Arts education and science最新文献

{"title":"S. PROKOFIEV'S \"FLEETING MOMENTS\": CHOREOGRAPHIC INTERPRETATION OF THE PIANO MASTERPIECE","authors":"E. O. Tsvetkova","doi":"10.36871/hon.202003014","DOIUrl":"https://doi.org/10.36871/hon.202003014","url":null,"abstract":"The article analyzes two versions of choreographic interpretation of S. Prokofiev's piano cycle \"Fleeting Moments\". The first one belongs to the outstanding Russian ballet master K. Ya. Goleizovsky, the second — to the German choreographer of American origin J. Neumeier. Both compositions are considered in the context of such a trend as \"plastic interpretation of non-ballet music\". There is a special demand for S. Prokofiev's works (not only ballet scores, but also \"non-ballet\" opuses) among choreographers, who are attracted by the theatrical nature of the composer's talent: brightness and sharpness of musical characteristics, reliance on \"sound gesture\", ability to reproduce rhythmic intonation of mood. The \"Fleeting Moments\" cycle as a whole and in terms of individual pieces is analyzed from the standpoint of openness to choreographic embodiment and compliance with canonical ballet forms and situations. It is underlined that in Goleizovsky's ballet a deeply felt emotion is brought to the fore. Due to the precise adherence to the logic of musical development, conceived as chamber-like this composition embodies the prototype of choreographic symphonism. In Neumeier's ballet, on the contrary, the dramatic plot is emphasized. The choreographer achieves an extraordinary impact by combining classical and modern elements in choreographic vocabulary, supplementing them with movements of free plasticity.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"119 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116390816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PERSONALIZED LEARNING AS A TREND IN INTERNATIONAL EDUCATION","authors":"Deng Shuyu","doi":"10.36871/hon.202202009","DOIUrl":"https://doi.org/10.36871/hon.202202009","url":null,"abstract":"The article describes the role and place of personalized learning in the development of world scientific and pedagogical thought, paying special attention to the relevance of this approach in modern international education. Personalized education is seen as an approach that responds to the interests of scientific and pedagogical schools around the world. Followers of this concept recognize that the term itself is in the process of formation. Personalized education is considered as an approach that satisfies the interests of scientific and pedagogical schools in various countries of the world. The models described in the article assume a certain control of the student choice by the teacher, that is, each model contains a set of elements of personalized learning, but these elements are combined with elements of individualization. Among the attributes of personalization, the position of the learner as a subject stands out, which is expressed in the ability to choose certain aspects of the educational process, leading to the construction and implementation of an individual educational track. The introduction of personalized education makes it possible to develop a harmonious personality, to increase the student's independence and responsibility in the educational process, which is the basis for the prosperous development of society as a whole.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"182 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132282807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"CONCEPTUAL MODEL OF HIGHER EDUCATIONAL PROGRAM ON COMMUNICATIVE DESIGN","authors":"T. O. Gabriyelyan","doi":"10.36871/hon.202002003","DOIUrl":"https://doi.org/10.36871/hon.202002003","url":null,"abstract":"The article describes the process and the result of a series of seminars \"Education of the Future: Communicative Design\", held to develop a conceptual model of the educational program on communicative design. The purpose of the seminars was to identify the needs of graphic artists from the point of view of improving the quality and the relevance of education. Goal setting was preceded by a triune problem of mismatch of the existing educational program with modern realities, represented by: the students' vision; a set of competencies; training directions. The methodology to study the current situation is chosen \"from the bottom up\", when students directly or indirectly describe the educational environment in which they would like to be. To do this, a few weeks before the seminars, participants received background information about what communicative design is in the form of an article and XNUMX keywords (modules) that they had to work with. The first seminar involved the placement of modules for training courses. At the second stage, it was necessary to evaluate the modules according to the relevance of their use in the educational program. At the third stage, which was eventually combined with the fourth, participants had to arrange conditional modules for six specializations (educational trajectories): contemporary art, illustrator, digital designer, graphic designer, art and creative director, motion designer. The result of the seminars was a conceptual model of the educational program on communicative design, presented as a set of conditional modules distributed by training courses and volume (duration) in the context of the educational program. It was also revealed that the educational program on communicative design can and should combine all six specializations (educational trajectories). Only this approach will allow the graduate to become a sought-after specialist in the modern professional environment and the labor market.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134614108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ON THE METHODOLOGY OF V. V. MEDUSHEVSKY: TOWARDS FUNDAMENTAL PEDAGOGY","authors":"G. Lukina","doi":"10.36871/hon.202203004","DOIUrl":"https://doi.org/10.36871/hon.202203004","url":null,"abstract":"The article is devoted to the scientific work of an outstanding Russian musicologist V. V. Medushevsky. The author reflects on the history of Medushevsky's search for an externalistic extension of musicology through complex interdisciplinary research, started in the 1960s. The author identifies the main stages on the way to creating a holistic methodology of comprehension of music and identifies the factors which influenced the maturation of his concepts of profound intonation, the intonation nature of musical form, synergistic and dialogic nature of music, the methodology of spiritual analysis of musical works and performance. V. V. Mendushevsky's ideas are considered both in terms of their novelty and their involvement in the tradition of Russian musicology, strengthening its unity with the Russian religious philosophical thought. The author pays particular attention to the specificity of the scientist's thinking, for whom the central point is the \"theory of everything\" — the general fundamental pedagogy of mankind.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134270325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"PERFORMANCE IN FOLK CULTURE","authors":"E. V. Fomchenko","doi":"10.36871/hon.202001018","DOIUrl":"https://doi.org/10.36871/hon.202001018","url":null,"abstract":"The article deals with such a modern phenomenon of culture and art — as performance. The purpose of this study is to determine the performative features as characteristics of modern artistic creativity and their influence on the development of folk culture. The tendency for turning to ritual, ceremonial types of folk art, whereby the communication is put forward, is considered on the example of the creative activity of the folklore ensemble \"Rosstan\". The article notes such performative characteristics as the creation of an event and atmosphere, space and communication organization, the interaction of the audience, that provide conditions for perception and response. The author relies on the works of such scientists as: E. Fischer-Lichte, V. Turner, A. Ya. Flier, L. N. Zakharova, L. V. Demina and others. In the process of studying following methods were used: generalization, comparison and also dialectical, historical and logical once. Modern features in folk culture, expressed in the interaction of traditional and innovative folkloristics are revealed on the example of the creative activity of \"Rosstan\". The revival of folk culture, the realization of its creative potential is possible through the development of cultural traditions and the creation of innovations related to ancient ritual forms of interaction, which should be adapted to the present and be understood by modern generation.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"411 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116228006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"WEDDING MUSIC AND POETRY FOLKLORE OF THE RUSSIAN POPULATION OF THE SOUTHERN URALS","authors":"N. A. Ursegova","doi":"10.36871/hon.202003022","DOIUrl":"https://doi.org/10.36871/hon.202003022","url":null,"abstract":"The traditional wedding song of the Russian population living on the territory of mining villages in the Beloretsk district of the Republic of Bashkortostan still remains little studied area of knowledge from the ethnomusicological point of view, and for the first time becomes an object of special research. Analytical base of the article are the expeditionary records made by students and teachers of philological faculty of the Magnitogorsk State University in 1995–1999 under the guidance of the candidate of philological sciences T. I. Rozhkova. The author of the article carried out the editing of song samples. The complex approach used in the article in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classifications, allows to systematize the repertoire of the Beloretsk wedding, to distinguish two musical and stylistic groups — song-and-lament and song-and-dance groups. Each musical and stylistic group combines a part of the wedding repertoire, which is characterized by a certain set of typical features reflecting the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is conducted at the level of verbal, syllabic, and pitch parameters of chants organization. The found regularities allow to draw a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, providing not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"176 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122090606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"CHOREOGRAPHIC BORROWINGS AS A FORM OF PROMOTING THE RUSSIAN BALLET TRADITION IN CHINA","authors":"I. Irkhen, L. Rui","doi":"10.36871/hon.202001012","DOIUrl":"https://doi.org/10.36871/hon.202001012","url":null,"abstract":"The article is devoted to cross-cultural communication between Russia and China in the context of ballet. The main object of the study is the Russian ballet tradition in China. The emphasis is payed to the work, done by Russian teachers, who supervised China’s first ballet productions, introduced the Russian methodology of teaching the classical dance developed by A. Vaganova and built a system of ballet education. Thus, thanks to Russian teachers the national ballet of China developed its own internationally acclaimed school of dance with its key elements such as technical skills, geometry of dance and deep implications, related to the national dance traditions. The development of the national ballet was greatly influenced by the Russian ballet tradition passed on and reproduced in China. The research methodology is based on the systematic approach to cross-cultural communication and choreographic borrowings occurring as a result. The article uses such methods as content analysis of Russian and Chinese writings, chronological method and cultural analysis. It comes to the conclusion that the Russian ballet tradition in China was promoted by Russian emigrants (dancers, teachers, choreographers, musicians) either directly or indirectly. Choreographic borrowings were firmly implanted in the ballet dance training system. The Beijing Dance Academy training system is based on the Russian ballet school. A. Vaganova’s teaching methods, including her strict methodological sequencing of developing motor skills, flexibility and adaptability to the national dance style laid the foundation for the new Chinese ballet.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123625754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ETHNODOCUMENTARY CINEMA OF TURKIC PEOPLES AS A FORM OF ETHNOCULTURAL REPRESENTATION","authors":"E. S. Doroschuk, М. H. Bayraktar, А. A. Guseinova","doi":"10.36871/hon.202202020","DOIUrl":"https://doi.org/10.36871/hon.202202020","url":null,"abstract":"The article presents the analysis of the specific features of ethnic culture representation by means of Turkic-language ethnodocumentary cinema. The authors consider ethnographic film as a cultural phenomenon, emphasizing the author's intention to add the global significance and value to the reflected culture in the films under consideration, which allows it to take its place in world history and on the ethnographic map of the Earth. The author's attitude is based on personal observations, relying on collected knowledge, which has a special representative-author's character that allows to represent the unique conditions of encounter with a culture in unique circumstances. The author, on the one hand, acts as an observer of culture and, on the other hand, becomes a full participant in the reflected events, demonstrating the author's manner and interpreting not only what he sees, but ethnic culture as a whole. Ethnographic films are not always based on ethnic events, but more often on the creation of characters in the narrative, on which the author's emphasis is placed. However, performativity and eventfulness combined with imagery allow the viewer to depict the event as it is perceived based on the viewing experience. The main thing in the film is cultural identity, as expressed through a whole range of images, which leads to an understanding of ethnic identity as a special form of cultural representation of an individual. Among the main features of the Turkic-speaking ethnocumentalism are the following: the anthropological nature of the representation of a person of culture based on a detailed accentuation of everyday life; the search for similarities and differences of cultural texts, which represent traditional formats of everyday life, rituals and mentality; the interpretation of the documentary's author based on his participation in the shooting process; the peculiarities of the orientation of collective perception in the process of perceptual design in the film programme with creative use of cinema as a channel of cultural representation; the creation of a kind of navigation of screen information and social regulation of the content of an ethnofilm by involvement in the process of creating an ethnofilm; the transfer of the aura of culture based on the consonance of the aesthetics of the film with the aesthetics of culture.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124984231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"COMPOSITIONAL PRINCIPLES OF THE OPERA \"LORD OF THE FLIES\" BY E. PODGAITS","authors":"E. I. Pererva, E. Safonova","doi":"10.36871/hon.202203018","DOIUrl":"https://doi.org/10.36871/hon.202203018","url":null,"abstract":"Efrem Podgaits is currently one of the most sought-after composers; his work is acclaimed not only in our country, but also abroad; he collaborates with the leading musicians of our time. His musical heritage is represented by a wide variety of genres. These include works for musical theatre, works for symphony and chamber orchestras, instrumental and ensemble music, vocal and choral opuses, music for radio, film and television. The genre of opera occupies a significant place in this list. The article is devoted to a very original opus by E. Podgaits — rock classic opera \"Lord of the Flies\", created in 1995 (libretto by L. Yakovlev). It is based on the eponymous masterpiece of classical British literature of the XXth century, a dystopian novel by Nobel Prize winner W. Golding. The premiere of the opera took place in 2007 at the Children's Musical Theater named after N. I. Sats (directed by V. Merkulov). The purpose and objectives of the article are to determine the genre and style specificity of the composition; to reveal the principles of the musical dramaturgy of the opera; to reveal the features of the musical characteristics of the characters, as well as the composer's individual approach to the chosen opera model. To achieve the set goals and objectives, an integrated method combining historical and musical-theoretical approaches was used.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125500010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"SYMPHONY OF SORROWFUL SONGS\" BY H. GORECKI AS A CULTURAL MEMORY PHENOMENON","authors":"T. N. Krasnikova","doi":"10.36871/hon.202004016","DOIUrl":"https://doi.org/10.36871/hon.202004016","url":null,"abstract":"The article reviews the stylistic features of an outstanding piece of musical heritage from the second half of the XXth century, which in the context of contemporary events and memorable dates gains a particular resonance. The affiliation of \"The Symphony of Sorrowful Songs\" with modern cultural references gives it a special timelessness and characteristics of a phenomenon, that broadcasts the idea of the end of the world related to the horrors of war. The object of this article in an attempt to discover the peculiarities of symphonic genre interpretation, which is considered within the historical range of symphonies dedicated to this topic; to find out those features of texture, harmony, modal organization and compositional form of the work, which determine its stylistics. The author also tried to define the quotation techniques, which allow to perceive musical composition as a kind of revelation, presented as a set of texts. Application of the comparative analysis method made it possible to identify common style patterns and properties, which became an attribute of the unique style of Gorecki, who breathed new life into historically established genres, giving them specific features of sonorous texture, where timbre plays the main role. The meditativeness of composition, the form statistics, and the priority of modality, colored with subtle sonorous effects, became style factors as a result.","PeriodicalId":228633,"journal":{"name":"Arts education and science","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125590349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}