scholarly journals EMBODIMENT OF THE PRINCIPLES OF SONOR WRITING IN THE CREATIVE WORKS OF E. VILLA-LOBOS (on the example of the piano suite “Dolls”)

2021 ◽  
Vol 58 (58) ◽  
pp. 158-181
Author(s):  
Mariia Zhornikova
Keyword(s):  
20Th Century ◽  
Early Period ◽  
Theoretical Background ◽  
Early 20Th Century ◽  
Creative Activity ◽  
Distinctive Features ◽  
20Th Century Music ◽  
Interpretative Analysis ◽  
The Subject ◽  
Piano Composition

Introduction. E. Villa Lobos (1887–1957) is a classic the 20th century music. For Ukrainian musicology, the piano legacy of E. Villa-Lobos is relevant in terms of substantiating the innovation of the composer’s thinking in world creative practice at the beginning of the 20th century. In particular, the performers of the piano suite “Dolls” are faced with the problem of understanding the content of sonor-textural music. Оbjectives. To identify the distinctive features of E. Villa-Lobos’ use of elements of the sonority,which are based on the synthesis with Brazilian folk melos (on the example of the analysis of the piano suite “Dolls”). The subject. The piano suite (“Dolls”) (1918) as an example of the composer’s early creative style, which embodies the principles of sonorism typical for impressionist aesthetics. Theoretical Background. The novelty of the artistic tasks set by E. Villa-Lobos to the performers of his music in the early period of his creative activity required the study of the fundamental works of Yu. Kholopov, V. Tsenova, V. Kholopova, in which the meaning of the concepts “sonority”, “harmonic colouristics” and “texture”. Analysis of recent publications on the topic. The master’s work by A. Sotnikova (2010) raises questions on the formation of professional Brazilian music, the author focuses on the analysis of the piano composition of the composer. In her article V. Fedotova (2016) in the article examined the distinctive principles of the work of the Brazilian composer, in particular the specifics of his piano compositions. Results and Discussion. Music of the 20th century became a reflection of new artistic tasks that required adequate means of expression, and one of such means was sonoristics. It was this type of writing that E. Villa-Lobos addressed when writing the piano suite “Dolls” (1918). In the composer’s writing of E. Villa-Lobos there is sonoristics, harmonic colouristics, developed texture, due to which nationally coloured sound images are created. This confirms not only the stylistic, but also the comparative-interpretative analysis of the suite. Conclusions. The piano suite “Dolls” embodies the innovative interpretation of the instrument in the early 20th century. The theoretical ideas about the colouristics functions of the chord in its interconnections with the piano texture, timbre, and metro rhythm are systematized. A functional analysis of the piano pieces by Villa-Lobos from the early “Dolls” suite combined the new European style and writing techniques (such as colouring, sonoristics) with the national Brazilian melos reflecting the true spirit and worldview of Brazilians.

scholarly journals Socio-Economic Portrait of a Noble Assembly Deputy in the Second Half of the 19th – Early 20th Century

2021 ◽  
pp. 367-377
Author(s):  
Nadezhda M. Rumyantseva ◽  
◽  
Igor O. Trubitsyn ◽  
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
Social Institution ◽  
Russian Empire ◽  
Early 20Th Century ◽  
Family Status ◽  
Distinctive Features ◽  
History Of ◽  
The Subject ◽  
The Russian Empire

Creation in the 1990s of the general noble public organization and regional noble assemblies has inevitably raised the question of possibility of reviving class traditions, of social base and status of these public organizations, of their continuity as a social institution, of similarities and differences with corporate noble organizations of the Russian Empire in the early 20th century. The article attempts to create a general socio-economic portrait of noble assembly deputy and candidate for deputy at the turn of the 20th century. Despite extensive historiography on various aspects of the history of nobility, this topic has not been properly covered in the national and foreign scholarship. Meanwhile, creation of the collective portrait of nobility is necessary for understanding characteristics of organization and functioning of estate institutions. Comparative analysis of the records of service deposited in the archives of the St. Petersburg and Samara gubernias, data on the nobility of the Kazan gubernia has made possible to identify distinctive features of the deputy corps representatives on metropolitan and provincial levels of noble organizations. The use of prosopographic and comparative methods has made it possible to characterize the deputy corps in the regions, to reconstruct its collective portrait. Comparative analysis has been conducted on the basis of the number of years since joining the estate organization’s service and that in the office of deputy. Biographical information on the youngest and the oldest deputies is presented. The characteristic of property and family status is given. The educational level of the deputies, as well as their relationship with law is highlighted. The authors illustrate the statistics on the most important comparison criteria with striking examples. On the basis of historical reconstruction, the authors can argue that position of a deputy for nobility could have been the first or the last stage in the nobleman’s career. Distinctive feature of provincial deputy in comparison with metropolitan one is his property status. There is also an absence of the “deputy dynasties” trend in the deputy corps of the St. Petersburg gubernia, which was quite characteristic of provincial regions. The results of the study can be used to characterize the composition and activities of corporate noble organizations in the regions and in the Russian Empire as a whole. Further prospects for the study of the subject lie in the comprehensive study of the institute of noble corporations.

scholarly journals Modern Approaches to the Study of Music of the Twentieth Century

2021 ◽  
Vol 7 (1) ◽  
pp. 76-82
Author(s):  
Liang Lyu ◽  
Keyword(s):  
Music Education ◽  
20Th Century ◽  
Design Method ◽  
Cognitive Activity ◽  
Special Kind ◽  
20Th Century Music ◽  
Learning Techniques ◽  
The Subject ◽  
Art Departments ◽  
Effective Development

the subject of research – modern academic music of the 20th century is a special kind of art, the effective development of which by students of art departments and universities requires appropriate methods. The purpose of the work is to consider problematic teaching methods that ensure the effective mastery of complex artistic material by university students who do not have sympathy for 20th century music. To verify the effectiveness of the application of problem learning techniques when students mastered avantgarde music, a pedagogical experiment was conducted to introduce problem problems, the case method and the design method into the process of mastering musical and historical disciplines. The study carried out a theoretical justification and introduced into creative practice the methods considered, which made it possible to involve the student in the development of discipline in the process of creative activity, which significantly increases the level of cognitive activity and contributes to the formation of students; to solve the problem of modern musical skill, students of the musical and pedagogical profile of education were presented with problem problems, and the task requiring brainstorming – to practically “guess” the alleged image of the author – had the necessary didactic effect. Methodological recommendations related to the use of problematic methods in music education are formulated.

Influences of Classical Indian Music in Albert Roussel’s Evocations

2021 ◽  
Vol 66 (1) ◽  
pp. 125-141
Author(s):  
Noémi Karácsony ◽  
Mădălina Dana Rucsanda
Keyword(s):  
20Th Century ◽  
Careful Analysis ◽  
Early 20Th Century ◽  
Musical Work ◽  
20Th Century Music ◽  
Musical Discourse ◽  
Orchestral Work ◽  
Indian Music ◽  
Albert Roussel ◽  
The Impact

"An important figure of early 20th century music, the French composer Albert Roussel was deeply influenced by his encounter with India, which led to the composition of several orientalist works. The present paper aims to disclose the influences of classical Indian music in the orchestral work Evocations. Despite the Impressionist sound of the musical discourse, a careful analysis reveals the incorporation of several scalar structures in which Hindu rāgas can be recognized. Roussel goes beyond the musical representation of India: his goal is not the creation of a musical work with powerful oriental sound, but the evocation of the impact this encounter had on his creation. Situated at the crossroad of several stylistic orientations, Roussel incorporates Impressionist, Neo-classical and Post-romantic influences in rigorously devised structures, aiming to create an unusual and novel sound. Keywords: Albert Roussel, orientalism, Impressionism, India, rāga "

Double Edged Blades: Re-visiting the British (and Irish) Flint Daggers

2014 ◽  
Vol 80 ◽  
pp. 33-65 ◽  
Author(s):  
Catherine J. Frieman
Keyword(s):  
Bronze Age ◽  
20Th Century ◽  
Western Europe ◽  
Early Bronze Age ◽  
Early 20Th Century ◽  
No Production ◽  
New Classification ◽  
Dry Land ◽  
The Subject ◽  
Made In

Flint daggers are a well-known and closely studied category of artefact found throughout western Europe during the final centuries of the Neolithic and the earliest phases of metal use. They are widely linked to the adoption of metal objects and metallurgy – in many cases being described as copies of metal daggers. In Britain, several hundred flint daggers have been recovered from a variety of contexts, among the best known of which are a handful of rich Beaker single inhumation burials. The British flint daggers were of great interest to early archaeologists, and were the subject of several publications in the early 20th century, most notably the seminal 1931 typochronology and catalogue by W.F. Grimes. However, despite 80 years of evolution in our understanding of the British Early Bronze Age, Beaker burials, European flint daggers, and lithic technology in general, little further attention has been accorded to the British flint daggers. This paper returns to the flint daggers deposited in British contexts. It proposes a new classification for British daggers, distinguishing between those probably produced in Britain and those brought in from elsewhere on the continent. It further examines thechaîne opératoirefor these daggers based on their final form as no production locales are yet known and examines in detail the choices made in their deposition, not just in funerary contexts but on dry land and, most importantly, in wet contexts. Finally, it proposes a sequence of development for British flint daggers which links them technologically and morphologically to lanceolate Scandinavian daggers in circulation in the Netherlands. It is suggested that people in south-east Britain knowingly played up this Dutch connection in order to highlight a specific ancestral identity linking them directly to communities across the Channel.

scholarly journals THE MEANS OF EXPRESSION OF THE CATEGORY OF ADMIRATIVENESS IN RUSSIAN, FRENCH AND ENGLISH

2019 ◽  
Vol 8 (7) ◽  
Author(s):  
Elena K. Kuzmina ◽  
Gulnara G. Nazarova ◽  
Lilia R. Nizameeva ◽  
Gérard Broussois
Keyword(s):  
20Th Century ◽  
English Language ◽  
Point Of View ◽  
Grammatical Category ◽  
Distinctive Features ◽  
French And English ◽  
The Subject ◽  
The 19Th Century ◽  
Linguistic Phenomenon

The comprehension of admirativeness as an independent category took place relatively recently – at the end of the 20th century. Until now, some scholars have not recognized an independent character of admirative. However, in recent years there has been an increasingly noticeable tendency to recognize the separate role of admirativeness and to indicate that the expression of surprise evoked by unexpected information cannot be combined with similar meanings. At the same time, the ways and degree of expression of admirativeness in different language systems vary significantly. The introduction of such grammatical category as admirativeness and the term “admirative” refers to the second half of the 19th century. In 1879, O. Dozon coined the term in his works on the Albanian language. The choice of this name (Fr. admiratif comes from the verb “to admire”) is determined by the fact that the linguist interpreted the concept as a certain sense of admiration or surprise, often having an ironic character. Further the development of this direction showed that admirative had the meaning of surprise rather than admiration. In this connection, in 1997, S. de Lancey first singled out this concept into a separate grammatical category. The scholar substantiates it by the fact that in a number of languages, such as Korean, Turkish, Tibetan, Dardic, Sanvar, etc., admirative has a separate grammatical expression. The identification of admirativeness as a separate linguistic phenomenon with a number of specific features has been still the subject of controversy among the researchers. Characteristics and distinctive features of admirativeness, allowing for the separation it from other similar categories will be considered later in the paper (Davletbaeva et al., 2013). In his writings, S. de Lancey uses the term “mirative”, thereby excluding its correlation with admiration introduced by O. Dozon from the meaning of the concept, and indicating that its primary function is to convey the subject’s astonishment. To date, the term “mirative” is widely used in English-language grammar. V.A. Plugnyan notes that the use of this term is more grounded from a typological point of view, however, the use of the concept “admirative” is often retained in domestic works (Smagina, 1996).

scholarly journals Did the ancient Egyptians migrate to ancient Nigeria?

2014 ◽  
Vol 35 (1) ◽  
Author(s):  
Jock M. Agai
Keyword(s):  
West Africa ◽  
20Th Century ◽  
Ancient Egypt ◽  
West African ◽  
Samuel Johnson ◽  
Early 20Th Century ◽  
African History ◽  
History Of ◽  
The Subject

Literatures concerning the history of West African peoples published from 1900 to 1970 debate�the possible migrations of the Egyptians into West Africa. Writers like Samuel Johnson and�Lucas Olumide believe that the ancient Egyptians penetrated through ancient Nigeria but Leo�Frobenius and Geoffrey Parrinder frowned at this opinion. Using the works of these early�20th century writers of West African history together with a Yoruba legend which teaches�about the origin of their earliest ancestor(s), this researcher investigates the theories that the�ancient Egyptians had contact with the ancient Nigerians and particularly with the Yorubas.Intradisciplinary and/or interdisciplinary implications: There is an existing ideology�amongst the Yorubas and other writers of Yoruba history that the original ancestors of�the Yorubas originated in ancient Egypt hence there was migration between Egypt and�Yorubaland. This researcher contends that even if there was migration between Egypt and�Nigeria, such migration did not take place during the predynastic and dynastic period as�speculated by some scholars. The subject is open for further research.

Dance in Sculpture of the Early 20th Century

2019 ◽  
Vol 68 (4) ◽  
pp. 22-34
Author(s):  
Tatiana Portnova
Keyword(s):  
20Th Century ◽  
Comprehensive Approach ◽  
Early 20Th Century ◽  
Ancient Greek ◽  
Russian Art ◽  
Plastic Arts ◽  
The Subject ◽  
Multi Level ◽  
Artistic Interest

This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.

Photography in Indonesian Archaeology of the 19th to the Early 20th Century | Fotografi dalam Arkeologi Indonesia pada Abad ke-19 sampai Awal Abad ke-20 Masehi

2021 ◽  
Author(s):  
Keyword(s):  
Literature Review ◽  
20Th Century ◽  
19Th Century ◽  
Object Representation ◽  
Colonial Period ◽  
Historical Background ◽  
Early 20Th Century ◽  
Photographic Documentation ◽  
The Subject ◽  
The 19Th Century

In Dutch East India, photographic documentation for antiquities was as up-to-date as in Europe that was developed in the last half of the 19th century. Photography became a tool for archaeological surveys which resulted in thousands of enormous resources. In this paper, the historical background regarding how these old photographs were collected and how the material circulated within archaeological activities will be elaborated. The timeline studied is limited to pre-independence Indonesia with the subject mostly focused on Hindu-Buddhist remains. The method used is literature review of both relevant new publications as well as significant old publications. Its turns out that photographic surveys of archaeology in Indonesia during the colonial period developed from early archaeological activities into systematic institutional programs. The qualities of photography were appreciated in miscellaneous application and offered substantial benefits. Photography became a documentation medium, publication complementary, archive, and object representation and substitution. This historical background of photography in the context of Indonesian archaeology marks the significant value of these photographs so that it can be the foundation of preservation for the future. Di Hindia Belanda, dokumentasi fotografis pada tinggalan purbakala sangat mutakhir sebagaimana di Eropa yang dikembangkan sejak paruh terakhir abad ke-19 M. Fotografi menjadi perangkat untuk survei arkeologi yang menghasilkan ribuan sumber daya. Dalam tulisan ini, latar belakang sejarah terkait pengumpulan foto lama tersebut serta penggunaannya dalam berbagai aktifitas arkeologi akan dijabarkan. Lini masa yang dikaji dibatasi pada Indonesia pra-kemerdekaan dengan subjek yang berfokus pada tinggalan Hindu-Buddhis. Metode yang digunakan adalah kajian pustaka, baik terbitan terbaru yang relevan maupun terbitan lama yang penting. Ternyata survei fotografi pada arkeologi Indonesia selama periode kolonial berkembang sejak aktifitas arkeologis yang masih dini hingga menjadi program institusi yang sistematis. Kualitas fotografi juga diapresiasi dalam beragam penerapan serta menawarkan manfaat yang substansial, Fotografi menjadi media dokumentasi, pelengkap publikasi, arsip, serta representasi dan substitusi objek. Latar belakang sejarah fotografi dalam konteks arkeologi Indonesia semacam ini menjadikan nilai penting dari foto-foto tersebut sehingga dapat dijadikan fondasi dalam pelestarian untuk masa depan.

Generic Synopsis of the Formicidae of Vietnam (Insecta: Hymenoptera), Part I — Myrmicinae and Pseudomyrmecinae

Zootaxa ◽  
2011 ◽  
Vol 2878 (1) ◽  
pp. 1 ◽  
Author(s):  
KATSUYUKI EGUCHI ◽  
BUI TUAN VIET ◽  
SEIKI YAMANE
Keyword(s):  
20Th Century ◽  
Early Period ◽  
Early 20Th Century ◽  
New Genera ◽  
Systematic Treatment ◽  
Northern Vietnam ◽  
The Third ◽  
Higher Taxa ◽  
Infraspecific Taxa ◽  
American Authors

Alpha taxonomy of Vietnamese ants was initiated by European and American authors in the early 20th century, and approximately 160 species and infraspecific taxa were described or recorded in this early period. From 1965 to 1966 an inventory project of insects in northern Vietnam was conducted by the Agriculture Ministry of Vietnam, and 36 ant species were recorded. The identity of those taxa, however, needs to be revised based on the modern taxonomy of ants. Since theend of the 1980's dozens of ant species have been newly recorded or described from Vietnam. Regional revisions dealing with Vietnamese species have also been published for several genera including Myrmica, Probolomyrmex, Pheidole, Acanthomyrmex and Anillomyrma. Furthermore, two new genera, Parvimyrma (Myrmicinae) and Opamyrma (Amblyoponinae), were recently described from the country. However, there has been no comprehensive systematic treatment of the Vietnamese ants to date. In order to develop the taxonomy of ants in Vietnam, we have begun a program to: (1) explore local ant faunas; (2) give species codes to all species; (3) overview ant genera known from Vietnam; (4) describe unnamed taxa and review higher taxa known from Vietnam and adjacent areas. Ninety-two genera in twelve subfamilies have so far been recognized by us: DOLICHODERINAE: Chronoxenus, Dolichoderus, Iridomyrmex, Liometopum, Ochetellus, Philidris, Tapinoma, Technomyrmex; FORMICINAE: Acropyga, Anoplolepis, Camponotus, Cladomyrma, Echinopla, Gesomyrmex, Lasius, Lepisiota, Myrmoteras, Nylanderia, Oecophylla, Paratrechina, Paraparatrechina, Plagiolepis, Polyrhachis, Prenolepis, Pseudolasius, Undescribed genus "eg-2"; PSEUDOMYRMECINAE: Tetraponera; CERAPACHYINAE: Cerapachys, Simopone; AENICTINAE: Aenictus; DORYLINAE: Dorylus; LEPTANILLINAE: Leptanilla, Protanilla; AMBLYOPONINAE: Amblyopone, Myopopone, Mystrium, Opamyrma, Prionopelta; PONERINAE: Anochetus, Centromyrmex, Cryptopone, Diacamma, Harpegnathos, Hypoponera, Leptogenys, Odontomachus, Odontoponera, Pachycondyla, Platythyrea, Ponera; ECTATOMMINAE: Gnamptogenys; PROCERATIINAE: Discothyrea, Probolomyrmex, Proceratium; MYRMICINAE: Acanthomyrmex, Anillomyrma, Aphaenogaster, Calyptomyrmex, Cardiocondyla, Cataulacus, Crematogaster, Dacatria, Dilobocondyla, Gauromyrmex, Kartidris, Lasiomyrma, Liomyrmex, Lophomyrmex, Lordomyrma, Mayeriella, Meranoplus, Monomorium, Myrmecina, Myrmica, Myrmicaria, Oligomyrmex, Paratopula, Parvimyrma, Pheidole, Pheidologeton, Pristomyrmex, Proatta, Pyramica, Recurvidris, Rhopalomastix, Rhoptromyrmex, Solenopsis, Strumigenys, Temnothorax, Tetramorium, Vollenhovia, Vombisidris. As the first major contribution to the third goal of the program, here we provide: (1) a key to subfamilies, (2) a key to myrmicine genera, and (3) a synopsis of myrmicine and pseudomyrmecine genera known from Vietnam. A second paper will deal with the Aenictinae, Cerapachyinae, Dorylinae, Leptanillinae Amblyoponinae, Ponerinae, Ectatomminae and Proceratiinae, and a third with the Dolichoderinae and Formicinae.

Holst – Astrology and Modernism in ‘The Planets’

Tempo ◽  
1993 ◽  
pp. 15-24 ◽  
Author(s):  
Raymond Head
Keyword(s):  
World War I ◽  
20Th Century ◽  
Indian Philosophy ◽  
Early 20Th Century ◽  
World War ◽  
Avant Garde ◽  
British Music ◽  
The Subject ◽  
Modern Movement

The subject of modernism in early 20th-century British music is rarely examined: partly because it is often thought that British composers were not interested in the Modern Movement before World War I, and partly because in discussing Modernism (a convenient umbrella term for the whole cultural avant-garde whose components included Expressionism, Futurism, Primitivism and Surrealism) one must be prepared to engage subjects which, in this country, are normally considered Verboten. There is no doubt, for instance, that the development of the Modern Movement on the Continent was partly inspired by a widespread awareness of Theosophy, and the interest, which it encouraged, in such esoteric areas as Indian philosophy and astrology. In this article I want to look at this aspect of Modernism in relation to Gustav Hoist, and especially in The Planets (1914–16): his, and British music's, first striking testament to the Modernist outlook. The very bases of this work are Hoist's understanding of astrology, his friendships of the time, and his Theosophical upbringing.

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