scholarly journals Phenomenology of style as musicological discourse

2019 ◽  
Vol 55 (55) ◽  
pp. 7-21
Author(s):  
Oleg Kopeliuk
Keyword(s):  
Phenomenological Study ◽  
Phenomenological Approach ◽  
Phenomenological Method ◽  
Theoretical Understanding ◽  
Theoretical Concepts ◽  
Musical Thinking ◽  
European Philosophy ◽  
The Subject ◽  
Musical Creativity ◽  
Musical Communication

Background. Among the studies of the last five years we note scientific researches which reveal different phenomenological concepts in musicological discourse and reveal the final maximum of the phenomenological study of music essence. R. Kurenkova’s research is one of them, which explores the content of the phenomenological approach to the analysis of musical art works, and traces the analysis of the history and theory of the phenomenological method. In V. Sokolov’s work the attention is focused on the categories of musical thinking, which for the first time becomes the subject of methodologically advanced phenomenological analysis. A. Karipova traces the connection of musical phenomenology with E. Husserl’s temporal concept in her research. T. Ivannykov studies the phenomenon of guitar art. The phenomenology of style, which was first introduced into the scientific musicological circulation, is studied by the article’s author in the PhD research. Objectives. The article’s objective is to form a musicological discourse on the problems of musical phenomenology on the basis of existing scientific sources and to reveal the understanding of composer’s style as a phenomenon of musical creativity. Methods. The research methodology is focused on the synthesis of different approaches: historical, functional and structural, genre, stylistic performing and interpretive, phenomenological approaches. Results. Phenomenology as a direction studies phenomena, reveals their content by means of structural complexes in their integrity. In the 19th century, the search for common interconnection and common methods of a unified process of cognition began in Western European philosophy. The theoretical concepts of the leading philosophers and phenomenologists E. Husserl, F. Brentano, M. Heidegger are considered. Extrapolation of the teachings of outstanding philosophers and phenomenologists to the material of musical art proved that Phenomenology as a process of cognitive knowledge of musical creativity reveals the fact of an individual performer’s experience as well as the experience of his artifact, which at the final stage forms the result of theoretical understanding. The valuable concepts of phenomenology of musical creativity by L. Akopian, O. Losev, M. Arkadyev, Z. Fomin, R. Kurenkova, V. Sokol, O. Krayeva, A. Karipova, I. Konovalova, T. Ivanikov are considered, which determine the musicological debate and give perspective on this issue’s development. Music, as the comprehension of being, is an irrelevant form of its expression, it contains meanings that do not “lie” on the surface, requiring their understanding and recognition. Therefore, the phenomenological approach leads to the isolation of a special subject named “phenomenology of musical creativity”. Accordingly, the phenomenology of musical objects is a method of musical phenomena recognition defining the descriptive function of their essence. Since phenomenology is involved in musical creativity, it should be noted that it is connected with a created, completed and final product (work), its performer, and subject (listener). Therefore, phenomenology can be involved at all levels of musical communication: both external (genre, performer, listener) and internal (work, form, dramaturgy, style). Phenomenological approach to the study of the composer’s style specifics leads to a structured attitude to the content of musical phenomena. The broadest sense for the extrapolation of phenomenology to musical art gives the notion of life-creation, whose meaning implies not only an artist’s belonging to historical age and composing school. The phenomenology of composer’s style is connected with the knowledge of a work’s semantic orientation in its “performanceappropriate” style reproduction. The performance concept is an appropriate task of phenomenology in the sense of knowing the semantic direction and its performanceadequate reproduction that is personal interpretation. Thus, before performing the compositional structure of a work and type of musical dramaturgy, a performer should establish a research position. In order to develop a work’s phenomenological concept, it is suggested to consider all factors of composer’s style as a two-level system: general stylistic intonation and performing concept. Сonclusions. The actualisation of the phenomenological method of cognition is evidenced by the various positions (cognitive attitudes) that relate to the subject who is the subject of “composer – performer – researcher” creativity. The levels of manifestation of creative phenomenology are fixed in the artifacts (a composer’s musical archive, audio and video recordings of different performers) should allow to consider composer’s style through its evolution. The model of style phenomenology is built as a system of functional levels and connections between them that emerge on musical communication basis (author – performer – listener).

scholarly journals A Pilot Study of Nurses' Experience of Giving Spiritual Care

2014 ◽  
Author(s):  
Belinda Deal
Keyword(s):  
Pilot Study ◽  
Lived Experience ◽  
Spiritual Care ◽  
Phenomenological Study ◽  
Phenomenological Approach ◽  
Phenomenological Method ◽  
Patient Centered ◽  
Spiritual Interventions ◽  
Religious Resources

Using spiritual and religious resources gives patients and families strength to cope during a crisis, but nurses often do not offer spiritual care (Kloosterhouse & Ames, 2002). The purpose of this phenomenological study was to explore nurses" lived experience of giving spiritual care. A descriptive phenomenological approach was used to interview 4 nurses. Data were analyzed using Colaizzi's (1978) phenomenological method. Five themes were identified: spiritual care is patient-centered, spiritual care is an important part of nursing, spiritual care can be simple to give, spiritual care is not expected but is welcomed by patients, and spiritual care is given by diverse caregivers. Spiritual care is an integral part of nursing and nurses can support patients with spiritual interventions.

scholarly journals Experiences of hospitalization among pregnant women with preterm labor in Korea: a phenomenological study

2021 ◽  
Vol 27 (3) ◽  
pp. 209-219
Author(s):  
Joon-Young Lee ◽  
Yeoungsuk Song
Keyword(s):  
Lived Experiences ◽  
Preterm Labor ◽  
Phenomenological Study ◽  
Well Being ◽  
Phenomenological Approach ◽  
Married Women ◽  
Korean Women ◽  
Phenomenological Method ◽  
Depth Interviews ◽  
Remaining Time

Purpose: The purpose of this study was to describe pregnant women’s lived experiences of hospitalization due to preterm labor in Korea. Methods: This qualitative study adopted a phenomenological approach. Individual in-depth interviews were conducted with nine participants, over the age of 20 years, who had been hospitalized for more than 1 week after being diagnosed with preterm labor. All interviews were audio-taped and verbatim transcripts were made for analysis. The data were analyzed following Colaizzi’s phenomenological method. Results: The participants’ ages ranged from 26 to 36 years, and all were married women. They were hospitalized for 13.1 days on average. Five thematic clusters emerged from the analysis. ‘Withstanding hospitalization for the fetus’s well-being’ describes women’s feelings during preterm labor and their endurance during their prolonged hospitalization, rooted in their conviction that the fetus comes first. ‘Endless frustration in the hospital’ encompasses women’s emotions while lying in bed and quietly thinking to themselves. ‘Unmet physiological needs’ describes participants’ awareness of their inability to independently handle human physiological needs given the need for careful and limited movement. ‘Gratitude for the support around oneself’ reflects the support from family and medical staff. ‘Shifting perceptions and accepting one’s circumstances’ describes accepting hospitalization and making efforts to spend their remaining time in the hospital in a meaningful way. Conclusion: The findings in this study provide a deeper understanding and insights into the experiences of Korean women with preterm labor during hospitalization, underscoring the need to develop interventions for these patients.

scholarly journals Beyond numbers: learning from the experience of kidney-transplant recipients

2018 ◽  
Vol 5 (1) ◽  
Author(s):  
Stephanie Bogue Kerr ◽  
Marguerite Soulière ◽  
Lorraine Bell
Keyword(s):  
Kidney Transplant ◽  
Subjective Experience ◽  
Phenomenological Study ◽  
Phenomenological Approach ◽  
Transplant Recipients ◽  
Kidney Transplant Recipients ◽  
Adult Care ◽  
Allied Health Professionals ◽  
Theoretical Concepts ◽  
Depth Analysis

The present article presents the findings of a phenomenological study, which sought to explore the subjective experience of kidney transplantation amongst young people who lived the transition from pediatric to adult care.  This study was conducted using a qualitative phenomenological approach, involving semi-directed interviews with five people, three of whom received their kidney transplants as children, the other two as young adults. An in-depth analysis of their narratives revealed the paradoxical nature of the kidney transplant experience for these individuals; existing between self and other, sickness and health, and at times, between life and death. The liminal nature of transplantation was found to be an important quality of the experience, thus leading to an analysis of the experience in relation to the theoretical concepts of liminality and rites of passage. This analysis culminates in the introduction of the term transliminal-self, to encompass the complexity of the experience. Finally, the article concludes with a discussion regarding the relevance of the subjective experience for the practice of medical and allied health professionals who work with transplant recipients. 

scholarly journals Meaning of life as perceived by nurses at work in oncology palliative care: a phenomenological study

2021 ◽  
Vol 55 ◽  
Author(s):  
Renata Carla Nencetti Pereira Rocha ◽  
Eliane Ramos Pereira ◽  
Rose Mary Costa Rosa Andrade Silva ◽  
Angelica Yolanda Bueno Bejarano Vale de Medeiros ◽  
Diva Cristina Morett Romano Leão ◽  
...  
Keyword(s):  
Palliative Care ◽  
Phenomenological Study ◽  
Meaning Of Life ◽  
Phenomenological Approach ◽  
Phenomenological Method ◽  
The Awakening ◽  
The Face ◽  
Philosophical Framework ◽  
Self Transcendence ◽  
The City

ABSTRACT Objective: To understand the meaning of life as perceived by nurses at work in oncology palliative care. Method: This is a qualitative study, with a phenomenological approach, based on the theoretical-philosophical framework by Viktor Emil Frankl. It was developed with nurses in a unit specialized in oncology palliative care located in the city of Rio de Janeiro and used phenomenological interviews. Data were processed using the phenomenological method by Amedeo Giorgi. Results: Thirty-four nurses participated in the study. The study conveys an existential message to nurses through selftranscendence. Through their work, they represent their own identity, which is directly impacted by the way they perceive freedom and responsibility in the face of actions taken. They build their reality and make work viable as a source of life. The care provided is no longer just a task to be qualified as a solidary, relational, existential, dynamic, and temporal issue. Conclusion: The experience in a scenario of life finitude allows these professionals to experience an authentic encounter with their self, the awakening of values giving meaning to their existence, and self-transcendence, deeply contributing to society through a more human, comprehensive, and quality assistance.

Typology of M. G. Aranovsky musical thinking and symmetry

2018 ◽  
Vol 13 (13) ◽  
pp. 100-113
Author(s):  
Y.V., Netsvitay T. V. Tararoev
Keyword(s):  
Direct Interaction ◽  
Point Of View ◽  
Theoretical Research ◽  
Musical Language ◽  
Creative Activity ◽  
Symmetry Violation ◽  
Theoretical Understanding ◽  
General Sequence ◽  
Temporal Process ◽  
Musical Thinking

Background. Goals In recent years, there is a growing interest in musical thinking, which is a key element of musicology and music philosophy, since music is a conscious, mental activity of a person and understanding the mechanisms of this activity, we can signifi cantly expand and deepen our understanding of music. The purpose of this study is to defi ne and supplement and clarify the concept of M. G. Aranovsky musical thinking our author’s approach, concretizing and clarifying the methodological and heuristic function of symmetry in musical thinking and its anthropological content. The work uses methods of comparison, analysis and synthesis. Musical thinking manifests itself in three forms of basic musical activity - composing, performing, listening, to which we also add theoretical (research) and pedagogical They are based on the processes of musical thinking and the fulfi llment of certain goals: the creation of an artifact, interpretation, reproduction, perception, analysis and theoretical understanding. The three spheres of realization of musical thinking are emotional-sensual, rational-logical and textual, semantic. These forms are closely intertwined and function on the basis of musical language, which is the foundation of any musical creative activity. The direct interaction of music and rationality is displayed in terms of “musical logic” and “architectonic musical ear”. Logic is the science of the most common laws of thought. These laws of thinking are expressed in the most abstract forms, patterns, rules that can be interpreted as conformity of something to specifi c norms, patterns. With regard to music, logic implies following certain standards and rules. Since the rational principle in music is closely associated with the irrational unconscious, the common logical norms that have been formed in a certain historical epoch within the framework of the dominant system of musical language are refracted through the individual stylistic features of the composer. A specifi c type of thinking - musical - generates the corresponding type of logic. Therefore, it is possible to express musical thinking by the sum of concepts - musical logic, musical speech and semantics of musical speech. M. G. Aranovsky identifi es four layers of musical logic: combinatorial, linguistic, contextual and artistic, i.e. those aspects (levels, edges) of the creative activity of a musician, in which there is logic. The lowest and at the same time fundamental level of musical logic is combinatorial, it is the sphere of primary elementary logical combinations of the simplest elements. However, the logic of this level extends to all scales of structures, from small motive links to sections of a one-part form. M. G. Aranovsky proposes to distinguish three types of logical combinations: 1. Identical - based on a constant repetition of structural units, where the formed elements are identical with each other (for example, AAAAAA). In terms of symmetry, this is a transformation of a simple movement along the time axis. It can again be noted as the simplest type of isomorphism, where only one characteristic changes - temporary. If we exclude it from consideration, then we can say that this is a “degenerate case” of isomorphism, which is an automorphism. 2. Equivalent - based on the modifi ed version of the repetition, in which there are both similarities and differences, i.e. incomplete identity is formed (for example, A1A2A3A4). From the point of view of symmetry, this combination of sequences represents the “unity” of the operation of symmetry, movement and violation of symmetry as such, i.e. in this sequence, some properties are repeated, while others change. This temporal process can be represented as isomorphism in the proper sense of the word, when some elements remain identical, while others change, and in general the objects are different, but similar. 3. Alternative - a combination of sequences of different units with complete exclusion of formal or obvious similarity (for example, ABC). Through symmetric transformations, this kind of logical combinations of primary elements can be described as an even greater symmetry violation, which preserves only the general “sequence of elements”, i.e. a small number of common properties, while these elements themselves are significantly different from each other. In this case, one can speak of a deep “transformation” of isomorphism, which can be called “metamorphism” (gr. Metamorphoómai - transformation of form). The basis of this transformation is a violation of the original symmetry in such a way that much more properties change than in the case of isomorphism. It can be schematically represented as A1 → B, A2 → C, etc. Thus, metamorphism can be considered both as a similarity, which has undergone a rather strong transformation, and as a symmetry violation, leading to a signifi cant complication of the structure. Thus, the result of this study is the position that, from the point of view of M. G. Aranowsky, the temporal process is the basis of musical thinking. The built-up chain “temporal process → musical logic → musical thinking” is the anthropological specifi city of human thought (in the musical sphere) associated with temporal processes in which a person is “immersed” and from which he cannot “exit” under any circumstances. Findings. we conclude that this chain can be called the “temporal-anthropological triad”. It represents the sequence “automorphism → isomorphism → metamorphism”. Each of its stages is different from the previous increase in the level of complexity. Of particular interest is the transition from isomorphism to metamorphism, since it is associated with the process of symmetry breaking. The mechanisms and principles of this disorder need further investigation.

scholarly journals ‘Somebody stuck me in a bag of sand’: Lived experiences of the altered and uncomfortable body after stroke

2021 ◽  
pp. 026921552110007
Author(s):  
Hannah Stott ◽  
Mary Cramp ◽  
Stuart McClean ◽  
Ailie Turton
Keyword(s):  
Support Groups ◽  
Phenomenological Study ◽  
Community Support ◽  
Phenomenological Approach ◽  
The Body ◽  
Stroke Survivors ◽  
Post Stroke ◽  
Personal Perceptions ◽  
Psychological Sense ◽  
Qualitative Phenomenological

Objective: This study explored stroke survivors’ experiences of altered body perception, whether these perceptions cause discomfort, and the need for clinical interventions to improve comfort. Design: A qualitative phenomenological study. Setting: Participants’ homes. Participants: A purposive sample of 16 stroke survivors were recruited from community support groups. Participants (median: age 59; time post stroke >2 years), were at least six-months post-stroke, experiencing motor or sensory impairments and able to communicate verbally. Interventions: Semi-structured, face-to-face interviews were analysed using an interpretive phenomenological approach and presented thematically. Results: Four themes or experiences were identified: Participants described (1) a body that did not exist; (2) a body hindered by strange sensations and distorted perceptions; (3) an uncontrollable body; and (4) a body isolated from social and clinical support. Discomfort was apparent in a physical and psychological sense and body experiences were difficult to comprehend and communicate to healthcare staff. Participants wished for interventions to improve their comfort but were doubtful that such treatments existed. Conclusion: Indications are that altered body perceptions cause multifaceted physical and psychosocial discomfort for stroke survivors. Discussions with patients about their personal perceptions and experiences of the body may facilitate better understanding and management to improve comfort after stroke.

scholarly journals Using Systems Thinking to Improve Tourism and Hospitality Research Quality and Relevance: A Critical Review and Conceptual Analysis

2021 ◽  
Vol 2 (1) ◽  
pp. 153-172
Author(s):  
Gianna Moscardo
Keyword(s):  
Systems Thinking ◽  
Critical Review ◽  
Systems Approach ◽  
Problem Area ◽  
Theoretical Development ◽  
Research Quality ◽  
Theoretical Understanding ◽  
Theoretical Concepts ◽  
Tourism And Hospitality ◽  
Published Research

This paper argues that that much published tourism and hospitality research has had little influence on tourism or hospitality practice especially with regard to the problems of sustainability because of a failure to use systems thinking to guide research questions and approaches. This critical review and conceptual paper demonstrates how a systems thinking approach could be used to improve both the relevance of, and theoretical development in, tourism and hospitality research in the area of sustainability. This paper reviewed recent published research into tourism’s social impacts to demonstrate the power of taking a systems approach to map out the research problem area. It then critically reviewed the use of concepts from psychology in published research into guest engagement in sustainability programs in hospitality businesses to demonstrate the value of systems thinking for organising theoretical concepts. In both of the reviewed areas the overwhelming conclusion was that the majority of the research lacked both practical relevance and was based on inappropriate or deficient theoretical understanding.

MUSIC COMMUNICATION: WAYS OF REPRODUCTION AND CHANNELS OF PERCEPTION OF MUSIC (historical and analytical view)

2020 ◽  
Vol 1 (2) ◽  
pp. 53-61
Author(s):  
A. N. Yakoupov ◽  
Keyword(s):  
Oral Communication ◽  
Recording Equipment ◽  
Professional Musicians ◽  
Stage Design ◽  
New Era ◽  
Musical Notation ◽  
Theatrical Performance ◽  
Musical Thinking ◽  
Oral Method ◽  
Musical Communication

In the article the means of musical communication and their evolution are considered in the historical and analytical aspect. There are two types of communication tools: acoustic, using the airspace as a channel for transmitting encoded information, and visual, which include stage design, allowing to perceive music as a kind of theatrical performance, and musical notation, graphically fixing all the components of the musical text. As the earliest means of nonwritten communication, the oral method is put forward, a vivid example of which is folklore, often called the musical memory of generations. Other examples of oral communication are cult music, improvisation and musical meditation. It is stated that musical writing, in particular, musical notation, and later printing tools have created conditions for overcoming spatial and temporal barriers to the spread of music. The next step is the invention of technical sound recording, which opened a new era in the development of communications. Magnetic recording of the visual series made it possible to create concert films and opera films. Even greater involvement of people in the process of musical communication was facilitated by the appearance of electronic and mechanical means of recording music. The emergence of new opportunities in the field of sound dynamics control, its timbre, influenced the development of musical thinking. A new industry of "production" has emerged with the involvement of professional musicians who own modern recording equipment and specialize in the production of "artificial" musical products. This process was accompanied by the formation of a new audience of listeners who preferred recording to live sound.

Actual Challenges, Risks and Security Safety

2020 ◽  
Vol 1 (1) ◽  
pp. 65-83
Author(s):  
Božidar Forca ◽  
Dragoljub Sekulović ◽  
Igor Vukonjanski
Keyword(s):  
National Security ◽  
Modern World ◽  
Security Strategy ◽  
Theoretical Understanding ◽  
National Security Strategy ◽  
Security Challenges ◽  
Wide Range ◽  
The Subject ◽  
Almost All ◽  
The Relationship

Security is one of the most common terms in the modern world. This statement is supported by the fact that the term security is used in a wide range of areas. The subject of this paper is national security and the challenges, risks and threats to that security in contemporary international relations. The purpose of the work is twofold. First, to show the diversity of theoretical understanding of the term challenge, risk and threat by various authors. On the other hand, the overriding goal is to analyze the relationship to the challenges, risks and threats in different countries. When it comes to national security, challenges, risks and threats, most often, are identified in a document called the national security strategy. This document, as one of the highest in the hierarchy of political acts of every state, when it comes to security, is passed by almost all modern states of the world. The analysis of numerous national security strategies has revealed that it is possible to identify: 1) the challenges, risks and threats that appear in all strategies, 2) the challenges, risks and threats of security that appear in most strategies, and 3) the challenges, risks and threats of security which are country specific.

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