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Trei propuneri semnate Abalosllopis Architects
“Tree is leaf and leaf is tree House is city and city is house A tree is a tree but it is also a huge leaf A leaf is a leaf but it is also a tiny tree A city is not a city unless it is also a huge house A house is a house only if it also a tiny city” Aldo van Eyck’s “Tree – Leaf” diagrams presented at the Team 10 meeting at Royaumont in 1962 trying to demonstrate the inseparable reciprocity between the house and the city is the starting point in this paper. But it reveals that it is even possible to go beyond on this parallelism: the tree is the result of its many leaves -as the city form is based on each architectural intervention-, and the leave is an answer to the structure of the tree -as the house to its socio-cultural realm. The aim of this paper is to present a reflection about inhabitation and its mechanisms not so much as architectural objects but as generators of a shared social and cultural space. Hence, the presence of life in architecture gains momentum on non-defined spaces that spontaneously become in-between realms that connect a building with its surroundings through the expansion of the relationships between the interior and the exterior, between the built and the unbuilt, or between the public and the private. Lastly, these linking ideas between the house and the city will be analyzed in specific cases of study. Particularly, the paper examines three projects of abalosllopis architects that deal with the meaning of habitation not focusing so much on their materiality but on the perspective of this non-material condition of architecture: a nursery school, a nursing home and a public space.
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Purpose of the Article. To explore the primary phase of the creative biography of the leading xylophonist of the «golden age» in the USA by George Hamilton Green and his influence on the history of performing on two- row xylophone in America. Methodology. In the process of the study, we used the chronological method, analysis, induction. Investigating the biography of the musician, we chose the approach of chronology, which involves considering the topic in a certain sequence. The study of G. Green's creative activity was carried out in several directions, namely, his achievements in the performing, composer spheres, as well as work in the record companies were considered. Many single facts obtained during the research confirm the importance of Green and his role in the development of xylophone performance, which has reached a new dynamic stage. Scientific novelty consists in the fact that for the first time in Ukrainian musicology the multifaceted activity of the leading American xylophonist George Hamilton Green is considered and his contribution to the popularization of the two-row xylophone in the USA. Conclusions. It was concluded that G. Green put forward a two-row xylophone in the grade of an academic instrument and perform it on the Olympus of musical art.
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Purpose of the article is аccentuation of style symbolism, verism foreshortening piano art of Rachmaninov, which did not define heretofore of the base style measurements to the heritage of the great pianist. The methodology of the work is culturology cut musicology intonation-thematic analysis of the school B. Asafiev in Ukraine, in which special place occupies the historian-style comparison and hermeneutics foreshortening last in development of ideas to B.Yavorsky. Scientific novelty by deterministic originality of the approach from style non-coincidence of expressiveness in composition and plays of Rachmaninov (in development concept of M.Blinova and E.Markova that will add the championship in conclusion comparatively of the instrumental-piano art entailment of the verism style complex, comparatively devil of symbolism piano sounding, which has inherited got beside pupil of J.Field schools N.Zverev in character of Chopin "flight" piano technology and others. Conclusions. Rachmaninov-pianist demonstrates the certain expressive autonomy comparatively of the Rachmaninov composition style discovery since in most manner of over-rapid plays, in use by play "on the second keyboard" i.e. with elated hand, avoiding theatrical "placed" contrasts fortepiano, careful use to treadles and others - here we shall hear line of the technology "light" pianoforte, which close Chopin, realized and cultivated by S. Rachmaninov symbolism piano style of the play A.Skrjabin, also alumnus N.Zverev. Elements of "baroque" rate-speakers, which exist exactly in piano palette of the master and personify to primitivism factors of style preferences to Rachmaninoff-pianist correlative with verism choice given the author, certified in operatic sphere his "small" composition, but having projection in instrumental structures - as in instrumental piano works of E.Granados and others.
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The purpose of the article is to identify the role of Oleh Stalinski in the development of the Ukrainian ballet theatre. Methodology. Application of a set of general (analysis, systematizing) and special (art, cultural) methods has enabled to do a scientifically objective research. Scientific novelty. The data about O. Stilinski has been systematized and analyzed for the first time, classification of his roles has been made, his contribution into the development of the Ukrainian ballet theatre has been identified. Conclusions. The leading feature of O. Stilinski's performance talent was the combination of high performance ballet techniques with acting mastery. Rather schematically O. Stilinski's repertoire can be differentiated by groups: classical ballet (Siegfried, Desire, Albert, Basil, Corsair, Prince in “Nutcracker”); ballets created in the Soviet era (Girey, Eugene, Ali-Batyr), ballets in the Ukrainian national topics (Ivanko, Stepan, Dovbush, Molfar). The actor’s talent enabled him to prolong his stage life in bright and characteristic roles: Rotbart (“Swan Lake}), the King (“Cinderella”), Crassus (“Spartacus”), Lorenzo (“Romeo and Juliet”), the Prince (“The Lily”). О. Stalinsky was one of the founders of the domestic school of a male ballet performance, helped affirm the performance style of the Ukrainian ballet theatre.
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The purpose of the article is to highlight the peculiarities of the formation of the guitar orchestra, outlining the leading groups existing in contemporary performing artistic world and domestic practice and identifying possible trends in the future existence of this performing composition. The methodology involves the use of historical, systemic and analytical approaches that will contribute to the formation of the idea of the regularity of the formation of the guitar orchestra. The scientific novelty is that an attempt is made to examine the main stages of the formation of the guitar orchestra as a performing group, to highlight the key aspects of the implementation of such a composition in the domestic and foreign musical culture. Conclusions. The guitar orchestra is an executive composition whose formation took place over a long period.
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Salamon András, Színháztörténet kezdőknek és haladóknak, Kolozsvár: Koinónia Kiadó, 2019, 448 oldal, 3200 F
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The purpose of the article is to try for the first time to pay attention to the genre of the solo cantata, as an independent and significant among the group of cantata genres, to comprehend its functioning among composers of the classical style and record the changes in the parameters of its genre invariant. The research methodology is to use analytical, comparative and historical methods. These methodological approaches allow us to compare and disclose the peculiarities of the transformation of the genre invariant of the solo cantata in the Baroque and classical style using the example of the work of Viennese classics in general and in the works of V. A. Mozart in particular. The scientific novelty consists in identifying the genre parameters of the classical style characteristic of the solo cantata and comparing them with the parameters of the Baroque cantata.
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The purpose of the article is related to the knowledge of the metamorphosis of the genre of the symphony at the present stage, which is traced in numerous modifications of its classical invariant, one of which is a mixed genre. In the context of this coverage of genre-style features of Symphony concert No. 6 "In memory of S. Barber" (2013) A. Jacobchuk will promote a deeper understanding of not only the innovative approach of the artist but also of the leading tendencies in the development of the genre. The methodology of the research is based on the application of the cultural approach, source study, textual methods, as well as methods of holistic analysis and interviewing. This approach allows us to reveal the artistic and expressive qualities of this work in terms of updating the genre features of a symphony. Scientific novelty. The genre-style features of Symphony concert No. 6 "In memory of Barber" by A. Jacobchuk are considered for the first time in view of the innovativeness of the composer's approach (updating of presentation techniques of symphonic principles, mixed genre, intertextual connections). Conclusions. Artistic originality of the plan of A. Jacobchuk`s work is based on an idea of creative dialogue with S. Barber's music. This was reflected both in the direct quote and in the masterful work with intonation, the ability to show the elegance of the transition from the borrowed tunes to his own ones. The innovation of the approach can be traced to the belongings of the work to the group of mixed genres which are typical at the present stage. The noncanonity of the Symphony-concert No. 6 manifests itself in concentrating the contrast between the two parts of its cycle, the absence of the slow part and the scherzo, the treatment of the sonata form in the first part only expositional (without development and reprisal), replacement of the sonata form in the final on polyphonic one (fugue), the use of intertextuality, which plays a dominant role in the formation of the integrity of this composition.
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Access to the extensive archives of Jan Dorman has allowed us to see the long-term presence of the Faust theme in Dorman’s theatrical explorations and to study and describe his last production: Walpurgis Night based on Goethe’s Faust (The Animation Theater in Jelenia Góra, 1986), for the first time. The paper is an attempt to reconstruct this production on the basis of manuscripts and typescripts collected by the director in his archive and the reminiscences of people working in the theatre. The archives create an intriguing afterimage of Walprugis Night as a production with an autobiographical dimension, marked by Dorman’s legend and fascination with his methods of work, an aura of mysticism surrounding the production and the director’s sudden death, less than a month after the premiere. Having extracted Dorman’s Walpurgis Night from the archive warehouse we can add another leaf to the history of the reception of Faust in Polish theatre of the second half of the 20th century.
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Purpose of the Article is to reveal the essence of musicological acme of Nataliia Savytska on the basis of laying the groundwork for musicological acmeology. The research methodology is based on the interdisciplinary approach, the fundamental principles of musicology, and the acmeocentric approach applied for the sake of relying on a set of methods of acmeological sciences in order to systematically study the path of the musician-artist to professional and creative excellence. The novelty consists in revealing the essence of the musicological acme of N. Savytska, the introduction of the concept of musicological creative life, the substantiation of the need for the development of musicological acmeology. The study investigates this issue by examining the structure of age-specific musicology – the scientific invention of N. Savytska: its second type involves an analysis of the musicologist’s creative life from the perspective of the evolution of scientific thinking; the third kind is aimed at studying the performer’s personality, performing creative life – the embodiment of age-specific changes in the development of the creative person. The methodology of the age-specific musicology activates on completing the creative life of an individual: then the creative life arc, drawn by the soul and the work of the artist, is built up in full; there is a distancing from observing its acmeogram of the research eye. The last research by N. Savytska is an expression of musicological acme: the embodiment of flourishing talent, the perfection of scientific thought, spiritual and professional maturity, the culmination of musicological creative life, which is distinguished by the ability to provide an objective assessment of her own scientific concepts and reflections, conceptuality and laconicism. Studying the top achievements of a scientific and creative personality in the process of individual development of a career life of a musician/musicologist requires laying the groundwork for musicological acmeology – an interdisciplinary science of professional self-perfection of the artist. The structure of fundamental acmeology, formed by the system of acmeological sciences, should include musicological acmeology based on the interdisciplinary interaction of history, biographical studies, psychology, pedagogy, cultural studies, sociology, the classical directions of the art of music, with a view to comprehensively studying the personality of the musician-artist, who achieved the high point of his/her career. Conclusions. In the person of N. Savytska-musicologist, whose works are distinguished by the peculiarity of the research “writing style”, the free combination of the philosophical and artistic type of thinking, scientific generalization and the literary layout, the beauty of a wise woman has been formed. The path of the creative life of N. Savytska demonstrates the penchant for rising to eminence in her profession, the excellence of the scientific work inherent in the heroic figure of musicological acmeology. The culmination of the life arc of N. Savytska coincided with the end of the musicologist’s life. The personality of N. Savytska meets the criteria of professional and personal excellence of the scientific and creative subject, who is at the top of musicology, symbolizing the stability of the results on the way to achieving the acmeological time-space.
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The purpose of the article will get up revealing the joining to "diamond - ju-pearl" plays of the instrumental thinking as a whole, selecting clarinet finger technology as the corresponding to the possibility of style plays in "flute staccatissimo" on a given instrument. The methodological base of the work is intonation approach of the school B.Asafiev in Ukraine, with a handhold on analyst-structured principle and on comparative stylistic features, hermeneutics-interpretation for shortening of the music semiotics "intonation dictionary of the epoch" on Asafievand the further developments in work A.Sokol, E. Markova and others. Scientific novelty of the work denominated in author's independence of the ideas "theories to histories of the music" (on M.Druskin) comparatively aesthetic and artistic-technological value of the stage instrumental "diamond-type" and particularly favourable for developments fingers technology of clarinettist, ритмофактурной to rhythm-technique transportability of the expression, outside of which impossible being of the high achievements of the music XX and begin XXIcenturys. The findings. The principle of оrchestra type has defined the whole collection plays professionals-instrumentalists, is grafted in performance maximum variety tеmpо, dynamic, timbre, articulation, etc. ways. "Polysounding" of piano encouraged the rеgisterlatitude and the other instrument, as well as mastering them whole fullness chromatic of tеmpеration building. So and clаrinet technology of the stage from New time to the Most-Latest was defined in full tilt on virtuoso "diamond type", overcoming her"steaming" theatrical variety to symphonic-оrchestra types of the play. The high achievements of the music, called to present "minute of happiness and Joys", which inherit the high-born music horizons Alleluia Praising, are obliged виртуозной to virtuoso valor of musicians, who talent and untiring work learn the most high level of music-expressive artistic insight.
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The purpose of the article is to find and analyze the specificity of an embodiment of the archetype of Love in a cycle “The Green Gospel” for a soprano singer with piano accompaniment on verses of B.-I. Antonych. The methodology of the study is governed by the nature of the investigated issue and consists in the use of the total number of methods – historical, theoretical, textual, descriptive and analytical, comparative and traditionally musicological that allows finding the specificity of an embodiment of the archetype of Love in the analyzed cycle. The scientific novelty is determined by the aspect of the declared subject, its topicality, and place in the structure of musicological and performance processes. The problematic issue is studied for the first time from the perspective of substantiation of the essence of the archetype of Love through the prism of chamber vocal creative work of I. Sonevytskyi, a composer of the present time. Conclusions. The archetype of Love as a particular outlook inherent in Ukrainians is laid in solo singing songs in the form of verses filled with “vivid” breath of Lemkos nature portrayed poetically by the composer as a primarily religious phenomenon. The archetype of Love is embodied by a specifically sensitive musical imagery that conveys gentle pastoral and elegiac post-romantic sounding with colorful tonal and harmonious impressionistic forms. A threat, landscape, and lyrical vignettes, which gradually develop the topic of wedding, arise. The composer creates his own, individual way of interpreting the archetype.
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Trotz der zahlreichen positiven Auswirkungen auf das religiöse bzw. kulturelle Leben hat die Reformation infolge der vornehmlich ikonoklastischen Ausrichtung der bildenden Kunst massiven Schaden zugefügt. Für Martin Luther gehörten Bilder zu den Adiaphora, zu den sogenannten Mitteldingen, die wertfrei und religiös neutral waren. Er akzeptierte sie bloß zu didaktischen Zwecken. Obwohl die Reformation bei den Siebenbürger Sachsen ziemlich friedlich verlaufen war, und es keine Belege spontaner oder ritueller Destruktion katholischen Kulturgutes gibt, wurden unzählige Kunstwerke zerstört, umgeformt bzw. umgestaltet oder zweckentfremdet. In der vorliegenden Arbeit werden einige konkrete Beispiele von Lutherischer Transformation und Zweckentfremdung besprochen.
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The last old Serbian printing works operated in the Mrkšina Crkva monastery. Hieromonk Mardarije, one of the best known Serbian printers, prepared for press two books there: the Gospel in 1562 and the Pentecostarion in 1566. Very few topics in Serbian historiography were for such a long time in the focus of the professional public as it was the case with the search for the location of the Mrkšina Crkva monastery. The only thing known about the monastery was that it had been located under Crna Gora mountain and dedicated to the Ascension of the Lord. Since 1858 to date, numerous researchers have associated the monastery with Užička Crna Gora, proposing several locations in Kosjerić and the environs, where two futile archaeological excavations were carried out. Once, the immediate environs of Valjevo were connected with Crna Gora. The Mrkšinac monastery in the Pambukovica village in Tamnava of Valjevo was also stated as a possible location, in analogy with the feast to which the monastery was dedicated – the Ascension of the Lord. Based on Ottoman sources, it was established that the Mrkšina Crkva monastery had not existed in the environs of Kosjerić. On the other hand, the Mrkšina Crkva village was found in the Vlach census of the Valjevo nahiye from 1528. The analysis of sources has shown that the village was created or restored after the conquest of Belgrade and Šabac in 1521 and that it was located in Parlog, in the area of today’s village of Pambukovica. After the abolition of the Vlach status, in the early 1530s, the Mrkšina Crkva village was joined to the neighbouring, larger village of Donja Bukovica. With the subsequent addition of the hamlet of Paun, the village was given another name – Paunova Bukovica (Pambukovica). In this village, in the late 1530s or early 1540s, the church built by Mrkša was transformed into the Mrkšina Crkva monastery and was mentioned under that name in later Ottoman censuses. The Mrkšina Crkva monastery later changed its name and in 1741 was entered in its shorter form of Mrkšinac, which it still carries. It has also been determined in the paper that Crna Gora was the old name of Vlašić mountain and its eastern slopes, in whose foothills the Mrkšinac monastery and the Pambukovica village are located.
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The author, former professor of Howard University, Washingotn DC and editor of the avant-garde journal Arkánum, rethinks the possible conceptualizations of the term avant-garde in reference to his landmark essay from 1981, About the Avant-Garde (I). The original approach focused on the point that the avant-garde did not go on the front, as its name suggested, but rather it went ‘away’. The current essay explores further on this idea by adding the dimensions of the essential plurality of the avant-garde, and also a historical dimension of the conceptualization. After the avant-garde, as the author argues, the art world became a sort of anarchic and spontaneous republic of artworks.
More...Képköltemény, képvers, piktopoézis, fotómontázs
Rather than comparing the different inventions of East-Central European avant-gardes with Western trends, one should turn his attention to the neighbouring literatures. Transnational dialogues are evident during the 1920s between the Czech, Hungarian, Romanian and Polish avant-gardes. Blendings of visual and textual elements in the early 1920s offer important case studies of circulating avant-garde ideas. The author argues that the timing of such ‘inventions’ in these cultures cannot be explained without reference to a cultural network that worked independently from the generally acknowledged influence-relationships along the Western-Eastern European axis. Visual techniques of the historical avant-gardes from East-Central Europe can thus provide a more transparent analysis of the transfers within this space.
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Lajos Kassák’s major poem, The Horse Dies the Birds Fly off was usually interpreted in the context of other long size poems of world literature, written by Blaise Cendrars, Guillaume Apollinaire and others. The author of the article argues that other possible relevant contexts of the poem emerge when examining pieces of poetry published in Kassák’s journals – shorter dadaist poems by Cendrars or Schwitters that does not stand out with their size. Following the ethnographic sources of Cendrars’s dada poetry, the author highlights possible similarities between the functioning of Kassák’s and Cendrars’s texts when using seemingly exotic linguistic material.
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The history of mankind can be divided into two as before and after the discovery of written text and contains milestones that are important for all living creatures and the world as for humans. The results of the discoveries and inventions of mankind have lead to results affecting all living creatures and non-living matter on earth. Our cultural heritage is the most important thing that has reached the current period from early mankind and will continue to touch future generations. Art has a special and universal meaning among this cultural heritage. The aim of this study was to evaluate objects with artistic value from prehistoric times up till now. The main theme of the study is the effects of the objects of art with universal meaning that have reached the current period and their connections with contemporary paintings.
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The female body in painting is one of the main subjects of art history. Until today, the figure was studied academically and did not go beyond aesthetic anxiety. In early Turkish paintings, the figures mostly reflect the cultures of the period. Under the influence of the religious and political structure of the period, nudity was regarded as a sin rather than an art object. It has taken its place in the world of art history as a sign of mastery in the bare academic field. When the Turkish painting is examined, it is seen that the female figure sometimes shows the ideologies of the age and sometimes aesthetic concern. In this article, the image of women in Turkish painting on some painters' art such as Osman Hamdi, Hasan Rıza, Halil Paşa, Şehzade Abdülmecit, Müfide Kadri, Tevfik Fikret, Mihri Müşfik, İbrahim Çallı, Hikmet Onat, Vecih Bereketoğlu, Nurullah Berk, Nuri İyem, Neşet Günal, Mehmet Başbuğ has been made.
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