scholarly journals Orchestration of D. L. Klebanov and V. M. Zolotukhin: a comparative analysis

2021 ◽  
Vol 23 (23) ◽  
pp. 65-77
Author(s):  
Hanna Savchenko
Keyword(s):  
Comparative Analysis ◽  
Orchestral Music ◽  
Macro Level ◽  
Vertical Projection ◽  
Musical Culture ◽  
Horizontal Projection ◽  
Special Trait ◽  
Great Transparency ◽  
Orchestral Works ◽  
Extended Group

Background. In the last two decades there was a constantly increasing scholar interest to Kharkiv school of composition as a phenomenon of Ukrainian musical culture. Despite this, a lot of unstudied questions remain, which need to be researched. This includes problems of orchestral thinking, orchestral style and orchestral writing of Kharkiv composers, particularly, D. Klebanov and V. Zolotukhin. The novelty lies in the systematization of the principles of orchestration in the symphonies of D. Klebanov (based on the symphonies 1, 3, 6, 7) and the First Symphony of V. Zolotukhin. Analysis of literature. Orchestral music of both composers is researched quite sporadically. Its several facets are studied in works by M. Cherkashyna (1968), I. Frumina (1969), O. Gusarova (1988), T. Krasnopolska (1964), Yu. Malysheva (1967), N. Ocheretovska (2007), Е. Ponomarenko (2005), O. Roschenko (2005; 2016), А. Zamotaylo (2001), O. Zinkevych (2005), I. Zolotovytska (1980), A. Dmitriyeva (2016). There is an article by H. Savchenko (2018), specially devoted to orchestration of D. Klebanov The goal of this article is to reveal the principles of orchestration in symphonies by D. Klebanov (No. 1, 3, 6, 7) and V. Zolotukhin (No. 1) in aspect of comparative analysis. In the article the author operates such methods of research as analytical, functional, and comparative. Conclusions. In results of studying of orchestral works by D. Klebanov and V. Zolotukhin (First Symphony) in aspects of orchestral thinking and principles of orchestration, we have reached the following conclusions: 1) both composers prefer a triple orchestra, which is quite flexible, in order to achieve full-bodied orchestral texture and be able to operate different timbral colours; 2) in the works of both composer, there is an inclination to equal understanding of orchestral groups, including percussion in the first Symphony by V. Zolotukhin; 3) in the vertical projection there is a differentiation of the groups through orchestral functions, which causes a great transparency of the score; 4) much more slow changes of type of a texture and timbral combinations in horizontal projection sets apart orchestration of V. Zolotukhin from orchestration of D. Klebanov; 5) overall, orchestration of V. Zolotukhin is more dense, filled with doubles, it is dominated by “large touch”, which causes continuity and smaller degree of detailing; 6) a special trait of orchestration of D. Klebanov is thinking by timbral and textural layers with obvious distinction of orchestral function between them. Inside of these layers there is an additional split of orchestral functions which causes rather rare usage of doubles between instruments of different orchestral groups. For V. Zolotukhin, thinking with clearly defined timbral and textural layers is characteristic, which tells about realisation of orchestral polyphonic thinking on the macro level or the whole texture; 7) in orchestration of both composers there is a tendency to colouring: in the First Symphony by V. Zolotukhin it is brighter and more robust due to usage of more diverse timbral palette (from piano harp, celesta to extended group of percussion).

Dynamics of the right atrio-ventricular junction in human: a spatial high-resolution study with multiphase computed tomography

2020 ◽  
Vol 41 (Supplement_2) ◽  
Author(s):  
J Jouan ◽  
I Masari ◽  
V Bliah ◽  
G Soulat ◽  
D Craiem ◽  
...  
Keyword(s):  
Computed Tomography ◽  
Cardiac Cycle ◽  
Cardiac Computed Tomography ◽  
Reconstruction Method ◽  
Imaging Data ◽  
High Definition ◽  
Vertical Projection ◽  
Horizontal Projection ◽  
Cross Sectional ◽  
The Right

Abstract Introduction In order to improve knowledge of the tricuspid valve (TV) function and its coupling with the right atrio-ventricular junction (RAVJ) and right ventricle (RV), new four-dimensional high-definition imagery methods are mandatory (3D+t). Purpose Using an innovative reconstruction method based on multiphase cardiac computed tomography imaging (4D-MCCTI), we finely analyzed the morphological & dynamical features of tricuspid annulus (TA) and RAVJ components in order to assess new functional parameters of TV and RV functions. Methods Volume imaging data sets through time were obtained from 4D-MCCTI of 30 subjects (sex ratio 1, mean age 57±11y.) with no rhythm, valvular or ventricular abnormalities on echocardiography and implemented in a custom software for 3D semi-automated delineation of 18 points around TA perimeter. Coordinates of these points in each of the 10 time-phases within an RR interval were used to calculate specific geometrical features of TA such as 3D/2D areas, perimeters, 360°-diameters and vertical deformation. Subsequently, RV and Right Atrium (RA) inner contours were also delineated (Figure). Results TA shape was elliptical in horizontal projection with a mean eccentricity index (EcI) of 0.58±0.12; and saddle-shapped in vertical projection with a horn nearby the antero-septal commissure. This feature remained throughout the cardiac cycle but TA was more planar (minimal TA-height: 4.47±1.04 mm) and circular (minimal EcI=0.44±0.14) in mid-diastole when TA-3Darea and TA-3Dperimeter reached a maximum of 6.98±1.21 cm2/m2 and 7.41±0.91 cm, respectively. Correlation between TA-3Darea, TA-2Darea and latero-septal diameter (LSD) were R2=0.99 and R2=0.73, respectively. LSD was minimal in early-systole (18.83±3.04 mm/m2) and maximal in mid-diastole (20.04±3.05 mm/m2). Correlation of TA-3Darea with RV and RA cross-sectional areas were R2=0.82 and R2=0.71, respectively. Conversely, there was no significant correlation between TA, RV and RA concentric contractions. Conclusions Our method for 4D-MTCCI analysis has allowed confirming the shape and dynamics function of RAVJ throughout the cardiac cycle in healthy subjects, and giving new reference parameters for TV and RV evaluation. Software multiplanar view of TA Funding Acknowledgement Type of funding source: None

Class, Culture, and State: An Analysis of Interest Representation by Two Turkish Business Associations

1998 ◽  
Vol 30 (4) ◽  
pp. 521-539 ◽  
Author(s):  
Ayşe Buğra
Keyword(s):  
Comparative Analysis ◽  
Social Role ◽  
Voluntary Associations ◽  
Macro Level ◽  
Business Associations ◽  
Class Culture ◽  
Interest Representation ◽  
The Social ◽  
Organizational Activities

This article presents a comparative analysis of the social role of two voluntary associations of Turkish businessmen: TUSIAD (The Association of Turkish Industrialists and Businessmen) and MUSIAD (The Association of Independent Industrialists and Businessmen). These associations are approached both as mechanisms of interest representation and as agents of two different class strategies. Hence, the article highlights two types of organizational activities that accompany interest articulation and representation: first, the activities which seek to bind the “bearers of interest” or “members of class” into coherent communities, and second, those aimed at the promotion of particular macro-level social projects.

Orchestral Music in Salzburg, 1750–1780

10.31022/c040 ◽  
1994 ◽  
Keyword(s):  
Vocal Music ◽  
Orchestral Music ◽  
Three Generations ◽  
Orchestral Works

Although sacred vocal music by Mozart's predecessors and contemporaries in Salzburg has been widely studied, symphonies and other orchestral works by many of these composers remain unknown. Yet the repertory of Salzburg symphonies represents the earliest orchestral music to which Mozart was exposed, and its influence can be seen not only among his earliest symphonies, composed in London, Paris, and Holland in 1764–66, but also among the numerous symphonies and serenades of the 1770s. This edition includes previously unavailable orchestral works by three generations of Salzburg composers: the court violoncellist Caspar Christelli (ca. 1706–66) and the court concertmaster Ferdinand Seidel (ca. 1700–73); vice-Kapellmeister Leopold Mozart (1719–87); and the court violinists Wenzel Helbelt (ca. 1736–69) and Joseph Hafeneder (1746–84).

Macro-Qualitative Approaches

2019 ◽  
pp. 173-180
Author(s):  
Carsten Q. Schneider
Keyword(s):  
Comparative Analysis ◽  
Set Theory ◽  
Qualitative Data ◽  
Single Case ◽  
Qualitative Comparative Analysis ◽  
Social Conditions ◽  
Process Tracing ◽  
Macro Level ◽  
Qualitative Approaches ◽  
Set Relations

Macro-qualitative (MQ) approaches to the study of regime transformation can be defined as those that (a) in order to describe or explain macro-level phenomena (b) predominantly use qualitative data and (c) make claims about these phenomena in terms of set relations. MQ approaches can be static or dynamic and are normally used for single-case or small- to medium-N-sized studies. The set of methods employed in MQ research thus defined ranges from qualitative comparative analysis (QCA) to sequence elaboration and process tracing. Classics in the MQ transformation literature can be interpreted in terms of set theory. For instance, Lipset (1959) famously claimed that there are social conditions that are necessary for the functioning of democracy.

Kodály's Later Orchestral Music (I)

Tempo ◽  
1950 ◽  
pp. 16-23
Author(s):  
John S. Weissmann
Keyword(s):  
Choral Music ◽  
Large Scale ◽  
Orchestral Music ◽  
Case Investigation ◽  
Orchestral Works

It has often been said that the greatness of an artist depends on his relation to the legacy of previous epochs and on his attitude to the intellectual impulses of his time. His awareness of these factors, conditioned by his response towards the obligations of society, will determine the value of his own contribution.In Kodály's case investigation was hitherto centred mainly on his choral music: it is now proposed to examine his two large-scale, purely orchestral works of comparatively recent date.

Agency and Change: Berlioz in Britain, 1870–1920

2007 ◽  
Vol 132 (2) ◽  
pp. 306-348 ◽  
Author(s):  
Leanne Langley
Keyword(s):  
Twentieth Century ◽  
Structural Change ◽  
First World War ◽  
World War ◽  
Musical Culture ◽  
The First World War ◽  
Orchestral Works ◽  
Late Twentieth ◽  
First World ◽  
Late Twentieth Century

Far from being always unjustly neglected until the late twentieth century, as a recent view would have it, Berlioz's music enjoyed dedicated attention and considerable admiration a century earlier. His orchestral works, in particular, were taken up by a range of skilful players and conductors in Britain from the 1870s, yielding performances in the English regions, the London suburbs and in Scotland that impressed ordinary listeners much more than many experienced ones. I argue that structural change and professional competition within the British concert industry to 1920 assisted this remarkable reception – largely ignored in the historiography of Berlioz's reputation as well as in that of British musical culture – while imaginative musicians, astute promoters, writers and thousands of listeners continued to benefit from contact with his work. Berlioz's challenging music indeed became an agent of aesthetic change in Britain – a benchmark, and a calling-card, of modern orchestral presentation that was both standard and commonly accessible before the First World War.

Tuning Preferences in Recorded Orchestral Music

1976 ◽  
Vol 24 (4) ◽  
pp. 169-176 ◽  
Author(s):  
John M. Geringer
Keyword(s):  
Speed Control ◽  
Tape Recorder ◽  
Orchestral Music ◽  
Music Students ◽  
Mean Deviation ◽  
Variable Speed ◽  
Pitch Range ◽  
Orchestral Works ◽  
Pitch Level ◽  
The Mean

The purpose of this study was to investigate tuning preferences regarding recorded orchestral music. Specifically, the study was designed to test subjects' tuning preferences while investigating both the direction and magnitude of mistuning. Sixty randomly selected undergraduate and graduate music students modulated a variable speed tape recorder to preferred pitch levels. Stimuli were recorded excerpts of ten orchestral works, each representative of a different key. Subjects listened to the thirty-second excerpts and turned a linear continuous-speed control knob with a pitch range of approximately an augmented fourth. Data consisted of cent deviation scores relative to A = 440 Hz. Results indicated a marked propensity to tune these excerpts sharper than their recorded pitch level. Subjects' responses indicated the mean cent deviation for sharp tunings to be 149.29 cents (approximately 11/2 semi-tones); when tuning flat, the mean deviation was 88.43 cents.

scholarly journals Musical culture of China in the first half of the XX century a dialogue with European and national

2021 ◽  
pp. 63-78
Author(s):  
Natalia Bragina ◽  
Wang Jie
Keyword(s):  
Comparative Analysis ◽  
New Music ◽  
Musical Culture ◽  
Common Trends ◽  
Music Schools ◽  
Chinese Music ◽  
The Arts ◽  
Time Distance ◽  
The Aesthetic ◽  
Xix Century

The article attempts to systematize the processes taking place in Chinese musical culture in the first half of the XX century. The main direction of European art, manifested in this period in China – Romanticism. Using the example of the development of chamber vocal gen-res, it is shown how the aesthetic attitudes of Romanticism-the reliance on national traditions and the desire to synthesize the arts – were manifested in the works of Chinese composers. The methods of musical and poetic analysis, as well as the method of comparative analysis, are used to identify common trends between the formation of new music in China and the pro-cesses of formation of «young» European music schools in the first half of the XIX century. The reasons for the lag in the development of some na-tional cultures and the regularities of their accelerated development and overcoming the time distance are revealed. The most typical works of chamber-vocal genres of Chinese music of the specified period are used as the material for analysis.

Berthold Goldschmidt: Orchestral Music

Tempo ◽  
1984 ◽  
pp. 12-16
Author(s):  
Colin Matthews
Keyword(s):  
Orchestral Music ◽  
Major Work ◽  
Real Power ◽  
Violin Concerto ◽  
Orchestral Works ◽  
Cello Concerto ◽  
Orchestral Score ◽  
Clarinet Concerto ◽  
A Performance

With his major work, the opera Beatrice Cenci, unperformed apart from extracts, his other opera Der gewaltige Hahnrei not revived professionally since its highly successful première more than 50 years ago, the Second Quartet having to wait 17 years for its première, the remarkably original Kästner settings of 1931 still awaiting a performance, it is clear that it is not only Berthold Goldschmidt's orchestral works that have been ‘undeservedly neglected’.But of these orchestral works only one can in any sense be said to have entered the repertoire, and that, ironically, is one of Goldschmidt's very earliest works—the Comedy of Errors Overture of 1925. It is his only orchestral score in print. The three concertos—the Cello Concerto (1953), Clarinet Concerto (1954), and Violin Concerto (1951–5)—received a fair number of performances during the 1950'5 (not all of them under Goldschmidt's baton), but have virtually disappeared, along with the inventive Sinfonietta of 1945. Perhaps the least deserving of the obscurity into which they have temporarily fallen are the Ciaconna Sinfonica (1936) and the Mediterranean Songs (1958)—both of them works of real power and substance, and immediately approachable.

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