scholarly journals Strange yet Familiar Sounds in Zosha Di Castri’s String Quartet No. 1

2018 ◽  
Vol 28 (2) ◽  
pp. 83-98
Author(s):  
Landon Morrison
Keyword(s):  
Literary Criticism ◽  
Detailed Analysis ◽  
String Quartet ◽  
Theoretical Basis ◽  
Compact Form ◽  
Compositional Techniques ◽  
Perceptual Awareness ◽  
Musical Style ◽  
Formal Syntax ◽  
Aesthetic Intervention

This paper presents a detailed analysis of Zosha Di Castri’s String Quartet No. 1 (2016), situating the work in relation to the composer’s still-nascent oeuvre and showing how it contains a diverse mix of stylistic impulses within its relatively compact form. The concept of defamiliarization, borrowed from literary criticism, provides a useful theoretical basis for understanding the work. By presenting familiar musical figures within strange new contexts, Di Castri effectively bypasses habitual modes of reception and encourages the listener to engage more actively with the work’s multi-coded discourse. This revivification of perceptual awareness is accomplished using a number of compositional techniques, including the juxtaposition or superimposition of contrasting materials, the transformation of motives, and the distortion of formal syntax. Taken together, these defamiliarizing devices mount an aesthetic intervention that playfully subverts compositional norms, allowing Di Castri to take a decisive step forward in the development of her own musical style.

scholarly journals MUSIC THEORY AT WORK: THE ETON CHOIRBOOK, RHYTHMIC PROPORTIONS AND MUSICAL NETWORKS IN SIXTEENTH-CENTURY ENGLAND

2018 ◽  
Vol 37 ◽  
pp. 141-182
Author(s):  
Anne Heminger
Keyword(s):  
Fifteenth Century ◽  
Educational Institutions ◽  
Current Debate ◽  
Compositional Techniques ◽  
Musical Style ◽  
Theoretical Concepts ◽  
Late Medieval England ◽  
Eton College ◽  
Musical Networks ◽  
College Library

Whilst scholars often rely on a close reading of the score to understand English musical style at the turn of the fifteenth century, a study of the compositional techniques composers were taught provides complementary evidence of how and why specific stylistic traits came to dominate this repertory. This essay examines the relationship between practical and theoretical sources in late medieval England, demonstrating a link between the writings of two Oxford-educated musicians, John Tucke and John Dygon, and the polyphonic repertory of the Eton Choirbook (Eton College Library, MS 178), compiled c. 1500–4. Select case studies from this manuscript suggest that compositional and notational solutions adopted at the turn of the fifteenth century, having to do particularly with metrical proportions, echo music-theoretical concepts elucidated by Tucke and Dygon. These findings impinge upon the current debate concerning the presence of a network between educational institutions in the south-east of England during this period.

Qǐ, Chéng, Zhuan, Hé, Jié the discourse pattern of a chinese text of literary criticism

1989 ◽  
Vol 6 ◽  
pp. 38-69
Author(s):  
Liu Mingchen
Keyword(s):  
Literary Criticism ◽  
Detailed Analysis ◽  
Chinese Text ◽  
Expository Text ◽  
Thematic Structure ◽  
Lexical Cohesion ◽  
Organizational Features ◽  
Chinese Writing

This paper attempts to describe some of the basic organizational features in Chinese writing as shown in a particular expository text. With detailed analysis of linguistic properties in the text, such as lexical cohesion, conjunction, thematic structure and schematic structure, this paper discusses how the text is organized in terms of qǐ ‘beginning’, chéng ‘transition’, zhuÇŽn ‘turning’, hé ‘synthesis’ and jié ‘end’. The study suggests that the defining features culturally preferred in Chinese writing seem to be related to zhuÇŽn, i.e. the emphasis on the ups and downs, twists and turns, of the argumentative development, which reminds of but by far outshines Kaplan (1972).

scholarly journals THE PATH FROM FUNCTIONAL TO DETAILED DESIGN OF A CONING ROTOR WIND TURBINE CONCEPT

2011 ◽  
Author(s):  
Curran A. Crawford
Keyword(s):  
Wind Energy ◽  
Wind Turbine ◽  
Detailed Analysis ◽  
Theoretical Basis ◽  
Design Theory ◽  
Functional Design ◽  
Detailed Design ◽  
Definition Of ◽  
The Cost ◽  
Turbine Design

This paper provides a brief overview of functional design theory, which is then used to examine choices in wind turbine design. Definition of function is used to examine fundamental design choices in engineering a machine to capture energy from the wind. Specifically, rationalization is presented for a coning rotor wind turbine concept, potentially able to greatly reduce the cost of wind energy. The work presented here has provided a theoretical basis in design theory to motivate the development of specialized analysis tools and more detailed analysis of the concept.

scholarly journals Analiza kompozicijskega stavka Alojza Srebotnjaka v orkestralni skladbi Slovenica / Analysis of Compositional Tehniques of Alojz Srebotnjak in the Orchestral Work Slovenica

2021 ◽  
Vol 16 (33) ◽  
pp. 59-90
Author(s):  
Tilen Slakan
Keyword(s):  
Detailed Analysis ◽  
20Th Century ◽  
Compositional Techniques ◽  
Musical Texture ◽  
Orchestral Work ◽  
Compositional Elements ◽  
Different Levels

The following article presents a detailed analysis of compositional techniques in the orchestral work Slovenica for Brass, Percussion and Strings (1976) by Alojz Srebotnjak. It discusses the composer‘s intertwinment of folklore elements with the sonority of compositional processes in the 20th century. Throughout all three sentences Srebotnjak uses multiple linking compositional elements that he complexly intertwines on different levels of musical texture. The structure is also tightly connected to the concept of constructing different musical textures, melodical patterns, orchestral and dinamic constrasts, and harmonic systems.

Moby-Dick and Compassion

2004 ◽  
Vol 12 (1) ◽  
pp. 19-37 ◽  
Author(s):  
Philip Armstrong
Keyword(s):  
Literary Criticism ◽  
Detailed Analysis ◽  
Animal Studies ◽  
Shape Representations ◽  
Cultural Contexts ◽  
Moby Dick ◽  
Nonhuman Animals ◽  
Structures Of Feeling ◽  
Human Animal ◽  
Nonhuman Species

AbstractBecause the notions of "anthropomorphism" and "sentimentality" often are used pejoratively to dismiss research in human-animal studies, there is much to be gained from ongoing and detailed analysis of the changing "structures of feeling" that shape representations and treatments of nonhuman animals. Literary criticism contributes to this project when it pays due attention to differences in historical and cultural contexts. As an example of this approach, a reading of the humanization of cetaceans in Herman Melville's Moby-Dick - and more broadly in nineteenth-century whaling discourse - demonstrates how radically human feelings for nonhuman species are affected by shifting material and ideological conditions.

LUZZASCHI'S SETTING OF DANTE: ‘QUIVI SOSPIRI, PIANTI, ED ALTI GUAI’

2009 ◽  
Vol 28 ◽  
pp. 97-138 ◽  
Author(s):  
Anthony Newcomb
Keyword(s):  
Literary Criticism ◽  
Cultural Context ◽  
Early Years ◽  
Musical Style ◽  
Late Style

This article examines the Ferrarese cultural context surrounding the virtually unprecedented choice of a text from Dante's Commedia for setting in Luzzaschi's Second Book of Madrigals of 1576. A particular focus is the quarrel in literary criticism of the early years of the 1570s over the place of Dante in the Italian literary firmament, and the position of the influential Modenese critic and philologist Lodovico Castelvetro in this quarrel. I speculate that Castelvetro, a subject of the duke of Ferrara, may have had a role in the choice of text. I also speculate that the disastrous Ferrarese earthquakes of the early years of the decade may have resounded for Ferrarese culture in the particular lines from the Commedia. Finally, I propose that the musical style chosen by Luzzaschi for this setting was an extraordinary and retrospective homage to the late style of his teacher Cipriano de Rore, another artistic figure intimately connected with the Este court. Both Rore and Castelvetro may be seen as icons of Ferrarese cultural prestige in the ongoing battle for precedence between the Este and the Medici.

scholarly journals Fler Huvuden Väntas Falla

2013 ◽  
Vol 15 (1) ◽  
pp. 46-59
Author(s):  
Ewa Walatek
Keyword(s):  
Detailed Analysis ◽  
Human Body ◽  
Theoretical Basis ◽  
Cognitive Theory ◽  
Body Part ◽  
Sense Organs ◽  
Thinking Ability ◽  
Linguistic Units ◽  
The Brain ◽  
Metaphor And Metonymy

ABSTRACT The purpose of this study is to give a detailed analysis of the semantics of the Swedish body part term huvud (head). The study covers all types of linguistic units including the component huvud (idioms, compounds), both conventionalized everyday expressions and occasional uses. The theoretical basis of the analysis is the cognitive theory of metaphor and metonymy formulated by Lakoff and Johnson (1980). A large part of semantic extensions of huvud are associated with the head as the upper part of the human body, containing the brain and sense organs. These features lead to metonymies: HEAD FOR THINKING ABILITY AND PERCEPTION and metaphor HEAD IS POSITION OF COMMAND. The head itself is conceptualized metaphorically as a CONTAINER in which thoughts, memories, emotional and physical states are stored.

scholarly journals چه‌مكی ئه‌ده‌ب و ڕه‌خنه‌ی ئه‌ده‌بی‌ له‌تێڕوانینه‌كانی ( كامیل حه‌سه‌ن به‌سیر)دا.

2019 ◽  
Vol 6 (2) ◽  
pp. 233-256
Author(s):  
هاوکار قادر رەسوڵ
Keyword(s):  
Literary Criticism ◽  
Theoretical Basis ◽  
The Other ◽  
Critical Study ◽  
Academic Setting ◽  
Other Hand ◽  
Scientific Reflection ◽  
Distinguishing Features

ABSTRACT  The current study entitled The Concept of Literature and Literary Criticism in Kamil Hassan Basirs’ Views” is a critical study that deals with Kamil Hassan Basirs’ literary views and criticism as far as theoretical basis is concerned. Therefore, the study revolves around what is called ( critical criticism). The purpose behind choosing his works is related to his well- informed knowledge regarding literature in general and criticism in particular. Furthermore, it serves to be a scientific reflection on the works of a treasury and outstanding critic in the country considering that his works have not been paid much attention within the field of literary criticism as well as in an academic setting.  The aim behind this study is to review and evaluate, on one hand, Basirs’ views which have a remarkable position within literary essays in general and critical essays in particular. On the other hand, his views carry his own forms and distinguishing features. For this reason, the researcher has found it necessary to take his views into consideration under the concept critical criticism.  The method of the study is analytical descriptive. It consists of two main parts. The first part sheds some light on Basirs’ views regarding poetry, poets and specifying the role and the participation of Kurdish literature in Kurdish society. The second part is devoted to the terms and concepts concerning criticism in Basirs’ viewpoints. It also studies the qualifications of the critic and the requirements of the scientific criticism. The paper ends with the conclusion in which some important points are concluded.

scholarly journals ECHOES OF D. SCHOSTAKOVICH’S COMPOSITIONAL STYLE IN BORIS DUBOSARSCHI’S STRING QUARTET NO.2

Akademos ◽  
2021 ◽  
Vol 60 (1) ◽  
pp. 137-145
Author(s):  
Alexandru Ureche ◽  
Keyword(s):  
String Quartet ◽  
Compositional Style ◽  
Compositional Techniques ◽  
Full Spectrum ◽  
Decisive Influence

The String Quartet nr. 2 by the foremost Moldovan composer Boris Dubosarschi (1947–2017), as well as his entire string quartet work, was composed under the decisive influence of the work of Dmitri Schostakovich (1906–1975). The string quartet work of B. Dubosarschi, comprized of four titles, is saturated with the usage of the Dmitri Schostakovich’s musical signature – DSCH, which often serves as the thematic core of the entire cycle. The reflection of the compositional style of D. Schostakovich in the string quartet work of B. Dubosarschi, nevertheless, is not confined to the usage of the DSCH monogram, but rather encompasses a broad range of compositional techniques characteristic of the Russian composer’s work such as the use of specific modes and tonal-modal relations, of the characteristic intervals and chords, the usage of leitmotifs and monothematic principles, as well as of the full spectrum of polyphonic techniques. This article describes the compositional tehniques used in the String Quartet nr. 2 by Boris Dubosarschi that echo the compositional style of D. Schostakovich.

Stravinsky’s Aesthetics of Disability

2018 ◽  
Author(s):  
Joseph N. Straus
Keyword(s):  
String Quartet ◽  
Mobility Impairment ◽  
Musical Style ◽  
Young Girls ◽  
Rite Of Spring ◽  
Musical Works

The central features of Stravinsky’s musical style, including its formal splinteredness, its harmonic immobility, its stratification into contrasting textural layers, and its radical simplification of musical materials, can be understood as ways of representing and narrating disability, including deformity/disfigurement, mobility impairment, madness, and idiocy. These representations sometimes perpetuate pernicious eugenic-era stereotypes and sometimes are more accepting, even celebratory, of extraordinary bodies. This chapter offers a close look at three musical works from Stravinsky’s early “Russian” period, with particular attention to a few selected passages: the “Russian Dance” from Petrushka (1911), the “Dance of the Young Girls” from the Rite of Spring (1913), and the second of the Three Pieces for String Quartet (1914).

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