scholarly journals Kharkiv regional school of chromatic button accordion playing: the history, the personalities and the priorities of performing

Author(s):  
Andriy Strilets

Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.

Author(s):  
Andriy Strilets

Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.


Author(s):  
Violetta Dutchak ◽  
Iryna Riabchun

The article focuses on the history of origin, the specifics of sound production, the philosophy of performance of the carillon – a European musical instrument, which in recent decades has become active in Ukraine. The purpose of the research is to analyze the history of the carillon origin, its design, technical and expressive means of sound extraction and musical representation of composition and performance. Research methodology. The article uses historical, axiological, musicological and culturological approaches and corresponding methods. The historical-chronological method is used to consider the history of origin, stages of carillon distribution in Europe and the world, axiological – to determine the artistic and psychotherapeutic value of bell (carillon) sound, musicological and culturological methods contribute to various analysis’ aspects of the place and meaning of Ukrainian carillon. Scientific novelty of research. A historical retrospective of the carillon’s spread has been carried out; generalizations regarding its constructive, melodic-intonation, technical, figurative-artistic properties, in particular, in the Ukrainian sound space, have been introduced into the scientific circulation of Ukrainian musicology. Conclusions. The history of the creation of stationary and mobile carillons in Ukraine, stages of entering the specified musical instrument into the Ukrainian sound space, the character of the repertoire performed on it, pedagogical and performing aspects of its popularization have been analyzed. The dynamics of the International Festival of Bell and Carillon Art ‘Bells of Yasna Hora Unite Everyone’ is noted. The performance possibilities of the timbre combination of the carillon with other instruments and singing voices are noted. The technical and expressive significance of synthesizing carillon and the ensemble of bandurists has been highlighted and analyzed. Textural variation of ensemble combination of carillon and ensemble of bandurists and possibilities of thematic and genre extension of repertoire has been proposed.


2010 ◽  
Vol 4 (1) ◽  
pp. 23-43 ◽  
Author(s):  
Alistair Welchman ◽  
Judith Norman

AbstractF.W.J. Schelling’s Ages of the World has just begun to receive the critical attention it deserves as a contribution to the philosophy of history. Its most significant philosophical move is to pose the question of the origin of the past itself, asking what “caused” the past. Schelling treats the past not as a past present (something that used to be a ’now’ but no longer is) — but rather as an eternal past, a different dimension of time altogether, and one that was never a present ’now’. For Schelling, the past functions as the transcendental ground of the present, the true ’a priori’. Schelling’s account of the creation of this past takes the form of a theogeny: in order to exist, God needed to separate the past from the present. By grounding the creation of the past in a free decision of God, Schelling tries to conceptualize temporality so as to preserve the sort of radical contingency and authentic freedom that he considers essential features of history. In so doing, he opens up a way of viewing time that avoids the pitfalls of the Hegelian dialectic and anticipates some of the 20th century developments in phenomenology.


2005 ◽  
Vol 38 (2) ◽  
pp. 167-180 ◽  
Author(s):  
Philip C. Stenning ◽  
Clifford D. Shearing

A few years ago, David Bayley and Clifford Shearing (1996) argued that at the end of the 20th century we were witnessing a ‘watershed’ in policing, when transformations were occurring in the practices and sponsorship of policing on a scale unprecedented since the developments that heralded the creation of the ‘New Police’ in the 19th century. In this special issue of the journal, we and our fellow contributors turn our attention to a somewhat neglected aspect of this ‘quiet revolution’ in policing (Stenning & Shearing, 1980), namely the nature of the opportunities for, and challenges posed by, the reform of policing in different parts of the world at the beginning of the 21st century. Our attention in this issue is particularly focused on the opportunities, drivers and challenges in reforming public (state-sponsored) police institutions.


2017 ◽  
Vol 4 (2) ◽  
pp. 57-62
Author(s):  
Alexsandra Barbosa da Silva

ABSTRACTThis article deals with the creation of the Project UERJians in the World, developed by the Information and Communication Technologies Laboratory (LaTIC), of the Subrectorship of Graduation of UERJ. The LaTIC aims to promote the use of Information and Communication Technologies under graduation. One of the latest tools that the Internet made possible was the creation of social networks, because through them we can share information and experiences to generate new knowledge. Thus, the project "UERJians in the world", through the blog (http://uerjianospelomundo.latic.uerj.br/) and Facebook page (http://www.facebook.com/UerJianosPeloMundo) was designed in order to contribute for academic education using the interaction of the university students who are participating in exchange programs for the production of knowledge with a collaborative aspect and to encourage the development of social skills for participation in the contemporary society using the technological resources available in social networks.RESUMOEste artigo trata da criação do Projeto UERJianos pelo mundo, desenvolvido pelo Laboratório de Tecnologias de Informação e Comunicação (LaTIC) da Sub-reitoria de Graduação da UERJ. O LaTIC visa fomentar a utilização das Tecnologias de Informação e Comunicação no âmbito da graduação. Uma das ferramentas mais atuais que a internet possibilitou foi a criação de redes sociais, pois por meio delas podemos compartilhar informações e experiências, para gerar novos conhecimentos. Sendo assim, o projeto “UERJianos pelo mundo” através do blog (http://uerjianospelomundo.latic.uerj.br/) e da página no facebook (http://www.facebook.com/UerJianosPeloMundo) foi idealizado, visando contribuir para a formação acadêmica utilizando a interação dos alunos da universidade que estão fazendo intercâmbio para a produção de conhecimento com aspecto colaborativo e o incentivo ao desenvolvimento de habilidades sociais para a participação na sociedade contemporânea utilizando os recursos tecnológicos disponíveis nas redes sociais.


Prospects ◽  
1996 ◽  
Vol 21 ◽  
pp. 169-192
Author(s):  
Kathleen Brogan

Part German-American and part Chippewa, Louise Erdrich has described the “mixed blood's” quest as a search for parentage, an attempt to understand self by interrogating genealogy. In the opening paragraphs of Tracks, a novel set on a North Dakota Chippewa reservation in the early 20th century, Erdrich reveals that the investigation of background necessarily entails an entrance into the world of ghosts. When the narrator Nanapush addresses the young woman listening to his unfolding account of her familial and tribal past as a “child of the invisible, the ones who disappeared,” he simultaneously connects an awareness of the ghostly presence of the dead with the discovery of identity and the creation of history. The narrator's conjuring of “invisible ancestors and “ghosts” (2) who inhabit tribal woods introduces haunting as Erdrich's central metaphor for the way the past shapes and is shaped by the present.


2015 ◽  
Vol 50 ◽  
pp. 270-279
Author(s):  
Nicole Dołowy-Rybińska ◽  
Hanna Popowska-Taborska

Can the presently created Kashubian literary language and the currently formed new Breton language be objects of consideration for researchers of the linguistic picture of the world?The influence of the Polish language in conjunction with education and the mass media have brought about in the second half of the 20th century a growth of Polish-Kashubian bilingualism and a decline of Kashubian dialects. Simultaneously, work on the creation and promotion of the literary Kashubian language has begun. The standard Kashubian language is new to all users as is the new Breton language standardized in the last decades of the 20th century. Intergenerational transmission of the Breton language was severed after WWII. The ethnic revival of the 1970s led to the revalorization of the Breton culture and language, taught since then in a number of schools and at adult courses. Normalized Kashubian and Breton languages are full of neologisms. But at the same time they have also been considerably purified of those traits which make them similar to the respective dominant language (Polish and French). Furthermore, the range of use to which these minority languages are put is very different from one user to another. All these specifics result in the near impossibility of researching the linguistic picture of the world of contemporary normalized minority languages. Czy współcześnie powstający kaszubski język literacki oraz obecnie tworzony język neobretoński mogą stanowić przedmiot dociekań badaczy językowego obrazu świata?Wpływ polszczyzny związany ze szkołą i mediami masowymi spowodował wzrost w drugiej połowie XX wieku dwujęzyczności kaszubsko-polskiej i zanikanie dialektów kaszubskich. Jednocześnie rozpoczęły się prace nad stworzeniem i upowszechnieniem kaszubskiego języka literackiego. Standardowy język kaszubski jest nowy dla wszystkich użytkowników, podobnie jak standaryzowany w drugiej połowie XX wieku język bretoński. Międzypokoleniowa transmisja bretońskiego została przerwana w połowie XX wieku. Odrodzenie etniczne lat 70. XX wieku doprowadziło do rewaloryzacji kultury i języka bretońskiego, którego dzieci zaczęły się uczyć w szkołach, a dorośli – na kursach. Znormalizowane języki kaszubski i bretoński pełne są neologizmów, podlegają również procesom puryfikacji mającym oczyścić je z cech upodobniających do języka dominującego (polskiego i francuskiego). Zakres posługiwania się nimi u poszczególnych ich użytkowników jest silnie zróżnicowany. Wszystkie te fakty sprawiają, że badanie językowego obrazu świata normalizowanych obecnie języków mniejszościowych nie wydaje się możliwe.


2020 ◽  
Vol 2020 (2) ◽  
pp. 27-30
Author(s):  
Aleksandr Sidorchuk

The article describes the history of the creation of vaccines against the foot-and-mouth disease since the first attempts to control the disease to modern time, as well as the successes achieved in the prevention and eradication of foot-and-mouth disease in the 20th century in various countries of the world using various control programs, including vaccination. The stages of research and practical application of vaccines against the foot-and-mouth disease are consistently indicated, how and by whom the technologies for the manufacture of vaccines against this disease were developed, the experience of their application has led to the fact that now many countries of the world are free from the foot-and-mouth disease. This information remains useful for the Russian reader in connection with the registration of the foot-and-mouth disease in our countr


2021 ◽  
pp. 134-141
Author(s):  
Ms. Rainysha Rawal ◽  
Dr. Aparna Banik

This paper explains after analysing critical aspects why J. R. R. Tolkien’s efforts are the mere reason for generating huge interests among authors in Fantasy. Among the most prominent novels of 20th century, for considering excellence in any fantasy literature his works stood as a benchmark. It also highlights about World Building. The greatest contribution belongs to Fantasy Literature is making of new worlds, providing new definition to fantasy and his esteem for different languages made him to use the Language as a constant to create the world from scratch. Tolkien may consider the creator of his own world – Middle-earth which acts as a Universe, it took around 60 years in the creation, has a deep meaning in everything which one can ever expect. He is a prolific artist and his created universe of own geography and history, flora and fauna, languages and cultures, physics and magic proved fine artist constructing the worlds.


Author(s):  
Илья Письменюк

Статья посвящена созданию крупнейшей межхристианской и экуменической организации XX в. - Всемирного Совета Церквей (ВСЦ). В статье автор повествует о процессе постепенной институализации экуменического движения: объединении экуменических инициатив по направлениям деятельности и причинах, побудивших к итоговой централизации экуменизма под эгидой единого органа. Особое внимание уделяется разработке конституции и административного устройства ВСЦ, а также его первой Генеральной Ассамблее в Амстердаме, лёгшей в основу объединения в рядах ВСЦ как различных экуменических инициатив, так и множества христианских конфессий. The article by Ilya Nikolaevich Pismenyuk, lecturer in the Department of Church History, is devoted to the creation of the largest inter-Christian and ecumenical organization of the 20th century. - The World Council of Churches (WCC). In the article the author describes the process of the gradual institutionalization of the ecumenical movement: the unification of ecumenical initiatives in their activities and the reasons that prompted the final centralization of ecumenism under a unified body. Special attention is given to the development of the constitution and administrative structure of the WCC and its first General Assembly in Amsterdam, which formed the basis for the unification of various ecumenical initiatives as well as many Christian denominations within the WCC.


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