear and keener insight into compositional conventions of the period.

scholarly journals Specificity of performance of Еarly Music: historical aspect

2020 ◽  
Vol 56 (56) ◽  
pp. 93-105
Author(s):  
I.I. Kodenko
Keyword(s):  
Research Work ◽  
Reconstruction Method ◽  
Careful Study ◽  
Early Music ◽  
Historical Aspect ◽  
Baroque Era ◽  
Ancient Music ◽  
Historical Performance ◽  
Methods Of Reconstruction

Background. In today’s performing arts, more and more musicians are turning to the trends of historical performance. Therefore, musicology is actively searching for new approaches to the detailed study of authentic performance, to the reproduction of the most adequate ways of interpreting the music of previous eras. Among such methods of interest is the correlation of methods of reconstruction and deconstruction considered in this study. The object of the study is historically oriented performance of music works. The aim of the article is to determine the basic approaches of a number of modern scientific works to the reproduction and interpretation of old music and to identify the research position, which will play the role of methodological key to the analysis of the phenomenon of Early music. The methodology of the research based on analytical and comparative approaches applied to historical-stylistic phenomena, and emphasizes the methods of deconstruction and reconstruction for ancient music interpretation. Research results. The study identifies various approaches to studying the specificity of performing early music and to the interpreted compositional object of authentic performance. The latest scientific publications of musicians-researchers are analyzed: N. Sikorska, V. Kachmarchik, E. Kruglova. N. Sikorska (2016) have identified different approaches to musical Baroque legacy, implemented in nonauthorial editions of the Romanticism era. She presents in the form of a hierarchical system the stylistic parameters of the authentic performance of the Baroque style in the works for clavier of the late 16th – early 18th century. V. Kachmarchik (2003), in his scientific work, studied the historiography of flute art and determined the main stages of development of the flute design, also noted the basic principles of the formation of German flute pedagogy and determined the role of outstanding personalities in German flute art of the 18th – 19th centuries. E. Kruglova (2007) in her doctoral dissertation summarizes the artistic principles of Baroque vocal art: the vocal tradition of the Baroque era, the specifics of musical expressive means (dynamic, tempo, vocal-language articulation, ornamentation) and vocal technique (breathing, sound emission). She also conducts a comprehensive study based on the cultural-historical method that represent a culture as the key to interpreting a work of art and helps to understand comprehensively the bel canto singing tradition in the Baroque era. Also, she uses the theoretical and analytical methods, which provides a deep analysis of documents to identify the essence of the singing tradition, a thorough study of the means of musical expressiveness that make up its basis; the method of comparative analysis for determination the features of the most important parameters of performing interpretations of music by G. F. Handel in the period under review. However, these works did not pay due attention to the difference in the basic definitions of the very phenomenon of authentic performance: firstly, of the authentic performance as an instrumental accompaniment of vocal music, and secondly, of the ideas about the essence and nature of the instrumental version of historical performance itself. The author of the article formulates the methodological principles of studying the phenomenon of authentic performance, explains the attributes of the methods of “reconstruction” and “deconstruction” – in relation to the recreation of the historical interpretation of early music. Thanks to the methods of reconstruction and deconstruction, the historical image and meaning of the musical culture of the Baroque and the Renaissance may be recreated adequately. Need to take in account the uniqueness of each historical situation and the importance of the context of the era, in correlation with which the corresponding instruments, canons of musical writing and performance occur, are determined. The use of the reconstruction method led to the comprehension of the change of all means of expressiveness: tempo, motion, instrumentation, touch and strokes – even the tasks and meaning of music as an art form. Note that such an approach as deconstruction involves a “focus shift” to identify small details that will decipher the meaning of the work. The use of this method by authenticity scientists clarifies the incorrectness of the ideas about early music, helps the modern listener to improve the ideas about the relevant cultural era. With the help of scientific discourse, researchers and performers reconstruct the real meaning of early music, a new vision of historical performance as an artistic phenomenon is gradually emerging. Conclusions. The presented analysis of various approaches to the study and authentic reproduction of music by ancient composers reveals, from the author’s point of view, as a fundamental and promising approach based on the correlation of deconstruction and historical reconstruction methods. The Baroque era is characterized by the huge role of conventions and the careful study of details that are inextricably linked with canon and tradition. In this case, the use of the method of deconstruction destroys, first, the incorrect achievements and ideas about ancient music, which prevent the modern performer and listener from reaching its understanding. For an adequate restoration of ancient music, many factors must be taken into account, the main of which is the experience and achievements of pioneers of an authentic direction. The artistic practice of authentic performers should also be based on the achievements and conclusions of the relevant research work. Prospects for further research in this matter are a detailed study of works of ancient musical heritage and ways of their modern reproduction by talented musicians.

scholarly journals The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith

2020 ◽  
Vol 56 (56) ◽  
pp. 154-168
Author(s):  
I.O. Sediuk
Keyword(s):  
20Th Century ◽  
Modern World ◽  
Main Theme ◽  
Paul Hindemith ◽  
Ensemble Technique ◽  
Basso Continuo ◽  
Wide Range ◽  
Baroque Era ◽  
Slow Tempo ◽  
Aesthetic Ideas

Background. The neoclassicism of the first decades of the 20th century turned to be a kind of opposition to atonalism, which captured many radical composers. The supposed “bilingualism” of neoclassicism opened wide perspectives for individual concepts realization, broadening the boundaries of new knowledge of the Baroque and early classicism. Instrumental sonata, including the Sonata for Two Pianos naturally entered the neoclassical trend mainstream in a number of others, non-symphonic classical and romantic genres, compensating for the rejection of effective dramaturgy by enhancing the contrast between the cycle’s parts, thus tending to Baroque cyclic compositions. For Paul Hindemith, whose name is always associated with this art movement, “communication” with musical past was not an instant hobby but something that determined the focus of his creative thought. Objectives. The article’s purpose is to reveal the peculiarity of neoclassic principles embodiment in the Sonata for Two Pianos by P. Hindemith, to consider its composition, semantic and structural units. Methods. The study’s methodology is based on historicism principle, which involves the study of artistic phenomena being connected with the established musical art experience, and a comprehensive approach that allows involving of different methods of music analysis. Results. Sonata for Two Pianos (1942) consists of five movements; each one has its name. P. Hindemith’s individual approach to the sonata genre is usually evaluated in terms of the artist’s refusal of traditional composition, changes in sonata form, which often includes dramatic function changing. This is due to the desire to make equal all the forms involved in the cycle, in particular the most important polyphonic ones. The movements’ names “The Bells”, “Allegro”, “Canon”, “Recitative”, “Fugue” reveal the suite’s features. “The Bells” opening the cycle show a wide range of musical associations: from French harpsichordists gravitating to sound expression to representatives of different national cultures of the 20th century. The textured thematic drawing of the part reveals another modus of play with tradition expressing itself in improvisational principle domination and Baroque fantasy revival. The Old English verse text preceding “Recitative” reminds of 16–17th century program compositions and shows connection with opera art. “Recitative” combines concise musical phrases typical for Baroque culture vocal genres and typical rhythm formulas that embody the freedom of language intonation and bring in improvisation and allusion on basso continuo. The reference to Baroque era polyphony is evidenced by “Canon” and “Fugue”. In the “Canon”, polyphonic interaction is reached by two piano parties and not by individual voices of the four-voice ensemble texture. The slow tempo Lento, the static movement of musical thought, where “step” pulsation is felt in 4/8 metrics, unusual for classic and romantic culture, the predominance of quiet sound implies tragic pathetic element in “Recitative”. These two parts, “Canon” and “Recitative”, constitute a complementary semantic pair as play modes of tragic imagery embodiment through Baroque era high style, its objective and subjective beginnings. Actually, sonata genre is represented only by the second part “Allegro” with its fast tempo, clarity of form, volitional character of the main theme, scherzo grace of the subsidiary theme, large coda. The composer maintains contrast method choosing his complex of expressive means for each exposition sections. The Sonata is finished by a grand three-theme fugue with metro-rhythmic design associated with the corresponding polyphonic music structures, and more, the initial fifth step corresponds to J. S. Bach’s “Fugue Art”. The first theme’s imperative character establishes the dramatic imagery as fundamental in Sonata’s artistic concept. Its intonational content is characterized by fourth and fifth interval structures, some of them are creating the frame of the whole cycle. The second theme is more melodic and contrasting. The bass register of the third theme in rhythmic augmentation, the wave-like pattern of its melodic line covering the range of the diminished octave, is perceived as embodying of the modern thinking tension, the “echo” of Baroque era aesthetic ideas. The artistic idea of the Sonata for Two Pianos by P. Hindemith is built on drama concentration, overcoming suite separation of the parts and reflecting the full life realities and the inviolability of Universe laws. Conclusions. Sonata for Two Pianos by P. Hindemith returns to its origins thanks to the 20th century artists’ interest to the Baroque culture, demonstrating irregular genre boundaries and the ability to maintain high polyphony means, unregulated cycle and synthesis of several compositional principles within one work. The neoclassical principles did not deprive the Sonata of being presented in that time’s social and spiritual events, and allowed it to generalize modern world conflicts with the help of established semantic and compositional units. Thus, P. Hindemith’s Sonata for Two Pianos preserves its own approach to musical experience and possibilities of ensemble technique distinguished in almost full absence of performing competition idea, dialogism in its traditional reflection while retaining the parties’ equality.

scholarly journals Bassoon in the 16–17 centuries: the issues of the bassoon practice development

2020 ◽  
Vol 19 (19) ◽  
pp. 139-150
Author(s):  
Oleksandr Pastukhov
Keyword(s):  
Symphony Orchestra ◽  
Reciprocal Relationship ◽  
Scientific Publications ◽  
Main Research ◽  
Basso Continuo ◽  
Antonio Vivaldi ◽  
Wide Range ◽  
Baroque Era ◽  
And Performance ◽  
The Relationship

Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.

scholarly journals THE UKRAINIAN-MOSCOW TREATY OF 1654 IN THE INTERPRETATIONS OF POLISH HISTORIANS OF THE FIRST HALF OF THE TWENTIETH CENTURY

2021 ◽  
pp. 407-426
Author(s):  
Ihor Chava
Keyword(s):  
Twentieth Century ◽  
Historical Sources ◽  
Scientific Pluralism ◽  
Scientific Analysis ◽  
Wide Range ◽  
Church Structure ◽  
Scientific Principles ◽  
History Of ◽  
General Scientific

Summary. The purpose of the study is to research the interpretations of the Ukrainian-Moscow treaty of 1654 in the works of Polish historians of the first half of the twentieth century; study the approaches of scientists to identify the reasons for the mutual understanding of the Ukrainian Cossacks with the tsarist authorities; analyze the peculiarities of the study by Polish scholars of the history of the relations of the Hetman’s Chancellery of B. Khmelnytsky with Moscow; consider the specifics of historians’ vision of the circumstances of concluding the agreement in Pereyaslav and Moscow as well as the course of negotiations between the parties and their implementation; study the researchers’ assessments of the significance of the Ukrainian-Moscow agreement in the history of Ukraine, Tsardom of Muscovy and the Polish-Lithuanian Commonwealth. The research methodology is based on the general scientific principles of objectivity, historicism, scientific pluralism and reliance on historical sources. General scientific (analysis, synthesis, comparison) and special-historical (historical-genetic, historical-typological, problem-chronological, historical-systemic) methods have been used in the work. The scientific novelty of the study lies in the analysis of a wide range of historiographical sources that reflect the interpretations of Polish scholars of the first half of the twentieth century history of the conclusion of the Ukrainian-Moscow treaty of 1654. The peculiarities of the historians’ approaches to the causes of the union between the Cossacks and Moscow and the circumstances of its conclusion are particularly studied. The ideological influences of historical schools and political concepts on the assessments of scholars of the Pereyaslav agreement and bereznevi statti (March articles) have been analyzed. Conclusions. Polish historians of the first half of the twentieth century considered 1654 a milestone in the fate of Ukraine and one of the most important in the history of Poland. It was from the Cossack-Moscow treaty that they deduced the beginning of the rejection of the eastern lands of the Commonwealth in favor of Russia. Scholars saw the causes of these fateful events in the significant depletion of the Ukrainian uprising. As another reason, they also pointed to the complication of the international situation of the Cossacks due to frustration with the Turkish protection and the dual role of assistance to the Crimean Khanate. Polish scholars have drawn attention to the long history of Cossack-Moscow relations since the uprisings of the first half of the seventeenth century. However, they also pointed to Moscow’s unpreparedness for the war against the Commonwealth and its indecision. In their interpretations of Cossack-Moscow relations during the national liberation war Polish historians emphasized the parties’ differing views on the terms of the union. Thus, the scholars indicated that B. Khmelnytsky understood the agreement as a military understanding directed against Poland, where there was no talk of any restriction of Ukraine’s broad autonomy. Instead, the tsarist government understood the treaty as a simple incorporation of Ukrainian lands. This, in turn, as scientists have pointed out, it has caused many sharp misunderstandings. Among the most irritating researchers named the issue of financing the Cossack register and the disagreement of the Ukrainian clergy with the attempts of the Moscow Patriarchate to absorb its church structure. Thus, in the vision of Polish historians of the first half of the twentieth century, the Ukrainian-Moscow union was perceived as hopeless and even utterly dangerous for the very existence of the Ukrainian people.

scholarly journals The dispute on the language norm in A.P. Sumarokov’s article “To typographers”

2020 ◽  
Vol 18 (4) ◽  
pp. 469-480
Author(s):  
Yulia V. Slozhenikina ◽  
Andrey V. Rastyagaev
Keyword(s):  
18Th Century ◽  
Russian Literature ◽  
Russian Language ◽  
Theoretical Development ◽  
Original Text ◽  
Literary Language ◽  
Historical Sources ◽  
Russian Literary ◽  
History Of

The actuality of the undertaken research is conditioned by the necessity to study the role of Russian literature and journalism, separate linguistic programs of the middle of the 18th century in assertion of the main characteristics of the literary standard, which began to take shape in 80 years of this century. The aim of the scientific study is to analyze the similarities and differences between the linguistic theories of A. Sumarokov and V. Trediakovsky, to establish the place of this polemic in the history of Russian literary language of the 18th century, its significance for the formation of the literary standard. The language material is the original text of Sumarokov's article To typographers (K tipografskim naborshhikam), published in the May issue of the journal Trudolyubivaya pchela (1759). The system of views of scholars and writers of the mid-18th century on the Russian language are presented by means of descriptive and comparative methods with revealing the specifics of each language concept. An integral part of the methodology was the observation of the word usage in the texts by A. Sumarokov and V. Trediakovsky. The use of methods of linguoculturology made it possible to present linguistic polemics as a phenomenon of Russian culture. The extra-linguistic method and the method of reconstruction from historical sources were used to establish the phenomena of extra-linguistic reality that influenced the problems of the philological discussion. The results of the research showed that the extra-linguistic reason for writing the article was determined, the tradition of the writers' appealing to the typesetters in the history of domestic printing of the first half of the 18th century was traced, the group of works with which Sumarokov-philologist enters polemics was determined, the main concepts of the article were identified, the position of Sumarokov from the point of view of normalization of graphic, morphological, orthographic practice in the middle of the 18th century was fixed; the article by Sumarokov was considered in accordance with the concept of metatextual unity in the world. The prospects of the research relate to the fundamental theoretical development of the role of 18th century Russian literature in the formation of the Russian literary language standard.

scholarly journals Perusahaan Rekaman Lokananta, 1956-1990-An dalam Penyebarluasan Seni Pertunjukan Jawa Surakarta

2018 ◽  
Vol 2 (2) ◽  
pp. 425 ◽  
Author(s):  
Dhanang Respati Puguh
Keyword(s):  
Oral History ◽  
Performing Arts ◽  
Historical Sources ◽  
Cassette Tape ◽  
Previous Period ◽  
Historical Method ◽  
Central Java ◽  
Wide Range ◽  
National Music

This article examines on the role of Lokananta in disseminating Javanese performing arts of Surakarta during 1956-1990. It is focused on records production either in vinyl or tape cassettes and its distribution. This article composed using historical method and utilize wide range of historical sources, such as archives, newspapers, vinyl and cassette covers, articles, books, and oral history. The results showed that during 1957-1971, Lokananta has produced vinyl records which were classified into National Music, Regional Entertainment, and Regional Theatre Music. In that period, Lokananta production was dominated by recording of National Music and Music-Theatre of Central Java. During 1971-1985 Lokananta produced many music and theatre records of Central Java printed into cassette tape. In 1985-1990’s, Lokananta produced and made reproduction on cassette recordings. Quantitatively, production and reproduction recording number has drastically decreased compared to the previous period. Records vinyl and tape cassettes sale, as well as the distribution via Radio Republik Indonesia and private broadcasts, proved that Lokananta has been instrumental in disseminating Javanese performing arts of Surakarta.

scholarly journals ISLAM AND NATIONALISM: The Role of the Universitas Al Washliyah In the Era of Post Independent 1950s

2021 ◽  
Vol 5 (1) ◽  
pp. 1
Author(s):  
Faisal Riza
Keyword(s):  
Historical Study ◽  
Main Argument ◽  
Historical Sources ◽  
Scientific Authority ◽  
Wide Range ◽  
Strategic Position ◽  
Independence Era ◽  
The University ◽  
North Sumatra

<strong>Abstract</strong>: This article attempts to explore the role of Al Washliyah University in the trajectory of modern Indonesian history, especially regarding the Islamic style they developed, the Islamic scientific authority built by both scholars and their teachings. In addition, this article examines the strategic position of the university in the 1950s socio-political setting in North Sumatra. This study is a historical study with a political sociology approach by prioritizing archival records, published historical sources, and making greater use of a wide range of oral material in the form of interviews. The results of this study indicate that UNIVA has bridged and developed the two main streams of public debate since the independence era and even now, namely regarding Islam and nationality. The thoughts of the founders have strengthened the integration between Islam and nationality in a formula to build a nation and a generation. Then, this affirmation is seen as important as the main argument in this article which allows the opening of a dialogue about how the Islamic scientific tradition that was built and developed by UNIVA scholars as a foundation for Islamic educators, actors of Islamic universities in promoting democratization and nationality, creating social cohesion.<br /> <br /><strong>Keywords:</strong> UNIVA, Islamic higher education, Islamic authority, nationalism

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