scholarly journals Combinatorics as a constant principle of I. Stravinsky’s orchestral writing

2020 ◽  
Vol 21 (21) ◽  
pp. 180-193
Author(s):  
Hanna Savchenko
Keyword(s):  
Cultural Context ◽  
Spatial Relations ◽  
Vertical Axis ◽  
Space Time ◽  
Musical Language ◽  
Second Viennese School ◽  
Musical Time ◽  
Musical Space ◽  
Definition Of ◽  
Original Phenomenon

Background. I.Stravinsky’s orchestration is quite an original phenomenon; its essential characteristics are influenced not only by objective intra-musical factors (reconfiguration of musical language on the verge of XIX–XX centuries) or by subjective individual and stylistic determinants, but also by the changes, which occurred in the cultural context of the first half of XX century under influence of scientific and technical progress (Arkadev, 1992; Gerasimova-Persidskaya, 2012). The first two decades of XX century became the time, when the new generation of composers emerged, who reflected complexity of the world and different understanding of temporal and spatial relations in sound matter of their works. First, we mean C. Debussy, I. Stravinsky, the composers of the Second Viennese School and B. Bartók. Objectivation of the worldview largely influenced the orchestration as it is one of the means to organise musical matter in space-time. Literature review. Orchestration by I. Stravinsky is the object of research in the articles of V. Gurkov (1987) and A. Schnittke (1967; 1973). Valuable observation and commentary on composer’s orchestration are found in several monographs (Asafev, 1977; Baeva, 2009; Druskin, 2009; Savenko, 2001; Yarustovskiy, 1982). In the available works, orchestral writing by I. Stravinsky has not been examined, especially in the aspect of its constant principles. Results. Concept of “orchestral writing” needs to be clarified; it is widely used, although scarcely developed. We suggest our own definition of this concept. Orchestral writing is an individual system of technological devices and principles, determined by composer’s musical language and common, basic rules of orchestration, aimed at realisation of timbre and textural aspects of the work, conditioned by style, genre and artistic idea and incarnated in functional interaction of orchestral parts in horizontal and vertical axes. General principles of I. Stravinsky’s orchestral writing became discernible in his early works; we define them as multi-figure composition, combinatorics and plastique. Combinatorics can be understood as universal principle of I. Stravinsky’s compositional method and orchestral writing, which affects all the levels of compositional whole, the work itself. Combinatorics is widely used in visual arts, where it is interpreted as a method to find various combinations through rearrangements, moving, different configurations of given elements, their juxtaposition in a certain order. Used as a term to define orchestral writing, combinatorics supposes manipulation with small timbre and textural elements and structures; this is conditioned by type of the themes, used by the composer as well as by variability of intervals and motives. Frequent succession of thematic structures causes rushed tempo of changes of timbre and textural structures, which, in its turn, causes musical time to be densely filled with informational events, and musical space became heterogeneous, contrasting, motley. Combinatorics is embodied in such tools as timbre transmissions and switching, when thematic structures distributed between several timbre groups by the means of split, handoff or juxtaposition, combination of orchestral groups, while remaining in the same structural and compositional section; as a rule, this does not result in a change of orchestral texture. This engenders mosaic-like orchestration, intense contrasts of timbre. Combinatorics in I. Stravinsky’s scores is skillfully realized through increase and decrease in quantity of voices (timbres) in horizontal and vertical axes. In vertical axis it is achieved by usage of incomplete and inexact (fragmentary, variable) doubles, having role of timbre “highlighting”, creating timbre variants of the main line, filling orchestral texture with unremitting timbre move and spatiality. As fragmentary and variable doubles are used, density of the texture is regulated through pauses in doubling lines; thus, the composer avoids risk of overloading the texture. In horizontal axis combinatorics causes alternation of timbres and timbre mixtures within rather shorts periods of musical time with the same orchestral texture, which causes constant timbre development and indicates wise usage of orchestral resources. In the light of combinatorics it is possible to examine and a type of orchestral tutti, raising on the basis of multi-layered orchestral texture, composed from several timbre and textural strata. Conclusions. Continuous usage of combinatorics allows to interpret it not only as constant principle of I. Stravinsky’s orchestral writing, but also as “universal” (according to definition of S. Savenko, 2001) in composer’s orchestral thinking. The same can be applied to such principles as multi-figure and plastique. Their interaction spawns diverse combinations in the Stravinsky’s compositions of the “Russian”, “Neo-Classical” and late stages of his creativity, their influence might be either conspicuous or hidden. Abovementioned principles are used to different extent in each case, depending on the type of space-time that I. Stravinsky employs in the works of different periods: time filled with events and motley, heterogeneous space in the works of the “Russian” period; relatively continuous time, rich with information and events, and more homogenous space in the works of the “Neo-Classical” period; Eternity and simultaneous usage of different time models and strictly geometrical (pure in its abstractness) Space in the works of the late period.

Music of Tragedy

2017 ◽  
Author(s):  
Naomi A. Weiss
Keyword(s):  
Cultural Context ◽  
Musical Language ◽  
New Approach ◽  
Late Work ◽  
Music Making ◽  
Dramatic Action ◽  
Instrumental Accompaniment ◽  
And Performance

The Music of Tragedy offers a new approach to the study of classical Greek theater by examining the use of musical language, imagery, and performance in the late work of Euripides. Drawing on the ancient conception of mousikē, in which words, song, dance, and instrumental accompaniment were closely linked, Naomi Weiss emphasizes the interplay of performance and imagination—the connection between the chorus’s own live singing and dancing in the theater and the images of music-making that frequently appear in their songs. Through detailed readings of four plays, she argues that the mousikē referred to and imagined in these plays is central to the progression of the dramatic action and to ancient audiences’ experiences of tragedy itself. She situates Euripides’s experimentation with the dramaturgical effects of mousikē within a broader cultural context, and in doing so, she shows how he both continues the practices of his tragic predecessors and also departs from them, reinventing traditional lyric styles and motifs for the tragic stage.

Features and Discussion Aspects of the Concepts of Occasion and Event

2021 ◽  
pp. 223-227
Author(s):  
Liliia Syrota
Keyword(s):  
Research Methods ◽  
Cultural Context ◽  
Scientific Research ◽  
Organizational Aspect ◽  
General Scientific ◽  
Definition Of

The purpose of the article is to compare worldview, philosophical and scientific approaches to the definition of the concepts of celebration and event.  To suggest your own definition of the event. Methodology. The author uses general scientific research methods (analysis, synthesis, systematization, comparison, opposition, description, specification). The article also based on semantic, functional research methods. The scientific novelty. The concept of “down” is the closest in meaning to the event In the socio-cultural context, since it has the organizational aspect (the stage of preparation, conduct) that dominates the event. Conclusions. An event is a set of steps/actions aimed at creating family, corporate or official mass meetings. It has always been aimed at the development and implementation of a service.

In quest of higher dimensions – Superstring Theory and the Calabi – Yau manifolds

2021 ◽  
Author(s):  
Deep Bhattacharjee ◽  
Sanjeevan Singha Roy
Keyword(s):  
String Theory ◽  
Higher Dimensions ◽  
Physical Reality ◽  
Space Time ◽  
Superstring Theory ◽  
Real Nature ◽  
Time Space ◽  
Klein Theory ◽  
Relative Notion ◽  
Definition Of

Higher dimensions are impossible to visualize as the size of dimension varies inversely proportional to its level. The more the dimension ranges, the least its size. We are a set of points living in a particular point of space and a particular frame of time. i.e, we live in space-time. The space has more dimensions that meets the human eye. We are living in a world of hyper-space. Our world being a smaller dimension is floating in higher dimensions. The quest for the visually of higher dimensions has been a fantasy to mankind but this aspect of nature is completely locked. We can transform dimensions i.e., from higher to lower dimensions, or from lower to higher dimensions, but only through mathematics. The relative notion of mathematics helps us to do the thing, which is perhaps impossible in the experimental part of physical reality. Humans being an element of 3 Dimensions – length, breath, height can only perceive one higher dimensions, that is space-time. but beyond that the notion of dimension itself changes. The dimensions got curled up in every intersection of the coordinates of space in such a way that the higher dimensions remain stable to us. But in reality it is highly unstable. In the higher dimensions, above 4, the space is tearing apart and joining again spontaneously, but the tearing portion itself covered by 2 dimensional Branes which acts as a stabilizer for the unstable dimensions. Dimensions will get smaller and smaller with the space-time interwoven in it. But at Planks length that is 10^-33 meter, the notion of space-time itself breaks down thereby making impossible for the higher dimensions to coexist along with space. Without space, there will be no identity of any dimension. The space itself is the fabric for the milestone of residing higher dimensions. Imagine our room, which is 3 dimensional. But what is there inside the room. The space and of course the time. Space-time being a totally separate entity is not quite separate when compared with other dimensions because it makes the residing place for the higher dimensions or the hyperspace itself. We all are confined within a lower dimensional world within a randomness of higher dimensions. Time being alike like space is an arrow which has the capability of slicing space into different forms. Thereby taking a snapshot of our every nano-second we vibrate within space-time. As each slice of time represents each slice of space, similarly each slice of space represents each slice of time. The nature of space-time is beyond human consciousness. It is the identity by which we breathe, we play, we survive. It is the whole localization of species that encompasses itself with space thereby making space-time a relative quantity depending upon the reference frame. The only thing that can encompass space-time or even change the relative definition of space-time is the speed, the speed far beyond the speed of light. The more the speed, the less the array of time flows. Space-time being an invisible entity makes the other dimensions visible residing in it only into the level of 3, that is l, b, h. After that there is a infamous structure formed by the curling of higher dimensions called CALABI-YAU manifold. This manifold depicts the usual nature of the dimensional quadrants of the higher order by containing a number of small spherical spheres inside it. The mathematics of string theory is still unable to solve the genus and the containing spheres of the manifold which can be the ultimate quest for the hidden dimensions. Hidden, as, the higher dimensions are hidden from human perspective of macro level but if we probe deeper into the fabric of the space-time of General Relativity then we will find the 5th dimension according to the Kaluza-Klein theory. And if we probe even deeper into it at the perspective of string theory we will be amazed to see the real nature of quantum world. They are so marvelously beautiful, they contain so many forms of higher dimensions ranging from 6 to 10. And even many more of that, but we are still not sure about it where they may exist in a ghost state. After all, the quantum nature is far more beautiful that one can even imagine with a full faze of weirdness.

Ore textures: problems and opportunities

1991 ◽  
Vol 55 (380) ◽  
pp. 303-315 ◽  
Author(s):  
Paul B. Barton
Keyword(s):  
Spatial Relations ◽  
Ore Deposits ◽  
Chemical Processes ◽  
Process Models ◽  
Textural Features ◽  
The Past ◽  
Geological Processes ◽  
Sequence Of Events ◽  
Definition Of ◽  
Scientific Endeavour

AbstractOver the past several decades, thinking about chemical processes in rocks had been dominated by experimental and theoretical treatments of mineral equilibrium, which is the state from which the time variable has been excluded. But, to an extent exceeding that of any of our sister sciences, we in geology are concerned with the behaviour of things as a function of time; thus equilibrium is but one of several interesting boundary conditions. Textures, (defined as the spatial relations within and among minerals and fluids, regardless of scale or origin) provide a means to sort out and identify successive states. In fact, it is the pattern of evolution of those states that enables us to deduce the processes. We may well draw the analogy with thermodynamics and kinetics, respectively:equilibrium textures and phase assemblages, via thermodynamic analysis → definition of conditions of equilibration,whereaskinetics, as displayed in disequilibrium textures → sequence of events and processes of mineralization.The interpretation of textures is one of the most difficult yet important aspects of the study of rocks and ores, and there are few areas of scientific endeavour that are more subject to misinterpretation. Although the difficulties are many, the opportunites for new understanding are also abundant. Textural interpretations have many facets: some are well established and accepted; some that are accepted may be wrong; others are recognised to be speculative and controversial; and we trust that still other textural features remain to be described and interpreted. This paper will deal principally with low-temperature, epigenetic ore deposits, and will emphasise silica and sphalerite; but extension to other materials is not unreasonable.Ore and gangue minerals react internally, or with their environment, at widely ranging rates, ranging from the almost inert pyrite, arsenopyrite, well-crystallised quartz, and tourmaline to the notoriously fickle copper/iron and copper/silver sulfides. Arrested or incomplete reactions may be identifed by textural criteria and, when appropriately quantified, can provide guides to the duration of geological processes.In recent years so much emphasis has been placed on isotopes, fluids, chemistry, and deposit and process models that the textural features have been ignored. In part this oversight occurs because we have grown accustomed to using superposition, cross-cutting, pseudomorphism, mutual intergrowths, exsolution and so on as off-the-shelf tools, to be grasped and applied without evaluation or even description. Surely science must build on previous work without constant and exhaustive reassessment, but for mineral textures a little reassessment may yield substantial benefit.

Modelling spatial reasoning systems with shape algebras and formal logic

1997 ◽  
Vol 11 (4) ◽  
pp. 273-285 ◽  
Author(s):  
Scott C. Chase
Keyword(s):  
Spatial Reasoning ◽  
Predicate Logic ◽  
Spatial Relations ◽  
Large Set ◽  
First Order ◽  
Reasoning Systems ◽  
Geometric Objects ◽  
Small Set ◽  
Definition Of ◽  
High Level

AbstractThe combination of the paradigms of shape algebras and predicate logic representations, used in a new method for describing designs, is presented. First-order predicate logic provides a natural, intuitive way of representing shapes and spatial relations in the development of complete computer systems for reasoning about designs. Shape algebraic formalisms have advantages over more traditional representations of geometric objects. Here we illustrate the definition of a large set of high-level design relations from a small set of simple structures and spatial relations, with examples from the domains of geographic information systems and architecture.

scholarly journals Generalized Timelike Mannheim Curves in Minkowski Space-Time

2011 ◽  
Vol 2011 ◽  
pp. 1-19 ◽  
Author(s):  
M. Akyig~it ◽  
S. Ersoy ◽  
İ. Özgür ◽  
M. Tosun
Keyword(s):  
Minkowski Space ◽  
Sufficient Conditions ◽  
Space Time ◽  
Necessary And Sufficient Conditions ◽  
Minkowski Space Time ◽  
Mannheim Curve ◽  
Definition Of ◽  
Necessary And Sufficient

We give the definition of generalized timelike Mannheim curve in Minkowski space-time . The necessary and sufficient conditions for the generalized timelike Mannheim curve are obtained. We show some characterizations of generalized Mannheim curve.

scholarly journals And That is Where the Fun Ends – General Practitioners’ Conceptualisation of the Line between Recreational and Problem Gambling

2014 ◽  
Vol 0 (0) ◽  
Author(s):  
Michael Dieter Egerer ◽  
Virve Marionneau
Keyword(s):  
Problem Gambling ◽  
General Practitioners ◽  
Cultural Context ◽  
Medical Model ◽  
Online Gambling ◽  
Group Method ◽  
Gambling Behaviour ◽  
Cultural Variations ◽  
Definition Of ◽  
The Individual

AbstractAIMS – Problem gambling is normally identified by fixed criteria of harm adapted from those of substance abuse and by focusing on the individual gambler. However, rigid definitions neglect institutional variations of gambling practices within different legislative configurations. This study proposes analysing the line between recreational and problem gambling by focusing on gambling behaviour and looking at the corruption of the defining factors of play (Caillois, 1958) in three different institutional contexts. DESIGN – A stimulated focus-group method (Reception Analytical Group Interview) was applied to seven groups of Finnish and French general practitioners each and three groups of German ones to study the variations of conceptualising the defining factors of play as introduced by Caillois. RESULTS – Corruption of play was distinguished by participants from all three countries as the dividing line between recreational and problem gambling, but cultural variations were found: the French and German GPs emphasised the loss of the exceptionality of gambling, whereas the Finnish GPs highlighted the invasion of the home by online gambling. Furthermore, the Finnish and German participants were more concerned about the use of gambling as an emotional regulator, while French GPs echoed the French medical model in discussing the adrenaline rush of problem gamblers. CONCLUSIONS – Caillois’ defining factors of play can be used to distinguish recreational from problem gambling and to offer a more encompassing definition of problem gambling. The perception of the line between recreational and problem gambling also seems to depend on the institutional and cultural context.

scholarly journals Editors’ Introduction to the Special Issue of the Journal of Transformative Education on Assessing Transformative Learning

2021 ◽  
Vol 19 (4) ◽  
pp. 295-305
Author(s):  
Kris Acheson ◽  
John M. Dirkx
Keyword(s):  
Adult Education ◽  
Transformative Learning ◽  
Postsecondary Education ◽  
Cultural Context ◽  
Transformative Education ◽  
Special Issue ◽  
Jack Mezirow ◽  
Education Community ◽  
Definition Of ◽  
Over 40 Years

Over 40 years ago, Jack Mezirow introduced the idea of transformative learning (TL) to the adult education community. Representing a profound shift in how one thinks and feels about one’s self and the socio-cultural context in which one is embedded, transformative learning has since evolved to reflect numerous theoretical lenses and its framework continues to be extended and elaborated. As TL theory expands within different contexts and across different disciplines, particularly within postsecondary education, the term transformative learning is often employed with scant connection to the theoretical framework in which it was initially grounded. Learners and educators alike frequently describe learning experiences as transformative, yet little consensus exists around a definition of transformative leaning However, if the field is to continue to evolve theoretically, we cannot accept these claims of transformation at face value. The phenomenon must be measured in some manner. The field continues to struggle with several perennial issues related to assessment. This special issue of the Journal of Transformative Education seeks to address the need to wrestle with these underlying theoretical and conceptual issues by critiquing the state of the field, introducing new approaches to operationalizing the phenomenon, and advancing new trajectories for research. We approach this charge through two major threads explored through eight papers that represent Methodological Innovations and Cases of Methodological Application. We close this introduction to the Special Issue with key themes represented in the eight papers and recommendations for addressing the challenges of assessing the processes and outcomes of transformative learning.

Conspiracy Literature in Early Renaissance Italy

2020 ◽  
Author(s):  
Marta Celati
Keyword(s):  
Fifteenth Century ◽  
Cultural Context ◽  
Italian Renaissance ◽  
Literary Genres ◽  
Political Literature ◽  
Narrative Approaches ◽  
Literature History ◽  
Renaissance Italy ◽  
Definition Of ◽  
Literary Output

The present work represents the first full-length investigation of Italian Renaissance literature on the topic of conspiracy. This literary output consists of texts belonging to different genres that enjoyed widespread diffusion in the second half of the fifteenth century, when the development of these literary writings proves to be closely connected with the affirmation of a centralized political thought and princely ideology in Italian states. The centrality of the issue of conspiracies in the political and cultural context of the Italian Renaissance emerges clearly also in the sixteenth century in Machiavelli’s work, where the topic is closely interlaced with the problems of building political consensus and the management of power. This monograph focuses on the most significant Quattrocento texts examined as case studies (representative of different states, literary genres, and of both prominent authors—Alberti, Poliziano, Pontano—and minor but important literati) and on Machiavelli’s works where this political theme is particularly pivotal, marking a continuity, but also a turning point, with respect to the preceding authors. Through an interdisciplinary analysis across literature, history, philology and political philosophy, this study traces the evolution of literature on plots in early Renaissance Italy, pointing out the key function of the classical tradition in it, and the recurring narrative approaches, historiographical techniques, and ideological angles that characterize the literary transfiguration of the topic. This investigation also offers a reconsideration and re-definition of the complex facets of fifteenth-century political literature, which played a crucial role in the development of a new theory of statecraft.

“Help Your Brother”

2018 ◽  
pp. 48-69
Author(s):  
Michael B. Silvers
Keyword(s):  
Space Time ◽  
Environmental Protest ◽  
Musical Space ◽  
The Government ◽  
The City ◽  
Deliberate Effort

This chapter examines foothills forró as a form of environmental protest, voiced through the strategic use of nostalgia, through dancing bodies and occupied spaces, and through explicit requests aimed at the government and the Brazilian populace alike. Much scholarship on foothills forró understands the genre as either a kitschy regional caricature or as an authentic channel from the city to the backlands. Instead, this chapter considers it a deliberate effort to generate sympathy and aid for northeasterners, for whom it also offered comfort and a musical space-time of their own.

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