About the Concept of the Second Symphony by Galina Ustvolskaya

10.34690/01 ◽  
2019 ◽  
pp. 6-18
Author(s):  
Г.В. Григорьева
Keyword(s):  
Poetic Text ◽  
Galina Ustvolskaya ◽  
First Time

Статья посвящена анализу Второй симфонии Г. Уствольской, исследованию особенностей композиции и драматургии. Для интерпретации художественной идеи привлекается канонический источник ее поэтического текста. Впервые рассматривается возможность влияния философских работ Якова Друскина. The article is devoted to the analysis of the Second Symphony by G. Ustvolskaya, the study of compositional and dramatic features. The author draws on the canonical source of poetic text to interpret an artistic idea, for the first time considering the possibility of the influence of Jacob Druskin philosophical works.

scholarly journals «La più curiosa» regata in onore del duca di York (Venezia, 4 giugno 1764)

2020 ◽  
Author(s):  
Daria Perocco
Keyword(s):  
Poetic Text ◽  
The Many ◽  
First Time ◽  
George Iii

This essay analyses one of the most sumptuous regattas of the Serenissima Republic: it was organised in honour of the Duke of York, brother of George III of England, during his stay in Venice on June 4, 1764. Among the many races, the women’s race, in which the most famous rowers of the time took part, stands out. It was also celebrated in poetry: after that day, the poetic text is published here for the first time.

scholarly journals “A Sea Symphony” by R. Vaughan Williams and its literary source

2021 ◽  
pp. 244-249
Author(s):  
Olga Petrova
Keyword(s):  
Leaves Of Grass ◽  
Literary Source ◽  
Poetic Text ◽  
Complex Features ◽  
Poetic Texts ◽  
First Time ◽  
Vaughan Williams

The purpose of the article is to identify the features of the artistic concept of “A Sea Symphony” by R. Vaughan Williams and the key role in its formation of the literary source of the work. The methodology of the work is based on the application of analytical, structural, comparative and intertextual methods, which makes it possible to expand the horizons of cognitive search and identify intertextual semantic connections within the studied phenomenon. The scientific novelty is that for the first time in Ukrainian musicology the literary source of “A Sea Symphony” by R. Vaughan Williams receives analytical coverage as an important component of the holistic artistic concept of the work. Conclusions. As a result of the work carried out, it was established that the poetic texts by W. Whitman’s “Leaves of Grass” became the literary source of the symphony. They are both separate poems of the poet and fragments from his poems. Combining them, the composer builds his own compositional and dramatic logic, subordinate to the idea of revealing the significance of the mythological image of the sea, which appears in the symphony as a polysemantic archetypal complex. Features of the composer's work with a poetic text, the validity of certain notes, replications, transpositions while maintaining and accentuating its key role in building the musical and artistic whole are revealed. The specificity and principles of the distribution of poetic texts between parts of the work, as well as vocal parties, solo and choral, are determined.

scholarly journals “The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem

2019 ◽  
Vol 52 (52) ◽  
pp. 53-70
Author(s):  
Duangui Wang
Keyword(s):  
20Th Century ◽  
21St Century ◽  
Semantic Analysis ◽  
World View ◽  
Compositional Approach ◽  
The World ◽  
Poetic Text ◽  
The Individual ◽  
The Ancient Chinese ◽  
First Time

Formulation of the problem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). Among its criteria there are reliance on the orchestral accompaniment, the timbre variation of each song of the cycle, the poetry dictated by the presence of the image of the Poet, the symbolization of the poetic and intonation language, the cultural chronotope uniting the Time of History and its inclusion into the culture of the 21st century. The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle. Analysis of the recent publications on the topic. In the second half of the 20th century, a new compositional approach to organizing vocal songs into a whole, poemness, appeared. In the articles by A. Belonenko (about “Petersburg” by G. Sviridov) and T. Zharkikh (about “Poemes pour Mi” by O. Messiaen), the research emphasis is placed on other problems of the organization of the vocal whole. For the first time, in the conditions of the poly-timbre vocal and orchestral synthesis and the national picture of the world poemness becomes the subject of a special interest of the singer-researcher. Research methods: the structural-functional analysis concerns the components of the composer’s text (the vocal melody and textural and timbre thematism of the orchestral part); the semantic one – reveals the symbolism of poetic texts; the genre analysis – aims to identify the individual interpretation of typical models of vocal music. The presentation of the main material. The poem principle became the embodiment of the author’s desire to unite several vocal miniatures into a single musical universe based on the common concept – the image of the Poet. The philosophical and religious feelings and thoughts contained in the texts chosen by the composer reflect not only his worldview, but also the national mentality and psychology of the world view of the “Chinese world view” (the chronotope of History). This rare quality of poetry – to unite the personality (I) and society (We) into a single “national image of the world” – is the essence of the symbolism of the ancient Chinese poetry of the Tang era. The desire to individualize the timbre composition in each of the parts of the cycle is a characteristic feature of many vocal and instrumental compositions of the 20th century. However, in Zhao Jiping’s work, the search for diversity acts simultaneously with the desire to preserve the timbre constants. As such, with this composer this role is represented by a string and bow group, as the carrier of the song beginning, which performs the function of the instrumental “nimbus” (more rarely, of the dialogue-counterpoint) in relation to the singer. In contrast to Western composers, Zhao Jiping does not seek to use “pure” timbres: vocals and xiao can be duplicated with the wind and plucked strings. The composer does not look for contrasting timbres in search of the associative community: on the contrary, he creates single-timbre groups (pipa + guzheng + harp, triangle + bells + cymbals) to vary the shades of the poetic text. Their “consonance” is close to assonance in poetry (from assono – “I sound in tune”), which in the musical context creates the timbre assonance. The symphonic instruments are combined in timbre groups (string, wind), and the ethnic often perform an individualized function (for example, guzheng with its irregular glissando in No. 2–4 gives a national flavour). The orchestral density, along with the gradual “academic turning” of timbres, increases from the second half of the sound of the cycle (No. 5) to the final. Xiao is replaced by the wind and brass (with No. 5), while the ethnic plucked is replaced by the harp. The gradual increase in the timbre multidimensionality of the texture also has the “opposite effect”, since it is combined with the enhancement of the timbre contrast in the final parts of the cycle and as a result of the “aggravation” of the chamberness. The most chamber part is number 6, where the brass is for the first time silenced, and only the pipa and guzheng are heard. The culmination of the “chamberness” is in the first stanza of the final: a duet of the voice and harp. Conclusion. The vocal-instrumental synthesis in the poem genre, identified in Zhao Jiping’s “The Eight Songs”, is characterized by the organic interaction of the national and European principles of musical thinking. The performers are faced with complex technical and psychological tasks that require a developed orchestral-timbre hearing, intellectualism and associative thinking. A vocal-instrumental poem is a way of modelling spiritual reality, in which the unity of time and space is manifested due to the poetic text, in which the integral sense-image of the Poet acts, personifying the sound-like concepts of the culture of its time and the history of an entire people (“national view of the world”), their “inclusion” into the musical chronotope of the 21st century.

It’s got some meaning but I am not sure…

2017 ◽  
Vol 24 (3) ◽  
pp. 474-495
Author(s):  
Sarali Gintsburg
Keyword(s):  
Oral Poetry ◽  
Poetic Language ◽  
Formulaic Language ◽  
Cognitive Poetics ◽  
Poetic Tradition ◽  
Living Tradition ◽  
Poetic Text ◽  
Literacy Level ◽  
Poetic Texts ◽  
First Time

Abstract In this research I aim to contribute to a better understanding of transitionality in poetic language by applying for the first time the hypotheses recently developed by pioneers in the emerging field of cognitive poetics to a living tradition. The benefits of working with a living tradition are tremendous: it is easy to establish the literacy level of the authors and the mode of recording of poetic text is also easy to elicit or, when necessary, to control. I chose a living poetic tradition originating from the Jbala (Morocco). Although it is not epic and local poets create only relatively short poetic texts, memorisation is also used; it has been demonstrated that oral improvisation and the use of memory are not mutually exclusive. This suggests that research on the living Jebli tradition holds promise for our understanding of oral poetry, and for revisiting the intriguing question of formulaic language.

scholarly journals Intuitive Ontology of Poetic Word

2019 ◽  
Vol 16 (6) ◽  
pp. 606-617
Author(s):  
Elena L. Yakovleva
Keyword(s):  
Life Story ◽  
Femme Fatale ◽  
Active Force ◽  
Salvador Dali ◽  
Actual Reality ◽  
Marina Tsvetaeva ◽  
The World ◽  
Poetic Text ◽  
First Time ◽  
Poetic Work

The object of the study is the creative intuition, which belongs to the mystical and secret phenomena of personality existence. The acting mecha­nism of intuition in the creative process is not fully clarified, which makes it an actual scientific problem. Thanks to intuition, a poetic work displays the reality of possibilities, which might eventually become the actual reality in the form of personal being-in-the-world not only of the creator, but also of the rea­der. For the first time ever, the article analyzes, from the position of intuitive ontology of poetic word, a small lyrical poem by Marina Tsvetaeva “Mother in the Garden”, which she presented to Lena/Galya Dia­konova/Gala. This poem contains the life story of Gala, who became the wife and the muse for the great people — poet Paul Éluard and artist Salvador Dali. Gala, having intuitively chosen her favorite Tsvetaeva’s poem, did not leave any records about its text. It remains a mystery whether she had interpreted it or, having left Russia, tried to forget about it forever. A performed interpretation of the poetic text led to the conclusion: the lyrical poem by Marina Tsvetaeva demonstrates, in a rolled-up form, the fate of Gala and her difficult relationship with her husbands — P. Éluard and S. Dali. The article explains many of the woman’s oddities in her communication with men by the specifics of her being-in-the-world. Gala’s exi­stence was based on multiple fears. Their dominance in her life caused her hysteria, which turned her into a femme fatale. In her youth, Gala had been coping with the pressure of her fears, reducing their active force; while in her old age, the woman fell in their grip, which played a destructive role for her. Despite her intuitiveness of thinking, Gala was broken by her fears, which had been prophetically foretold, long before the real events, by the poetic lines of M. Tsvetaeva.

To the anniversary of A.T. Tvardovsky: onomastics of the early poem “Exordium” (“The Journey of Vasily Petrov”)

Neophilology ◽  
2020 ◽  
pp. 271-279
Author(s):  
Inna A. Koroleva
Keyword(s):  
20Th Century ◽  
Proper Names ◽  
Poetic Text ◽  
Great Poet ◽  
The Creation ◽  
First Time ◽  
Poetic Work ◽  
Thematic Plan

We consider the system of proper names in the early little-known poem by A.T. Tvardovsky “Exordium” (secondary title “The Journey of Vasily Petrov”), which was written by a young poet as preparation for the creation of the famous “The Land of Muravia”, which brought him all-Russian fame. It is proved that the text published in the journal “Nastupleniye” in 1932 is an authorial poetic text, revealing the difficulties of the first time of collectivization. It is shown how the great master of words worked on naming characters, expressing with the help of onomastic vocabulary his assessment of the characters and events. We reveal the nomination motives, which trace the role of onyms in the implementation of the ideological and thematic plan of the work. Using the analysis of onomastic units and their semantic environment, it is shown how A.T. Tvardovsky developed methods of researching proper names in his creative laboratory, which became a kind of master class for many representatives of the Smolensk Poetry School, highlighted by the famous Soviet critic A.V. Makedonov back in 1960. The principle of biography and chronotopy is substantiated, in the light of which all the work of the great poet developed further. Conclusions are made about the significance of the early poem in the context of further work with proper names. The material of this work deepens the study of the early poetic work of A.T. Tvardovsky, one of the great Russian poets of the 20th century.

scholarly journals Migrant and Autochthonous Traditions within Udmurt Folksong (on the Example of the Siberian Udmurt)

2020 ◽  
Vol 14 (1) ◽  
pp. 85-110
Author(s):  
Nikolai Anisimov ◽  
Irina Pchelovodova ◽  
Ekaterina Sofronova
Keyword(s):  
Point Of View ◽  
Mixed Marriages ◽  
Musical Tradition ◽  
Video Recordings ◽  
Original Culture ◽  
Poetic Text ◽  
Udmurt Republic ◽  
Long Time ◽  
Academy Of Sciences ◽  
First Time

AbstractThis article* investigates, for the first time, the local musical tradition of the Udmurt of Chainsk district (Tomsk oblast). The overwhelming majority of migrants in this region arrived from the Sharkan district of the Udmurt Republic, in Siberia, at the beginning of the 20th century. For a long time they kept their original culture in an ethnically alien environment. However, at the beginning of the 21st century, their singing tradition started to fade under the influence of different factors (such as the disappearance of Udmurt rituals and festivals, as well as mixed marriages). The aim of this article is to compare the ‘Chainsk migrational’ singing tradition to the ‘Sharkan original’ musical tradition. The main collection of audio recordings covering the Chainsk district Udmurt musical tradition is conserved in the archives of the Udmurt Research Institute at the Russian Academy of sciences.1 It is comprised of fieldwork material gathered by researchers from the Institute in 1974 and 2006. We discovered new sources of audio and video recordings of the singing tradition in this territory, which allowed us to integrate more song samples. The analysis of both traditions reveals the basic genres of ritual singing, each of which has been examined from the point of view of the topic of the poetic text, the mood structures, and the metro-rhythmic and melodic peculiarities of their development.

Annulate lamellae in the Sertoli cells of guinea pig testis after unilateral torsion of the spermatic cord

1984 ◽  
Vol 42 ◽  
pp. 196-197
Author(s):  
J. Chakraborty ◽  
A. P. Sinha Hikim ◽  
J. S. Jhunjhunwala
Keyword(s):  
Sertoli Cells ◽  
Guinea Pigs ◽  
Spermatic Cord ◽  
Present Report ◽  
Cell Types ◽  
Annulate Lamellae ◽  
Spermatogenic Cells ◽  
Electron Microscopic ◽  
Structural Details ◽  
First Time

Although the presence of annulate lamellae was noted in many cell types, including the rat spermatogenic cells, this structure was never reported in the Sertoli cells of any rodent species. The present report is based on a part of our project on the effect of torsion of the spermatic cord to the contralateral testis. This paper describes for the first time, the fine structural details of the annulate lamellae in the Sertoli cells of damaged testis from guinea pigs.One side of the spermatic cord of each of six Hartly strain adult guinea pigs was surgically twisted (540°) under pentobarbital anesthesia (1). Four months after induction of torsion, animals were sacrificed, testes were excised and processed for the light and electron microscopic investigations. In the damaged testis, the majority of seminiferous tubule contained a layer of Sertoli cells with occasional spermatogonia (Fig. 1). Nuclei of these Sertoli cells were highly pleomorphic and contained small chromatinic clumps adjacent to the inner aspect of the nuclear envelope (Fig. 2).

Electron spectroscopic imaging and diffraction

1991 ◽  
Vol 49 ◽  
pp. 706-707
Author(s):  
M. Rühle ◽  
J. Mayer ◽  
J.C.H. Spence ◽  
J. Bihr ◽  
W. Probst ◽  
...  
Keyword(s):  
Materials Science ◽  
Electron Spectroscopic Imaging ◽  
Magnetic Filter ◽  
Magnetic Imaging ◽  
Illumination System ◽  
Probe Size ◽  
Diffraction Patterns ◽  
Fritz Haber ◽  
Koehler Illumination ◽  
First Time

A new Zeiss TEM with an imaging Omega filter is a fully digitized, side-entry, 120 kV TEM/STEM instrument for materials science. The machine possesses an Omega magnetic imaging energy filter (see Fig. 1) placed between the third and fourth projector lens. Lanio designed the filter and a prototype was built at the Fritz-Haber-Institut in Berlin, Germany. The imaging magnetic filter allows energy-filtered images or diffraction patterns to be recorded without scanning using efficient area detection. The energy dispersion at the exit slit (Fig. 1) results in ∼ 1.5 μm/eV which allows imaging with energy windows of ≤ 10 eV. The smallest probe size of the microscope is 1.6 nm and the Koehler illumination system is used for the first time in a TEM. Serial recording of EELS spectra with a resolution < 1 eV is possible. The digital control allows X,Y,Z coordinates and tilt settings to be stored and later recalled.

A Novel TEM Technique for Characterizing As-Grown CVD Diamond Films

1991 ◽  
Vol 49 ◽  
pp. 956-957 ◽  
Author(s):  
Z.L. Wang ◽  
J. Bentley ◽  
R.E. Clausing ◽  
L. Heatherly ◽  
L.L. Horton
Keyword(s):  
Diamond Films ◽  
Chemical Vapor ◽  
Growth Direction ◽  
Dark Field ◽  
Growth Surface ◽  
Specimen Preparation ◽  
Transmission Electron ◽  
Diffraction Patterns ◽  
First Time ◽  
Microstructural Studies

Microstructural studies by transmission electron microscopy (TEM) of diamond films grown by chemical vapor deposition (CVD) usually involve tedious specimen preparation. This process has been avoided with a technique that is described in this paper. For the first time, thick as-grown diamond films have been examined directly in a conventional TEM without thinning. With this technique, the important microstructures near the growth surface have been characterized. An as-grown diamond film was fractured on a plane containing the growth direction. It took about 5 min to prepare a sample. For TEM examination, the film was tilted about 30-45° (see Fig. 1). Microstructures of the diamond grains on the top edge of the growth face can be characterized directly by transmitted electron bright-field (BF) and dark-field (DF) images and diffraction patterns.

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