scholarly journals МЕТАМОРФОЗИ ОБРАЗУ ТУРАНДОТ У СИМФОНІЧНОМУ СКЕРЦО ПАУЛЯ ГІНДЕМІТА

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Twentieth Century ◽  
Fairy Tale ◽  
Semantic Analysis ◽  
Symphony Orchestra ◽  
Social Conditions ◽  
Practical Significance ◽  
Paul Hindemith ◽  
Femme Fatale ◽  
Twentieth Century Music ◽  
First Time

Порушується питання втілення образу Турандот у жанрах симфонічної музики, зокрема, у «Метаморфозах» П. Гіндеміта. Докладний структурно-семантичний аналіз дозволяє визначити рівень кореспонденції з темами К.-М. Вебера, які лягли в основу твору Гіндеміта як вияв неокласичних тенденцій, а також прослідкувати музичні маркери, застосовані композитором щодо цього образу, відтвореного засобами сучасної музики в іронічно-пародійному плані. Контекстуальне поле прочитань образу китайської принцеси у музиці ХХ століття збагачується за рахунок «Турандот» П. Гіндеміта симфонічною та балетною версіями, рівночасно демонструючи специфічний аспект орієнтальної тематики.Ключові слова: Турандот, орієнталізм, Пауль Гіндеміт, Скерцо, Метаморфози, пародія, балетні втілення, імагологія, імагосемантика. The aim of this paper is to determine the peculiarities of reading Turandot's image by Paul Hindemith in «Metamorphoses» for symphony orchestra. The methodology of the research is based on the application of the structural-semantic analysis of Scherzo's «Turandot» by P. Hindemit, which is considered using the principles of imagological research in the contextual field of reading the image of a Chinese princess in musical art.Results. In P. Scerzo's P. Hindemith, Turandot's brazen takes on a new meaning: in response to contemporary to the composer political and social conditions through the prism of parody, and extends the boundaries of traditional «Chinese», which is characterized by a vibrant jazz component and a neoclassical dimension, transporting the idea of a Chinese princess through reading an early romantic overture by K. M. von Weber from music to F. Schiller's drama «Turandot». Such specific «polystylistics» in the embodiment of this theme by expanding the intercontinental sound space reveals globalist tendencies and perpetuates humanistic ideals in a kind of grotesque form. The imagosemantics of Turandot's image in P. Hindnmith also contains stable musical markers (toy-puppet theme as a fairy-tale imaginary princess, chromatic-tortuous theme as an imago femme fatale, state imago – fanfare motif as a symbol of imperial-empathetic, motif drums in the spirit of «Chinozerii»). However, a parody-ironic approach to the solution of the image, the genre of eccentric, overflowing with total shock exaltation and warlike scherzo, in which the composer etymologically rethinks the serious challenges of the plot and the image of the heroine itself (the metamorphosis of the delicate «air China» theme into a distorted chromatized dissonance-false fanfare) – appears for the first time. Turandot in the music of the second half of the twentieth century will act more as a representative of totalitarian political structures, nominally representing ChineseOrientalism of the postmodernist type.Novelty. For the first time in national musicology, Turandot's embodiment in the music of the twentieth century was demonstrated, in particular, in the Scherzo of P. Hindemith's Metamorphosis for symphony orchestra, and the features of reading this image in the dimension of oriental imagosemantics were determined.The practical significance. In this article, Ukrainian and foreign musicologists may find information useful for exploring Turandot's image in twentieth-century music, particularly in Paul Hindemith's work in symphonic and ballet incarnations.Key words: Turandot, Orientalism, Paul Hindemith, Scherzo, Metamorphoses, Рarody, Ballet Еmbodiments, Imagology, Іmagosemantics.

VOCABULARY OF FOOD IN THE FOLK TALES OF THE MANSI

2018 ◽  
Vol 10 (3/1) ◽  
pp. 195-201
Author(s):  
M. V. KUMAEVA
Keyword(s):  
Food Production ◽  
Fairy Tale ◽  
Semantic Analysis ◽  
Folk Art ◽  
Human Existence ◽  
Cooking Methods ◽  
Folk Tales ◽  
Cultural Approach ◽  
First Time ◽  
Hunting And Fishing

Semantic layers of everyday vocabulary cover many aspects of  human existence. All life realities are reflected in the oral folk art,  including the vocabulary of food. The relevance of the research is  determined by the fact that this theme in Mansi philology is  insufficiently studied. The vocabulary of food in the Mansi fairy-tale  texts is considered for the first time. The objective of the work is to  identify and classify the food vocabulary, reflected in the texts of the  folk tales, by lexical and semantic groups. The research used the  lexico-semantic analysis and the method of observation as well as the linguistic and cultural approach. The author identified the  following lexical and semantic groups: products ‘ehlmkholasn yuv- tehne hkhurip utyt’, food production (hunting and fishing) ‘rupatal katn pattyn tehnut (vorayan os khul alyss'lan varmal')’, the  names of household utensils, tableware related to food ‘tehnut  syopitan kolkivyr pormasyt’, cooking methods ‘tehnut syopitaneh  varmal'’. 

The Doctor Faustus Dossier

2018 ◽  
Author(s):  
Adrian Daub
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Primary Source ◽  
Music And Literature ◽  
Twentieth Century Music ◽  
Private And Public ◽  
Doctor Faustus ◽  
Public Lives ◽  
Nazi Era ◽  
The Impact

Arnold Schoenberg and Thomas Mann, two towering figures of twentieth-century music and literature, both found refuge in the German-exile community in Los Angeles during the Nazi era. This complete edition of their correspondence provides a glimpse inside their private and public lives and culminates in the famous dispute over Mann's novel Doctor Faustus. In the thick of the controversy was Theodor Adorno, then a budding philosopher, whose contribution to the Faustus affair would make him an enemy of both families. Gathered here for the first time in English, the letters are complemented by diary entries, related articles, and other primary source materials, as well as an introduction that contextualizes the impact that these two great artists had on twentieth-century thought and culture.

Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch

2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Primary Source ◽  
Gender And Sexuality ◽  
Benjamin Britten ◽  
Twentieth Century Music ◽  
History Of ◽  
Music Research ◽  
Symphonic Music ◽  
Biographical Knowledge

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.

YUKAGIR GEOGRAPHICAL TERMS IN TOPONYMY OF THE KOLYMA RIVER BASIN

2020 ◽  
Vol 9 (4(73)) ◽  
pp. 29-33
Author(s):  
N.S. Bagdaryyn
Keyword(s):  
River Basin ◽  
Semantic Analysis ◽  
Comparative Method ◽  
Linguistic Analysis ◽  
Word Formation ◽  
Morphological Features ◽  
North East ◽  
The North ◽  
First Time ◽  
Kolyma River

The article continues the author's research on the toponymy of the North-East of the Sakha Republic, in particular the Kolyma river basin, in the aspect of the interaction of related and unrelated languages. The relevance of this work is defined in the description of local geographical terminology of Yukagir origin, as a valuable and important material in the further study of toponymy of the region. For the first time, the toponymy of the Kolyma river basin becomes the object of sampling and linguistic analysis of toponyms with local geographical terms of Yukagir origin in order to identify and analyze them linguistically. The research was carried out by comparative method, word formation, structural, lexical and semantic analysis. As a result of the research, phonetic and morphological features are revealed, the formation of local geographical terms and geographical names of Yukagir origin is outlined, and previously unrecorded semantic shifts and dialectisms are revealed. The most active in the formation of terms and toponyms is the geographical term iилil / eҕal 'coast‘, which is justified by the representation of the Yukagirs’ coast' home, housing

The Only Wonderful Things

2020 ◽  
Author(s):  
Melissa J. Homestead
Keyword(s):  
Twentieth Century ◽  
American Southwest ◽  
Advertising Agency ◽  
Greenwich Village ◽  
Early Twentieth Century ◽  
Park Avenue ◽  
Fresh Perspective ◽  
The Cold War ◽  
Relationship Of ◽  
First Time

This book tells for the first time the story of the central relationship of novelist Willa Cather’s life, her nearly forty-year partnership with Edith Lewis. Cather has been described as a distinguished artist who turned her back on the crass commercialism of the early twentieth century and as a deeply private woman who strove to hide her sexuality, and Lewis has often been identified as her secretary. However, Lewis was a successful professional woman who edited popular magazines and wrote advertising copy at a major advertising agency and who, behind the scenes, edited Cather’s fiction. Recognizing Lewis’s role in Cather’s creative process changes how we understand Cather as an artist, while recovering their domestic partnership (which they did not seek to hide) provides a fresh perspective on lesbian life in the early twentieth century. Homestead reconstructs Cather and Lewis’s life together in Greenwich Village and on Park Avenue, their travels to the American Southwest that formed the basis of Cather’s novels The Professor’s House and Death Comes for the Archbishop, their summers as part of an all-woman resort community on Grand Manan Island, and Lewis’s magazine and advertising work as a context for her editorial collaboration with Cather. Homestead tells a human story of two women who chose to live in partnership and also explains how the Cold War panic over homosexuality caused biographers and critics to make Lewis and her central role in Cather’s life vanish even as she lived on alone for twenty-five years after her partner’s death.

Exploring Twentieth-Century Music

1971 ◽  
Vol 19 (1) ◽  
pp. 122-123
Author(s):  
Henry Leland Clarke
Keyword(s):  
Twentieth Century ◽  
Twentieth Century Music

La Guerre en dentelles: Women and the Prix de Rome in French Cultural Politics

1998 ◽  
Vol 51 (1) ◽  
pp. 83-129 ◽  
Author(s):  
Annegret Fauser
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
Cultural Politics ◽  
Music Composition ◽  
Public Recognition ◽  
Nadia Boulanger ◽  
First Time

In 1903, one hundred years after the Prix de Rome had been created in music composition, women were allowed to participate in the competition for the first time. In 1913, Lili Boulanger became the first woman to win the prize, crowning the efforts of three others-Juliette Toutain, Hélène Fleury, and Nadia Boulanger-to achieve this goal. Their stories are fascinating case studies of the strategies women employed to achieve success and public recognition within the complex framework of French cultural politics at the beginning of the twentieth century.

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