Pub Date : 2021-11-01DOI: 10.52603/9789975351379.19
Tamara Melnic, Alexei Usaciov
The study of works of the Romanticism period and the formation of appropriate ideas about the romantic musical style is an effective way to activate the creative thinking of young professional musicians, stimulates their artistic initiative, and makes up for the shortcomings of the technological approach. Thus, the performer gets the opportunity to realize the correct reading of the musical text, resourcefully participates in the creation of his own parts and makes stylistically competent interpretations. The creation of F. Chopin had an undoubted influence on the creation of the figurative and meaningful image of the era in which the composer lived. Using some aspects of the method of semantic analysis, the authors of the article tried to consider some features of Chopin’s musical thinking and discover the relationship between the complex of expressive means used by the composer and the meanings expressed by them, thus trying to achieve a more in-depth understanding of the style of Romanticism.
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Pub Date : 2021-11-01DOI: 10.52603/9789975351379.14
A. Trifan
During the years 1955–1991, the attempts and searches meant to impose qualities corresponding to the fundamental principles of socialism on the architecture led to the realization of buildings with distinctive features, qualified today as modernist-socialist. Over a period of more than three decades, Soviet architecture turned to a synthesis of Western paradigms and its own avant-garde, largely unbuilt heritage. Theater, cinema and music, considered to be fields of culture accessible to the masses at large, are the genres of art placed at the center of the cultural policy of the Soviet state. In addition to the old buildings readapted for cultural activities, new buildings are designed based on a rigorous transposition of functional requirements. Representative for this time period are the cinemas designed to meet the requirements of a growing audience and to be expressive architectural pieces in the new micro-districts. The large number of houses of culture built in the district centers on the basis of standard projects is significant. At the same time, unique architectural programs appear functionally reflecting the social superstructure.
{"title":"Socialist modernism – a way of disseminating a new ideology in the architecture of entertainment buildings","authors":"A. Trifan","doi":"10.52603/9789975351379.14","DOIUrl":"https://doi.org/10.52603/9789975351379.14","url":null,"abstract":"During the years 1955–1991, the attempts and searches meant to impose qualities corresponding to the fundamental principles of socialism on the architecture led to the realization of buildings with distinctive features, qualified today as modernist-socialist. Over a period of more than three decades, Soviet architecture turned to a synthesis of Western paradigms and its own avant-garde, largely unbuilt heritage. Theater, cinema and music, considered to be fields of culture accessible to the masses at large, are the genres of art placed at the center of the cultural policy of the Soviet state. In addition to the old buildings readapted for cultural activities, new buildings are designed based on a rigorous transposition of functional requirements. Representative for this time period are the cinemas designed to meet the requirements of a growing audience and to be expressive architectural pieces in the new micro-districts. The large number of houses of culture built in the district centers on the basis of standard projects is significant. At the same time, unique architectural programs appear functionally reflecting the social superstructure.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132806711","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.25
Юрий Бидношия
Western Polessia is a region divided after World War II by the state borders between Ukraine, Belarus and Poland. This was reflected not only in the languages of education, the general cultural background, but also, in particular, on the principles of presentation of dialectethnographic texts. When compiling and editing the volume “Ethnographic Image of Ukrainians Abroad. Corpus of expeditionary folklore and ethnographic materials” (part 1, 2019), we encountered different graphic design of dialectal and ethnographic texts of Western Polissia in publications from different countries. The volume contains texts from the territory of Brest region (Belarus) and Northern Podlasie (Poland), recorded by the staff of the Rylsky Institute of Art Studies, Folklore and Ethnology, as well as kindly provided by other researchers’ published and unpublished materials, collected since the early 1970s. As this volume is adjacent to the 10-volume collection of field materials “Ethnographic Image of Ukraine”, it became necessary to unify the graphic presentation of Western Polissia texts from different regions and different scientific schools. The developed algorithms for metagraphing of texts from the phonetic transcription of AUM and the special system of F. Klimchuk made it possible to present them in a unified and accessible way for non-philological readers. This emphasizes the unity of the Western Polissian dialect and the cultural continuum.
{"title":"Graphic presentation of dialect-ethnographic texts of Western Polissia","authors":"Юрий Бидношия","doi":"10.52603/9789975351379.25","DOIUrl":"https://doi.org/10.52603/9789975351379.25","url":null,"abstract":"Western Polessia is a region divided after World War II by the state borders between Ukraine, Belarus and Poland. This was reflected not only in the languages of education, the general cultural background, but also, in particular, on the principles of presentation of dialectethnographic texts. When compiling and editing the volume “Ethnographic Image of Ukrainians Abroad. Corpus of expeditionary folklore and ethnographic materials” (part 1, 2019), we encountered different graphic design of dialectal and ethnographic texts of Western Polissia in publications from different countries. The volume contains texts from the territory of Brest region (Belarus) and Northern Podlasie (Poland), recorded by the staff of the Rylsky Institute of Art Studies, Folklore and Ethnology, as well as kindly provided by other researchers’ published and unpublished materials, collected since the early 1970s. As this volume is adjacent to the 10-volume collection of field materials “Ethnographic Image of Ukraine”, it became necessary to unify the graphic presentation of Western Polissia texts from different regions and different scientific schools. The developed algorithms for metagraphing of texts from the phonetic transcription of AUM and the special system of F. Klimchuk made it possible to present them in a unified and accessible way for non-philological readers. This emphasizes the unity of the Western Polissian dialect and the cultural continuum.","PeriodicalId":437163,"journal":{"name":"Materialele conferinței Patrimoniul cultural: cercetare, valorificare, promovare","volume":"32 6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122965354","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}
Pub Date : 2021-11-01DOI: 10.52603/9789975351379.12
Mariana Şlapac
The Kilia stone citadel (in fact, New-Kilia, today Kilia, Ukraine), located on the left bank of the northern branch of the Danube, was the oldest and most protected part of the medieval defensive ensemble. Most likely, it was built by the Genoeses that had their own colony, ruled by consuls in the second half of the XIV century. In order to supplement the data on the Kilia citadel (which does not exist today), the author uses the Ottoman and Russian topographic, iconographic and graphic sources of the late XVIII century. The citadel was a quadrangular fort, separated from the rest of the fortified complex by two ditches filled with water. The corners of the stone square were reinforced with four parallelepiped towers: the Commandant’s Tower (Dizdar Kulesi), the Agha Tower (Ağa Kulesi), the Ammunition Tower (Tophane Kulesi) and the Arsenal Tower (Cephane Kulesi). The Kilia citadel perfectly illustrates a mixed (combined) or transitional model with one or two peripheral donjons, with equal defense capabilities from all sides. It is based on a regular Italian quadrangular castle with four corner towers in the form of a parallelepiped.
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Pub Date : 2021-11-01DOI: 10.52603/9789975351379.02
Mihail Agafița
Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.
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Pub Date : 2021-11-01DOI: 10.52603/9789975351379.32
Diana Nicoglo
The most detailed description of the “Balkan” period is found in the novel by D. Tanasoglo “Uzun Kervan”. In other genres (poetry), the poeticized image of the Balkans as the historical homeland of the Gagauz is presented to a greater extent. The main events of the “Balkan” period in the history of the Gagauzians, reflected in fiction, are: the adoption of Christianity by the Oghuz / Uzes – the ancestors of the Gagauzians, relations with the local population of the Balkans, the struggle against the Ottoman Turks, and the creation of a fictional Gagauz state called Uzi Eyalet. The authors also draw attention to the way in which changes occur in the traditional everyday culture of ancestors of the Gagauz as a result of changing economic-cultural type, and religion. In the Gagauz environment of creative people, there is a unity in the perception of the historical past associated with the presence of the ancestors of the Gagauz people in the Balkans. As a rule (with a few exceptions), the past broadcast by Gagauz writers is largely mythologized: and the writers themselves play a significant role in the process of constructing ethnicity.
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Pub Date : 2021-11-01DOI: 10.52603/9789975351379.30
Victor Cojuhari
The article presents a general description of the demographic situation in the Republic of Moldova at the beginning of the XXI century (negative population growth), a comparative analysis with the previous period is carried out, the main factors contributing to the deterioration of demographic indicators are analyzed: a decrease in the birth rate, an increase in mortality rates – causes and effects, migration outflow of the population of working and reproductive age, negative tendencies in nuptiality (reduction in the number of marriages, postponement of marriages to a later date, a sharp increase in the number of divorces), deterioration in the health of the population, reduction in life expectancy. In general, the deterioration of demographic indicators is a consequence of political instability, a high level of corruption, a severe economic crisis, resulting in the decline of living standards, increase of unemployment, degradation of social security systems, education, culture, science, etc. All these negative processes were reflected in the Ukrainians of Moldova. The most compact Ukrainians live in the northern regions and on the left bank of the Dniester, which is due to historical factors.
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Pub Date : 2021-11-01DOI: 10.52603/9789975351379.01
Lucia Adascalița-Crigan
A prominent figure in the field of satirical graphics in the Republic of Moldova, Nicolae Macarenco, throughout his artistic career, conceived with great skill and dedication book illustrations for literary works signed by Aureliu Busuioc, Evgeniy Kopylov, Iosif Gherasimov, Alla Grekul, posters and aesthetically expressive and semantically valuable caricatures. Prodigious, talented, persevering and devoted to his profession, the protagonist is one of the established artists who, through his vocation and talent, marked an entire era in the satirical art of the Republic. Working successfully, especially in the genres of satirical-humorous graphics, the graphic designer gave birth to works that were frequently published in important periodicals such as the satire and humor magazine Chipăruş, the magazine Femeia Moldovei, the newspaper Tinerimea Moldovei and others. The study highlights both the thematic aspects of the artist’s creation and the determined, systematized, mirrored artistic options of the protagonist. Having examined the artist’s works, the author pays increased attention to problems of compositional image, the particularities of plastic representation through shape, line, tone of human characters, psychological states of anthropomorphic and zoomorphic characters. At the same time, the analytical approach is supported by highlighting the role of color in the process of amplifying expressions and messages generated by satirical works created by the graphic artist.
Nicolae Macarenco是摩尔多瓦共和国讽刺图形领域的杰出人物，在他的艺术生涯中，他以高超的技巧和奉献精神为Aureliu Busuioc, Evgeniy Kopylov, Iosif Gherasimov，真主安拉Grekul签名的文学作品构思书籍插图，海报和具有美学表现力和语义价值的漫画。主人公是一位杰出的、有才华的、坚持不懈的、献身于自己的职业的艺术家，他通过自己的职业和才能，标志着共和国讽刺艺术的整个时代。工作成功，特别是在讽刺幽默的图形类型，平面设计师产生的作品经常发表在重要的期刊，如讽刺和幽默杂志chip，杂志Femeia Moldovei，报纸tierimea Moldovei等。这项研究既强调了艺术家创作的主题方面，也强调了主人公坚定的、系统化的、镜像的艺术选择。在考察了艺术家的作品后，作者越来越关注构图形象的问题，通过人物的形状、线条、色调进行塑性表现的特殊性，拟人与兽形人物的心理状态。与此同时，通过强调色彩在放大平面艺术家创作的讽刺作品所产生的表达和信息的过程中的作用来支持分析方法。
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Pub Date : 2021-11-01DOI: 10.52603/9789975351379.33
Eudochia Soroceanu
In the article „Building rituals of Gagauz people from Chok-Maidan village (Republic of Moldova)” on the ritual materials and mythological representations, collected by the author from this village, is made an attempt to reconstruct the Gagauz building rituals, to reveal their semantics and to show the role of dwelling in the system of Gagauz’ world perception. A characteristic feature of the building rituals of the Chok-Maidan village is the variety of types of sacrifice. Here, each stage of construction is marked by a certain type of sacrifice: when marking the corners of the future house, bread and salt are served, when laying the foundation, coins are walled up in all four corners, a rooster is slaughtered at the alleged threshold, live chickens are gifted at the four corners of the house before the roof is erected, and with the installation of rafters on a wooden cross and a green branch (cherry / walnut) they tie a towel and a shirt for the master, and the rest of the participants in the ceremony are given pieces of ritual bread with salt.
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Pub Date : 2021-11-01DOI: 10.52603/9789975351379.20
Ala Ceastina
This year marks the 190th birthday of the famous Swiss architect of Italian origin A.I. Bernardazzi, who is also known for creating various historic buildings in Ukraine, Bessarabia and Poland. Archival documents were an evidence of the beginning of architectural career of Bernardazzi, when the Bessarabian Road and Construction Commission appointed him as the technician for urban planning of Akkerman and Bendery in 1853 and also for building some bridges and causeways in those districts. He took part in the organization of the third market in the Forest Square in Kishinev in September of 1855. This was the first mission of his creativity in Kishinev. Alexander Bernardazzi executed his duty as municipal architect from 1856 to 1878 having taken the place of another architect Luca Zaushkevich. All his subsequent monumental buildings became the best examples of European architecture by their style, shape, and quality. . In Bessarabia, he participated in the design and construction of many buildings such as the temporal theatre, the Lutheran school, the railway station, the Greek Church, the Manuk-Bei’s palace, etc. As for Kishinev, the architect Bernardazzi performed the beautification of paving many streets, the construction of urban water supply and the cast-iron railing in the city park. Also, he participated in many architects’ meetings where he submitted interesting reports referring to the theater, some windows, fire safety of buildings and so on. After his arrival to Odessa in 1878, Alexander Bernardazzi continued to participate in designing social and civil buildings in Bessarabia. For his enormous creative contribution to urban development, he was appreciated with the title of honorable citizen of Kishinev and appointed member of the Bessarabian department of the Imperial Russian Technical Society.
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