scholarly journals PARALITURGICAL WORKS AS A SACRED-AESTHETIC ELEMENT OF UKRAINIAN MUSICAL CULTURE

2020 ◽  
pp. 26-53
Author(s):  
Hanna Karas ◽  
Keyword(s):  
Golden Age ◽  
The Other ◽  
Close Connection ◽  
Musical Culture ◽  
Strong Connection ◽  
Xxth Century ◽  
Material Development ◽  
National School ◽  
Other Hand ◽  
Aesthetic Ideal

The purpose of the section is to clarify the place of Ukrainian diaspora composers’ paraliturgical works of the XXth century and, in particular, the works of Mykhailo Hayvoronsky (1892–1949) in the spiritual musical culture of Ukrainians. Paraliturgical works include spiritual songs and chants performed outside the church’s Christian canonical rite. In the works of composers it is: a series of chants from Pochaiv’s «Bogohlasnyk», arrangements of koliadkas, songs of the Virgin and Resurrection, prayers to the King of Heaven, communions. Paraliturgical music of diaspora composers testifies to a strong connection with traditions: here we have the influence of «part-song», and the achievement of the «golden age» of Ukrainian music, and creative achievements in this genre of older contemporaries – M. Lysenko, M. Leontovych, K. Stetsenko. On the other hand, there is a close connection of this music with folklore sources, first of all, in the field of melody, texture, principles of musical material development. The sacral-aesthetic element of M. Hayvoronsky’s spiritual music is expressed by the figurative content of these works (bright, contemplative mood, sorrowful-focused prayer spirit, joyful exaltation, mood spirit), aesthetic categories (sublime, beauty, harmony, aesthetic ideal). Due to its genre and stylistic features, the paraliturgical music of diaspora composers became an integral part of the national school of composers development and contributed to the establishment of its identity.

On Women, Power, and Politics During the Last Phase of the Ilkhanate

Arabica ◽  
2012 ◽  
Vol 59 (6) ◽  
pp. 709-723 ◽  
Author(s):  
Hend Gilli-Elewy
Keyword(s):  
Cultural Study ◽  
Golden Age ◽  
The Other ◽  
Political Fragmentation ◽  
Other Hand ◽  
Conversion To Islam ◽  
Cultural Exchanges ◽  
Role Of Women ◽  
The One

Abstract As a social and cultural study, this article is an attempt to contribute to the discussion around the end of the Ilkhanate by looking at the question of assimilation of Muslim and Mongol traditions during Abū Saʿīd’s rule (reg. 716-736/1316-1335). By studying this period through the main focus of women’s roles, it hopes to draw connections between the traditional Turco-Mongol status of elite women, the process of Islamization of the Ilkhanate, and the Ilkhanate’s inability to ensure continuity of government after the death of Abū Saʿīd. It will highlight the role of women of the ruling house during this period that on the one hand was seen as a Golden Age of the Ilkhanate, but on the other hand was marked by political fragmentation, confusing alliances, marriages, and numerous rebellions which ultimately led to its dissolution. The tension between choosing to remain loyal to traditional Turco-Mongol values and the processes of cultural exchanges, integration, and especially conversion to Islam becomes particularly interesting when studying the role of women in the late Ilkhanid court.

scholarly journals A Key for Determining the African Species of Anopheles (Sensu Lato)

1912 ◽  
Vol 3 (3) ◽  
pp. 241-250 ◽  
Author(s):  
F. W. Edwards
Keyword(s):  
Mediterranean Region ◽  
New Records ◽  
British Museum ◽  
The Other ◽  
Reasonable Doubt ◽  
Close Connection ◽  
African Species ◽  
Other Hand ◽  
Specific Rank ◽  
The Mediterranean

The compilation of the following key has been a matter of no little difficulty, mainly owing to the close connection of the species in some of the groups, which sometimes makes it almost impossible to assign specific limits. The difficulty has in some cases been increased through the paucity of material, which prevents any adequate conception of the range of variability being obtained. This is particularly the case with some of the species coming from the Mediterranean region, which are very closely allied, and of which, as a rule, the British Museum possesses very few specimens. Names have only been sunk here as synonyms in those cases where there appeared to be no reasonable doubt, either after a comparison of the types, or of the descriptions, when these were sufficiently detailed. Eventually, therefore, it may be found that some forms which are here given specific rank will have to be regarded at most as varieties. Since so many figures of Anopheline wings, etc., have already appeared, it is not deemed necessary to add to their number. Some new records have been included, but on the other hand some old ones, which appeared to be questionable, have been omitted. As with the writer's previous papers, this key is merely intended to supplement the detailed descriptions which will be found in other works.

scholarly journals Geïntegreerdheid van die psalms volgens die verband tussen Psalm 1 (en 2) en die res van die psalms

2005 ◽  
Vol 39 (4) ◽  
Author(s):  
J. L. Helberg
Keyword(s):  
The Other ◽  
Close Connection ◽  
Way Of Life ◽  
God's Will ◽  
Other Hand ◽  
The One

Integrality of the psalms according to the relation between Psalm 1 (and 2) and the rest of the psalms The article explores views about the unity of the psalms and, as the author’s own approach, focuses especially on the need of the psalmist(s) not to be estranged. Simultaneously the place of trust in the psalms as well as that of the Torah/Law/Word of the Lord is scrutinised. The Torah requires on the one hand that one must distance oneself from an erroneous way of life, like disregarding God’s will and righteousness and on the other hand that one associates with a covenantal circle or community. The integrality of the psalms, like that of life, is rooted in the Torah of Yahweh, in close connection with the covenant.

On some Relations between Magnetism and Twist. Parts II., III

1892 ◽  
Vol 18 ◽  
pp. 318-319
Author(s):  
Cargill G. Knott
Keyword(s):  
The Other ◽  
Close Connection ◽  
Rectangular Section ◽  
Nickel Iron ◽  
Other Hand ◽  
High Fields ◽  
Very High ◽  
A Current

Part II. contains a continuation of former experiments on the twists produced in the magnetic metals when they are under the combined influence of circular and longitudinal magnetisations.It is established that a cobalt rod of rectangular section twists left-handedly when a current is passed along it in the direction of magnetisation. That is, cobalt behaves like nickel. Iron, on the other hand, twists right-handedly, until very high fields are employed. These results seem to have a close connection with the magnetic changes of length in these metals; for iron expands in moderate fields, while nickel and cobalt contract, the former always, and the latter till high fields are reached.

scholarly journals On the change of resistance in iron produced by magnetisation

1901 ◽  
Vol 67 (435-441) ◽  
pp. 208-215 ◽  
Keyword(s):  
The Other ◽  
Close Connection ◽  
Iron Wire ◽  
Other Hand

The experiments described below were made with the object of determining simultaneous values in a specimen of soft iron wire of the magnetising force, the magnetisation, and the change of resistance due to magnetisation. In all the measurements hitherto made of magnetic changes of resistance no attempt seems to have been made to determine at the same time the magnetisation; in fact, the results which have been obtained for bismuth might appear to indicate that there is but little, if any, connection between magnetisation and change of resistance. The results herein described, on the other hand, indicate that there is a somewhat close connection between the two phenomena, and make it clear that further measurements on similar lines would have some value.

scholarly journals Algunas consideraciones sobre estética musical árabe

1999 ◽  
Vol 6 ◽  
pp. 131
Author(s):  
Manuel CORTÉS GARCÍA
Keyword(s):  
The Other ◽  
Classical World ◽  
Other Hand ◽  
Arabic Philosophy ◽  
Religious Mind ◽  
The Aesthetic ◽  
Aesthetic Ideal ◽  
Point Of Reference

At the beginning, the poetry was considered as the genesis of the arabic art, and after then the prose of adab, both of them appeared with the idea of the "beauty science". This idea would be projected on the music. On the other hand, the greek heritage of the classic arabic philosophy legacy was reflected during the first manuscripts of the arabic philosophers and musical theoreticians as al-Kindf (s.IX) and al-Farabf (s.X), as a result appeared a new conception of the "beauty" and "aesthetic". By this way, taking as a point of reference the greek classical world, the new parameters would appear as an result of this own reality and idiosyncrasy. Their poetry and musical legacy, joined to the philosopher and religious mind would complete the work of the "aesthetic musical art". The study of the arabic middle music prove that the harmony in the poetry, lingüistic and rhitmycal contents, go in parallel with the melodic content until it reached a harmonic relation and in definitive cosmic, and as a result an "aesthetic ideal". This ideal was based on "beauty" and the "aesthetic emotion" produced by the art and all that as reflet to the harmonic until the corp and the spirit and oriented to the spherical work and to the divinity.

scholarly journals Evolution of Lyrical Image in Ballets of Azerbaijani Composers

2021 ◽  
Vol 4 (2) ◽  
pp. 179-187
Author(s):  
Lala Huseynli
Keyword(s):  
Cultural Context ◽  
The Other ◽  
Musical Culture ◽  
Specific Content ◽  
Historical Approach ◽  
Historical Method ◽  
Other Hand ◽  
History Of ◽  
First Time

This article is devoted to the study of the evolution of the lyrical image in the ballets of Azerbaijani composers. The presented article emphasizes that the Azerbaijani ballet on the extension of the history of the Azerbaijani school of composition functioned indefinitely as an important component of the Azerbaijani musical culture. The theme of this article is actualized in the aspect of the historical approach, as each ballet of Azerbaijani composers, on the other hand, reflected the significant features of the artistic, historical and cultural context. On the other hand, the study of the evolution of the lyrical image in the Azerbaijani ballets reflects the dynamics of the development of the Azerbaijani school of composition. Moreover, the figurative system in Azerbaijani ballets represents the slender line of artistic connections of Azerbaijani culture. The purpose of the research is to study the role of the lyrical image in the evolution of the Azerbaijani ballet. The research methodology is based is based on the use of a historical approach to determine the basic definitions of the study. The expediency of the historical method is due to the fact that the development in the space of historical time should be based on certain basic categories that would reflect the school of composition, its national specifics. The scientific novelty of the research is that for the first time the peculiarities of the evolution of the lyrical image in Azerbaijani ballets – from its origin to modern functioning – are analyzed; the nuances of style creation in the Azerbaijani school of composers in the specified aspect are considered, and also certain art processes are systematized. Conclusions. It is proved that the combination of deep lyricism with dramatic emotions is characteristic of the transfer of lyricism in the drama of ballets at all historical stages of development, in different stylistic contexts. Lyrical images in the ballets of Azerbaijani composers have similar features and are due to the specific content of the national worldview.

Introduction

2019 ◽  
pp. 1-10
Author(s):  
Katherine Baber
Keyword(s):  
The Other ◽  
Leonard Bernstein ◽  
Musical Culture ◽  
Cultural Concepts ◽  
Other Hand

“Jazz is a very big word.” In one version of this story I could simply take Leonard Bernstein at his word and skip writing this book altogether. His statement, however offhand, has the ring of truth, and volumes of writing attest to the intellectual weight of the sound and idea of jazz. And “Bernstein” is a big word, too. Perhaps both cannot fit into the same space. Or it could be that looking at a determinedly polystylistic composer through the lens of one style, however important, might not do either the composer or the style justice. The version of the story laid out in this book, though, argues for a powerful connection between Bernstein and jazz worth exploring even if it requires “big” words—broad and complex cultural concepts—to occupy the same space. Bernstein’s way of being a musician resonates with the ways countless musicians have had of making jazz: both depend on various forms of connectivity, on the blurring of edges between ideas, sounds, and people. On the other hand, jazz musicians and Bernstein equally assert their individualism. If both jazz and Bernstein are big, the reasons for their largeness interact in interesting ways—ways crucial to Bernstein’s compositional aesthetic and significant to how we talk about jazz and its place in American musical culture....

Between the Body, the Object and the Image: Dance and the Visual Arts in Puppet Art

Maska ◽  
2016 ◽  
Vol 31 (179) ◽  
pp. 34-45
Author(s):  
Renaud Herbin
Keyword(s):  
Visual Arts ◽  
The Body ◽  
The Other ◽  
Phantom Limb ◽  
Close Connection ◽  
Other Hand ◽  
Starting Point ◽  
The Relationship

The close connection between creation, theory, and institutions is the starting point for the author’s reflection on the kinds of spaces the latter should prepare. He emphasises that of particular interest are those spaces that are established between different approaches (or rather relationships between the body, the object, and the image). In Reprendre son soufflé by Julika Mayer, the puppet and the actor form a relationship that leaves none of the participants untouched but allows their identities to be changed. Similarly, the puppeteer-dancer in Uta Gebert’s Anubis reveals himself in order to uncover the relationship which links him and the puppet: both exist solely in motion, in the zone of exchange. Bodies and objects, assembled into body-objects, seem to meet by chance in Miet Warlop’s Springville, but in the forefront is the Image, which follows a visual logic in placing the body-objects in different configurations. On the other hand, the space occupied by the body in Yngvild Aspeli’s Signaux is undefined: the actor, his puppet-double, and his phantom limb embody a feeling of strangeness and pain. In the project Anémochore, Christophe Le Blay enables the embodiment of the environment (the wind) in the image of a recorded trace, with which a dancer then engages in dance. Space is therefore something unfinished, something open, undefinable and empty, all of which applies equally to bodies, objects, and images.

scholarly journals THE LOSER LEAVES (ROME'S LOSS): UMBRICIUS' WISHFUL EXILE IN JUVENAL, SATIRE 3

2015 ◽  
Vol 65 (2) ◽  
pp. 773-787 ◽  
Author(s):  
Tom Geue
Keyword(s):  
Golden Age ◽  
The Other ◽  
Other Hand ◽  
Mock Epic ◽  
Set Up ◽  
The One

Juvenal's third satire is a privileged piece of verbal diarrhoea. As the longest satire in Juvenal's well-attended Book 1, as the centre of this book, and as the one Juvenalian jewel that sparkles ‘non-rhetorically’, it has always been the critics’ darling. Its protagonist, on the other hand, has not always been so popular. Recently, reader sympathy for old Umbricius (the poem's main speaker) has shifted to laughter in his face; the old sense of ‘pathetic’ has ceded to the new. One of the central strategies of the ‘Umbricius-as-caricature’ camp has been to point to the overtime worked by ‘mock-epic’ in this poem: Umbricius self-inflates to become another Aeneas, fleeing a crumbling Troy (Rome). But an oppositio is wedged in imitando. Umbricius makes his lengthy verbal preparations to depart from Rome for Cumae; Aeneas had come to Rome through Cumae. Umbricius withdraws to set up shop in the meagre countryside; Aeneas had escaped to cap his exile teleologically with the (pre-foundation of the) Greatest City That Will Ever Be. Still, Virgil's paradigm tale of displacement, drift and re-establishment underlies Umbricius' self-definition as an exile. Indeed exile, with a large and ever-increasing stock of mythical and historical examples, was a situation ripe for self-mythologizing. Umbricius stands in Aeneas' shadow then, standing it on its head. His recession also makes him into a Iustitia/Dikē figure, the final trace of the golden age, off to alloy himself elsewhere. In his mind, exile is rationalized by distinguished past examples; in ours, we laugh at how disparate example and man really are. That side of Umbricius has been done to death; or at least, for present purposes, to exile.

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