scholarly journals Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms

2019 ◽  
Vol 16 (16) ◽  
pp. 207-224
Author(s):  
Denis Kashuba
Keyword(s):  
Johannes Brahms ◽  
Time Interval ◽  
Emotional States ◽  
Initial Image ◽  
Historical Aspect ◽  
Leading Role ◽  
Candidate Dissertation ◽  
Inner Dialogue ◽  
The Masses ◽  
Piano Concertos

Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality can be marked by a significant dialogism and even conflict (Misitova, 2004). The Piano concertos by J. Brahms can serve as an example for the last observation as appearances of the soloist (chiefly, solo) create additional thread of dramaturgy, sometimes governing the development of music and its images. In the First concerto, given its allusions to the Baroque era, one can discern frequent usage of chamber, sometimes exclusively string orchestra. It is pointed out that initial image of Maestoso, that is supposed to be portrayed by sonority of the accentuated brass group as it has tremendous and formidable mood, is in fact embodied by strings with occasional illuminations of another groups. In Adagio the archi section also plays the leading role, being in dialogue with two bassoons in the first orchestral episode, later entering compassionate dialogue with the piano. In both movements the full orchestra is used only in the climactic moments, often with the soloist involved. And the Finale is the only movement where the semantics of the competition and festivities of the masses urges the composer to use entire orchestra. The logic of changes of emotional states in the solo part is quite clear. It is a personification of a “lyrical hero”, who is in a state of an inner dialogue, and that engenders a conflict situation, largely contributing to the dramatism of further events in the music. Employments of the ensemble are sporadic and are usually illuminated by a background of the orchestra. In Second concerto, while the strategy of chamberness of orchestra and raising the significance of the soloist remains stable, on the contrary, different means of ensemble communication are developed, including those involving “satellite” instruments. Their activity is revealed in the very first bars of Allegro non troppo, where French horn and piano resemble quiet and leisurely conversation. This duet in its further appearances marks the borders of large chapters of the structure, therefore acquiring compositional significance. Ensemble qualities are intrinsic for Andante from this Concerto, where another soloist appears, singled out from the group of cellos, and later oboe, clarinets make their entrance, and the score turns into sheer dialogue of soloists. Conclusions. Comparison of two Piano concertos by J. Brahms allows to state that composer simultaneously has firm understanding of this genre and favours different traits of chamberness in each of them. In the latter one “satellite” timbres are used, ensemble structures are more significant. And this paves the way for ensemble differentiation of the orchestra, that can be regarded as one of the first portents of modern understanding of concerto genre and abovementioned processes of “mixing”.

scholarly journals The Cultural Populism of Iosif I. Kablits (Yuzov) and its Foundations

2020 ◽  
Vol 19 (3) ◽  
pp. 641-653
Author(s):  
Gennadiy N. Mokshin
Keyword(s):  
Social Life ◽  
Cultural Work ◽  
Right Wing ◽  
Social Transformations ◽  
Leading Role ◽  
The People ◽  
Long Time ◽  
The One ◽  
The Right ◽  
The Masses

This article reconstructs the cultural doctrine of the famous publicist of populism (narodnichestvo), I.I. Kablits (Yuzov). To just equate Kablits views with the slogan of yuzovshchina would be a narrow interpretation of his kul'turnichestvo; the slogan is characteristic for extreme right-wing populism during the upsurge of the revolutionary populist movement (narodovol'cheskoe dvizhenie). In 1880, Kablits was the first of the legal populists to pose the question, What is populism? According to the publicist, true narodnichestvo should be based on the principle that the forms of public life of the people must be in conformity with the development level of their consciousness. The author explains Kablits evolution from Bakunism to a peasant-centered narodnichestvo by his interpretation of the reasons for the split between the intelligentsia and the people. Kablits considered them antagonists, and defined the ultimate goal of the narodniki as the liberation of the people from the power of the intellectualbureaucratic minority, the latter supposedly trying to subjugate the life of the masses to its will. The article analyzes the main provisions of Kablits sociocultural concept of social transformations: apolitism, populism, and the initiative of the masses. The article identifies the differences between his program of developing the cultural identity of the people, on the one hand, and other populists' understanding of the tasks of cultural work, on the other. Particular attention is paid to Kablits-Yuzov's attitude towards the problem of educating the masses. Kablits was one of the few Russian populists who opposed the idea that the foundations of the worldview of the people must be changed, arguing that this would eliminate the traditional moral values of the village, including the sense of collectivism. The author assesses how Kablits, the leading publicist of the newspaper Nedelya, contributed to the establishment of a cultural direction in narodnichestvo at the turn of the 1870s and 1880s. According to the author, Kablits played a leading role in shaping the ideology of the right flank of the cultural direction in narodnichestvo. However, the pure populism of Kablits turned out to be too pseudo-scientific, dogmatic and irrational to attract the democratic intelligentsia for a long time; the latter had already become disillusioned with the idea of the people as the creator of new forms of social life.

scholarly journals Using Close Encounters of Minor Planets for the Improvement of their Masses

1997 ◽  
Vol 165 ◽  
pp. 199-204
Author(s):  
A. López García ◽  
Yu. D. Medvedev ◽  
J. A. Moraño Fernández
Keyword(s):  
Time Interval ◽  
Minor Planets ◽  
Close Encounters ◽  
The Masses

AbstractThe orbits of 6807 numbered minor planets on the time interval 1975–2010 have been integrated. The possibility of determining masses for asteroids with close encounters with each other has been investigated, including several kinds of situations. The importance of the observational time arc, as well as the distribution of observations, for determining the masses are shown. The mass of asteroid (24) Themis from its perturbations on asteroid (2296) Kugultinov, and the mass of (10) Hygiea from its perturbations on (1259) Ógyalla have been determined.

scholarly journals EMOTIONAL INTELLIGENCE OF FUTURE TEACHERS FOR PREVENTION OF PEDAGOGICAL CONFLICTS

2019 ◽  
pp. 15-19
Author(s):  
N. Koshechko
Keyword(s):  
Higher Education ◽  
Emotional Intelligence ◽  
Social Life ◽  
Professional Activity ◽  
Practical Training ◽  
Emotional States ◽  
Future Teachers ◽  
Historical Aspect ◽  
Ability To Act ◽  
High Level

The article analyzes the actual ideas on the problem of practical training of future teachers. Such training consists in mastering students' knowledge, skills and skills in the prevention of pedagogical conflicts in higher education, which have always been constant companions of social life. It was through such contradictions that new progressive ideas were born that ensured the further evolution of institutions of higher education. For the professional activity of the future teacher, the developed communication skills that are interconnected with his emotional intelligence, which determines the success of teaching, are extremely important. Emotional intelligence in the unity of its structural components (cognitive, affective and behavioral) is based on the management of the emotional sphere, its reflection and understanding. A high level of emotional intelligence ensures the success of an individual's activity: the ability to adequately express his or her emotions, to understand the emotions and motives of other people's behavior, the ability to act effectively in the system of interpersonal relationships, the ability to navigate social situations, to correctly identify the personality traits and emotional states of other people, to choose the appropriate ways communicate with them and realize all this in the process of interaction. The notion of the progress of a modern student as a competitive subject of future professional activity is connected with the ability to interact with a professional society, to manage their emotional sphere and, accordingly, relations with the subjects of joint activity. A high level of emotional intelligence is extremely important in stressful situations, which becomes a necessary component of making responsible decisions. The contents, historical aspect, different models, the description of the emotional intelligence of future teachers are considered in detail. The recommendations for prevention of pedagogical conflicts in the context of emotional intelligence are generalized.

Luxemburg, Rosa (1871–1919)

2018 ◽  
Author(s):  
H. Tudor
Keyword(s):  
Democratic Party ◽  
Marxist Theory ◽  
Social Democratic Party ◽  
Social Democratic ◽  
Leading Role ◽  
Democratic Centralism ◽  
The Masses ◽  
Rosa Luxemburg ◽  
Radical Left

Rosa Luxemburg, of Polish-Jewish origins, was for most of her life a prominent activist and theorist on the radical left of the German Social Democratic Party. She defended revolutionary Marxism against the ‘revisionist’ critique ofEduard Bernstein; she developed an original and controversial Marxist theory of imperialism; and she advocated direct revolutionary action by the masses, as contrasted with Lenin’s insistence on ‘democratic centralism’ and the leading role of the Party.

«I HAVE ALREADY BECOME A CONSCIOUS UKRAINIAN FOREVER» (DMYTRO BAGALIY – THE OUTSTANDING UKRAINIAN HISTORIAN AND PUBLIC ACTIVIST)

2019 ◽  
pp. 29-33
Author(s):  
Anatoliy Kotsur
Keyword(s):  
Material Culture ◽  
Social Activity ◽  
Cultural Development ◽  
Political Life ◽  
Scientific School ◽  
Left Bank ◽  
Scientific Heritage ◽  
Leading Role ◽  
History Of ◽  
The Masses

The article reveals the most important milestones of the life and activity of the famous Ukrainian historian and public figure D. Bagaliy. It is emphasized on his contribution to the Ukrainian national revival. The scientific heritage of D. Bahaliy is analyzed. It includes about 350 works, in particular, monographs, archaeological publications, scientific articles on the history of Ukraine, historiography, archival studies, sources of sources, etc. It was emphasized, that the center of his attention was the history of Slobidska Ukraine, its socio-economic and cultural development, the heritage of H. Skovoroda, the history of Kharkiv and Kharkiv University. D. Bahaliy is the founder and leader of the scientific school of researchers of Slobozhanschyna and Left-Bank Ukraine in Kharkiv. The active social activity of the scientist as a representative of the liberal scientific intelligentsia was determined. There is haracterized the fundamental work of D. Bahaliy «The History of Slobidska Ukraine»(1918). It is about geography, ethnography, socio-economic and political life, spiritual and material culture of Slobozhanschyna, etc. There is considered the main thesis of D. Bahaliy about the unceasing civilization development from simple to more complex forms, the leading role of the masses in history. Documentalism is an important part of the scientific works of D. Bahaliy. It is highlighted the contribution of the scientist to the development of Ukrainian regional studies. His scientific contributions are presented in this context.

scholarly journals The Bolshevik myth of October 1917

2021 ◽  
Vol 24 ◽  
pp. 25-43
Author(s):  
Stanisław Ciesielski
Keyword(s):  
Point Of View ◽  
Party Leader ◽  
Socialist Revolution ◽  
New Era ◽  
Leading Role ◽  
History Of ◽  
The Government ◽  
Main Protagonist ◽  
The Masses ◽  
The Revolution

Bolshevik mythology presented the events of October 1917 as an effect of the operating laws of history, i.e. a necessary phenomenon through which the sense of history manifested, and, at the same time, as an effect of the activity of the masses led by the Bolshevik Party, an act in the power struggle. The Bolshevik myth of October 1917 was a founding myth; it created an impression that there had come a “new era in the history of humankind”, ending “all forms of exploitation”. It legitimised the government established at the time as one rooted in the revolution opening this new era and representing the most profound interests of a class that was to abolish the most tragic division in the history of humankind — class division. The myth of October had to have its collective and individual heroes. From this point of view its content was described in the most succinct manner by the following formula: the Great October Socialist Revolution was carried out by the working class allied with the poor peasantry led by the Bolshevik Party headed by Lenin. The cult of Lenin was primarily a cult of a victorious revolution and party leader that had led the masses to a triumph. Almost identical formulas were used by Stalin, Khrushchev and Gorbachev. However, the real heroes of the revolution were the Bolshevik themselves, their party and their leaders. In Stalinist times the main protagonist of the October myth was the “Bolshevik Party of Lenin-Stalin”. The leading role in the party became a crucial element of Bolshevik mythology, independent of political transformations and turns in the USSR.

The Political Science of Democratic Transition in Eastern Europe

1993 ◽  
Vol 41 (3) ◽  
pp. 408-419 ◽  
Author(s):  
Dean McSweeney ◽  
Clive Tempest
Keyword(s):  
Eastern Europe ◽  
Political Science ◽  
Democratic Transition ◽  
Transition To Democracy ◽  
Endogenous Factors ◽  
East European ◽  
Leading Role ◽  
Exogenous Factors ◽  
The Masses

Political science is presented with an unprecedented case of democratic transition in Eastern Europe with a set of societies that are said to have been atomized by party state organs and without the other formal preconditions for transition to liberal democracy. The article surveys current writings and theories on transition to see whether they fit the East European cases. The stress in the literature on the primacy of endogenous factors, the role of entrepreneurial capitalism and the leading role of elites in facilitating a transition to democracy is of little value in the Eastern European context where exogenous factors, the absence of capitalism and the role of the masses were crucial in the downfall of communism. The prospects for the survival of democracy are discussed in the light of the way the new regimes were inaugurated.

History as an Image: Ecranisation of King Danylo Romanovych

2017 ◽  
Vol 2 (46) ◽  
pp. 48-56
Author(s):  
Nazarii Khrystan
Keyword(s):  
Mass Culture ◽  
Party Leadership ◽  
Historical Discourse ◽  
Old Russian ◽  
Leading Role ◽  
Soviet Cinema ◽  
History Of ◽  
Historical Culture ◽  
The Masses

The formation of the Soviet image of the past in the context of the doctrine of «our great ancestors» was extended not only to historiography, fiction and journalism. A special place was occupied by cinema. The Bolsheviks were very early realized the tremendous role of cinema as a means of influencing mass culture. With the help of cinema, the party leadership sought to form a «true» view of reality, thereby educating people in the spirit of «communism and internationalism». Founded in the early 30’s oftheXX century. the genre of historical cinema, became the basis of all Soviet cinema. Rejecting the leading role of the «masses» in the tapes, bolsheviks turn to the biography of outstanding and «progressive» historical personalities, first of all, rulers and generals. Throughout the period of existence of Soviet cinema, the historical biographies of Alexander Nevsky, Ivan the Terrible, Peter I, Michael Kutuzov, Alexander Suvorov and others were filmed. The most important document of the memory of Danylo Romanovich in the era of Soviet patriotism was the film of Ukrainian director Yaroslav Lupiya – «Danylo – Prince Galician». The Film was created in 1987 at the Odessa Film Studio named after O. Dovzhenko. Before us is a work that was supposed to create a stable image of Prince Danylo Halytsky in the consciousness of Ukrainian society. The image is dictated «from above». The ecranisation of Danylo Romanovych requires a detailed study of not only the history of the film, but also the reception of the ruler in the Soviet image. This will allow us to trace and analyze the struggle for the appropriation and stylization of the image in detail, as well as contradictory directions in forming the concept of the «Soviet patriot» of Danylo Halytsky. The figure of King Danylo as well as the political history of the Galician-Volyn was state remained unknown to a wide cinema. In the official historical discourse of the USSR, the image of Danylo Romanovych was used very carefully and only where «party» leadership needed it. Despite the growing interest in the history of Kievan Rus in the cinema, Danylo’s film adaptation resembled his «popularity» in the scientific literature of that time. Certain changes occurred only during the Perestroika period. The directorate of the Odessa film studio named after O.Dovzhenko was interested in the history of the medieval past of Ukraine. Here the Ukrainian director Yaroslav Lupi created his picture «Danylo – Prince Galitsky». The film is considered to be the banner of publicity. The tape appeals to the heroic Ukrainian past of the times of Kyivan Rus and Galicia-Volyn state, which became the shield of Europe against the Mongol-Tatar invasion. On the posters devoted to the premiere of the film, it was indicated that the tape glorifi the famous Ukrainian prince Danylo Halytsky. However, we have doubts about the screen image of the key hero of the Western Ukrainian myth. What was the real stylization of the image of the Old Russian ruler in the eponymous painting that had so long been in the «shadow» of the Soviet historical culture? Keywords: thesoviet image, soviet historical culture, wide cinema, ecranisation of King Danylo Romanovych, historical discourse

scholarly journals Epidemiology of Post-Infarction Ventricular Septal Rupture in Patients Undergoing Surgical Repair at Different Times from the Development of Acute Myocardial Infarction

2021 ◽  
pp. 18-25
Author(s):  
Ramil A. Aliyev ◽  
Yelizaveta O. Lebedieva ◽  
Mykhailo M. Grusha ◽  
Kamran K. Musayev
Keyword(s):  
Myocardial Infarction ◽  
Acute Myocardial Infarction ◽  
Surgical Intervention ◽  
Rapid Development ◽  
Myocardial Reperfusion ◽  
Time Interval ◽  
Mechanical Complication ◽  
Ventricular Septal Rupture ◽  
Leading Role ◽  
Artery Disease

Introduction. The article is dedicated to the epidemiological aspects of the mechanical complication of acute myocardial infarction (AMI), particularly post-infarction ventricular septal rupture (VSR), problematic issues of its etiology and localization. Mortality of such patients is determined by rapid development of hemodynamic disorders and their severity, unpredictable clinical course, and the difficulty of early diagnosis. In addition, the high mortality rate of patients, especially when correcting the ventricular septal defect at the early stages after AMI, leaves open the question of the tactics of surgical treatment. The influence of certain risk factors of ischemic heart disease (IHD) on the development of post-infarction VSR is also considered. The aim. To study the epidemic features of post-infarction VSR in patients with different terms of surgical intervention after the development of AMI. Materials and methods. This study presents a retrospective analysis of 90 patients with coronary artery disease complicated by post-infarction VSR, who underwent surgical intervention for the period 2002-2019. The ages of hospitalized patients with post-infarction VSR ranged from 29 to 81 years. All the patients were divided into 3 groups depending on the time interval from AMI to surgical intervention. Results and discussion. It was found that post-infarction VSR is more common in men in the age range of 45-74 years after the manifestation of the first transmural AMI. More than a half of post-infarction VSR cases (56.7%) are associated with anterior localization of the ruptures in consequence of anterior AMI. Since the leading role in the treatment of AMI belongs to percutaneous coronary interventions (PCI), we analyzed the use of various reperfusion techniques to restore coronary blood flow in patients with post-infarction VSR. The analysis suggests that there are no statistically significant differences between the studied groups of patients with post-infarction VSR who underwent myocardial reperfusion (p = 0.103). Conclusions. The presence of chronic renal failure (CRF) in patients in the early post-infarction period can complicate the course of post-infarction VSR and affect perihospital mortality. The absence or untimeliness of myocardial reperfusion increases the risk of developing this complication of AMI. The ambiguous prognosis of treatment of post-infarction VSR makes a serious problem for clinicians.

scholarly journals THE 95th ANNIVERSARY OF THE STATE SANITARY AND EPIDEMIOLOGICAL SERVICE OF RUSSIA

2017 ◽  
pp. 3-6
Author(s):  
A.Yu. Popova
Keyword(s):  
External Environment ◽  
The State ◽  
Historical Aspect ◽  
Leading Role ◽  
Preventive Work ◽  
History Of ◽  
The Moment ◽  
Working And Living Conditions ◽  
Scientific Base ◽  
Epidemiological Situation

The paper outlines in the historical aspect the stages of formation and development of the State Sanitary and Epidemiological Service of Russia. For more than 95-year history of the State Sanitary and Epidemiological Service it was focused on the task of monitoring the sanitary and epidemiological situation, the reduction of general and infectious morbidity, improvement of working and living conditions of the population, preventing the spread of dangerous infections, the elimination of harmful factors in the external environment, promotion of hygiene knowledge, the formation of the scientific base for diagnosis and treatment of infections. At the moment the leading role in this preventive work plays the State Sanitary and Epidemiological Service.

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