Double bass in Czech music of the 21st century with a focus on solo and chamber music literature in a historical and international context

Many literature professors in the U.S. strive to foster skills of critical self-reflection: we ask students to be responsible to textual evidence, historical context, and the implications of the interpreter's acts. Recent teaching also stresses the transnational contexts for literary expression and interpretation. But what happens when these pedagogical practices are transported to classrooms abroad? This essay addresses this broad question through the problem of developing an American Studies curriculum in Turkey. The authors outline the conceptual genealogy of departments of "American Culture and Literature" in Turkey and then relate it to narratives of emergence for American Studies in the U.S. and other countries. The authors then discuss the evolution of the curriculum they revised. They conclude by assessing the outcome, especially noting the difficulty of cultivating critical self-reflection in a social and institutional setting that has few of the safeguards for freedom of expression found in the U.S.

In this article local governance in the Swedish context is discussed. A case study of a Swedish city is framed in its historical, national and international context. By locating the redevelopment of an old harbour within a historical context, new insights are brought into the understanding of local governance. Cities are indeed nested. Deteriorating public finances, the deregulation of the economy (nationally and globally), the changed status of the welfare state, the restructuring of industry and the neo-liberal wave all taken together form a formidable challenge. A radical questioning of the values, principles and forms of the Swedish welfare state has tangible impacts on local governance. It is concluded that Swedish municipal actors face the dual challenge of acting efficiently (being sensitive to the needs and demands of local elites), while keeping democratic legitimacy (being sensitive to the needs and demands of all citizens).

This study focuses on the effect of three methods of supporting/holding the double (string) bass on muscle tension and performance quality. Although representatives of all three methods of support are accepted as outstanding performers, the choice of which method to teach is usually made because of familiarity rather than individual student characteristics. Forty volunteer double bass students from Indiana University, University of Michigan, Oberlin College, and Eastman School of Music performed the double bass recitative from Ludwig van Beethoven's Symphony No. 9. Audio recordings of performances were rated. Muscle tension readings from the left arm, right arm, upper back, and lower back areas were taken using electromyography as the measurement tool. Results suggest nonsignificant differences in both performance quality and muscle tension.

The article is dedicated to the development of the art of jazz double bass playing during the twentieth century, being based on the interpretive analysis of historical recordings of some great names of jazz bassists: Walter Page, John Kirby, Jimmie Lunceford, Jimmie Blanton, Oscar Pettiford Ray Brown, Charles Mingus, Red Mitchell etc.. The influence of new technologies on the spread of musical genres in the twentieth century has been reviewed. The aspects of the development of interpretive procedures in jazz bass music were also approached, namely the establishment of classical performance standards for the jazz period. It examines the development, implementation, and completion of the function of the timekeeper, metric and harmonic guide over the structure of the piece performed in bebop from 1940 to 1950. Frequent use of the pizzicato technique and the use of the full double bass tuning fork. Performed on the bass lines in melodic and rhythmic counterpoint to the other melodic lines, developing a distinct accompaniment, which has become an integral part of the jazz tradition. The author highlights the most important innovations brought by them, focusing on evolutionary of cultural and historical contexts, the bands of different periods and styles of jazz, from classical jazz to bebop and contemporary period.

How may we evaluate such progress as has been made in British disability policies? Clearly, one way would be to measure the domestic position against the treatment of disabled people elsewhere using an international (and partly historical) context. Recalling the models of policy enunciated in Chapter 3, it is possible to characterise the situations in a number of countries as being particularly representative of one or other of those models: the negative policy model, the denial of human rights: Nazi Germany; the laissez-faire(or minimalist) model: China; the maximal welfare approach to policy making: Sweden; a hybrid welfare/civil rights approach to policy making: Australia; the rights-based policy model: United States of America; the piecemeal approach to policy making: United Kingdom.

When the first university schools of journalism and communication started in Spain in 1971, only a few European and North American countries had preferentially adopted an academic model. Variety was their dominant feature, exhibiting diverse professional cultures and sometimes political contexts. In countries with a long journalistic tradition such as the UK, learning on the job was the practice at that time. Labor unions were also prevalently responsible for the training of aspiring journalists in France and Germany. In contrast, in the USA, university journalism schools had been established some decades before. In addition, teaching and research in communication evolved via different paths in those countries that had a more noteworthy influence on Spain. The beginning of university-based schools of communication theoretically contributed to the establishment of a more suitable institutional platform for the delivery of communication research trends in the West. An analysis of historical, political, and institutional contexts converging in Spain in the 1970s is useful to describe how the first university schools were shaped in terms of both their incipient teaching and research challenges. A review of the literature covering both fields in Spain and other countries, along with some previously published archival sources, helps us to frame the case of Spain from a transnational viewpoint that considers the impact of contemporary foreign influences. The resulting broader comparative perspective provides a better overarching understanding of the case, even to the point of measuring the extent to which it can be considered a pioneer in this context.

(2000). Politics in the Periphery: Political Cleavages in Poland Interpreted in their Historical and International Context. Europe-Asia Studies: Vol. 52, No. 5, pp. 851-873.

The development of educational psychology services for young people and young adults after they reach school leaving age has been subject to very little research. Services internationally have largely been marked by the absence rather than the presence of any initiatives of this kind. Nevertheless, it was over 60 years ago that an international template for post-school services was proposed in the 1956 UNESCO report by William Wall. Although titledPsychological Services for Schools,its vision was broad and far-reaching, with sections covering not only the age ranges through preschool, primary and secondary, but also technical and pre-vocational education, transition from school to working life and guidance and counselling services at university.In general, this vision did not materialise, and in almost all countries with a formal structure for educational psychology services the remit which developed focused on school settings, with a primary concern for those with special educational needs rather than a broader and more universal view of service provision. It was half a century after the Wall report before Scotland in 2006 became the first country to have a formal remit for post-school services, recognised at government level. This paper provides a historical and international context in which to locate the extension in England and Wales of the role of the educational psychologist to the population up to 25 years following the Children and Families Act 2014. The implications for how we conceptualise educational psychology as a profession are discussed.

This article places socioeconomic gradients in health into a broader international and historical context. The data we present supports the conclusion that current socioeconomic gradients in health within the United States are neither inevitable nor immutable. This literature reveals periods in the United States with substantially smaller gradients, and identifies many examples of other countries whose different social policy choices appear to have led to superior health levels and equity even with fewer aggregate resources. The article also sheds light on the potential importance of various hypothesized mechanisms in driving major shifts in U.S. population health patterns. While it is essential to carefully examine individual mechanisms contributing to health patterns, it is also illuminating to take a more holistic view of the set of factors changing in conjunction with major shifts in population health. In this article, we do so by focusing on the period of the 1980s, during which U.S. life expectancy gains slowed markedly relative to other developed countries, and U.S. health disparities substantially increased. A comparison with Canada suggests that exploring broad social policy differences, such as the weaker social safety net in the United States, may be a promising area for future investigation.

The double bass (contrabass, upright bass, string bass, violone) is a large string instrument of three, four, or five strings, made of wood, and played with a bow (arco) or plucked with the fingers (pizzicato). Unique among orchestral string instruments, it shares a history with both viol and violin instrument families. Today it is commonly tuned in fourths with four (E’-A’-D-G) or five (B’/C’-E’-A’-D-G) strings. Other historical tunings include a three-string instrument tuned in fifths (A’-D-G), a four- or five-string “Viennese tuning” (typically F’-A’-D-F#-A, with lowest string optional), and five- and six-string violone tunings: in G (G’-C-F-a-d-g), in A (A’-D-G-b-e-a), or in D (D’-G’-C-E-A-d). It is the only orchestral string instrument with two types of bows—the “overhand” French bow (violin family) and the “underhand” German bow (viol family)—and is the only transposing orchestral string instrument: music is usually notated an octave above sounding pitch (hence the name, double bass, for the instrument’s role in orchestral textures of doubling the violoncello part an octave lower than written). Violones began as the bass voice in viol consorts and realized continuo lines in church, orchestral, and operatic genres. A rich culture of solo and chamber music for a double bass instrument, known today as the Viennese violone, reached a peak of technical virtuosity throughout territories influenced by the Habsburgs between approximately 1750 and the first decade of the 19th century. Other virtuosi, like Domenico Dragonetti and Giovanni Bottesini, both of whom played three-string instruments tuned in fourths, followed in the 19th century. National schools of orchestral playing emerged across Europe in the 19th and 20th centuries alongside the development of the modern orchestra and conservatories. Double bass sections serve essential functions in the orchestra: they add weight, provide dynamic power, reinforce the rhythmic foundation, and shape musical phrases. The 20th century saw a renaissance of double bass virtuosi who inspired the composition of new chamber and solo works for the instrument. In the late 19th century, the double bass also became a common fixture in American ragtime and string bands. The string bass has always served in a supporting role in military and concert bands. It has also maintained a central role in jazz styles since the 1920s, and from the 1940s to the 1960s it was common in American popular musical genres such as country, bluegrass, western swing, rock ’n’ roll, and rockabilly.

In light of globalization and increased cultural diversity, the question of cultural identity becomes particularly salient in many societies today. Whereas most studies have concentrated on cultural identity of immigrants, less is known about the identity constructions of non-immigrants and receiving country nationals living in a multicultural setting. The Grand Duchy of Luxembourg with a foreign population of 48% provides an excellent example case here. The present study examined the cultural identity of two generations of native Luxembourgers, drawing on a content analysis of qualitative interviews with N = 18 participants belonging to nine family dyads, each composed of one (young) adult child and one parent. As Luxembourg’s cultural diversity has increased continuously in the last decades, we focussed here on similarities and differences between (young) adults and their parents in order to find out in how far age (i.e., different points in the individual life span) or generation (i.e., growing up in different times and historical contexts) might be highlighted in their cultural identity constructions. Five main domains pertaining to Luxembourger’s cultural identity were found through qualitative content analysis: ‘the Luxembourgish language’, ‘Belongingness to Luxembourg and the love for Luxembourg as a homeland’, ‘Europeanization and multiculturalism in Luxembourg’, ‘Representing Luxembourg as a native in international contexts’ and ‘Luxembourgish traditions and history’. While the older generation focused more on the feeling of belongingness to their home country, the younger generation made more specific links to Europe and multiculturalism. Practical and theoretical implications are discussed.

Japanese architecture has long had varying expressions and historical interpretations both inside and outside the geographic boundaries of the island nation. While the earliest structures date back to the Jōmon period (14,000 bce to 300 bce), the profession of the architect as a specialist in designing buildings using Western building construction did not emerge until the Meiji period (1868–1912). Up until this time, the master carpenter was both the designer and the builder, and was particularly well versed in wood-frame construction. The discipline of architectural history within Japan also developed during this time, led by Itō Chūta (b. 1867–d. 1954), whose study of Hōryūji temple in contrast to the Parthenon situated the Japanese architectural canon within an international context. While studies of Japanese architectural history have focused on the religious structures of Buddhism and Shinto, foreign observers and specialists such as Edward Morse (b. 1838–d. 1925), author of Japanese Homes and Their Surroundings (originally published in 1886), documented the vernacular built environment. Domestic architecture has subsequently been the subject of a wide range of studies in its premodern and modern incarnations. Moreover, the ravages of earthquakes, fires, wars, and developers have exacerbated the rapid transformation of the Japanese built environment from the 19th century to the present. The history of modern Japanese architecture is thus presented through the historical periods from the opening of Japan to the West, post–World War II development, and contemporary trajectories. In addition to a bibliography of individual architects, urbanism and Japanese gardens have been included in this article to present the broader Japanese architect integrally with the built and natural environments. The bibliography of Japanese architecture reflects this great variety through time and differing domestic and international contexts. English-language scholarship has long relied on visual interpretation, shaped by the subjectivity of historical periods and personal interests and expertise. While comprehensive in-depth English accounts covering the earliest periods to the present are limited, with most recent scholarship focusing on the modern period (1868–), the following provides a framework of themes and typologies within historical contexts that may serve as a starting point for inquiry and further research. For clarity, all names are listed following English convention, with given name first and family name second; macrons are used for long vowels. Some Japanese names have multiple spellings in English.

Japanese architecture has long had varying expressions and historical interpretations both inside and outside the geographic boundaries of the island nation. While the earliest structures date back to the Jōmon period (c. 14,000 bce to c. 300 bce), the profession of the architect as a specialist in designing buildings using Western building construction did not emerge until the Meiji period (b. 1868–d. 1912). Up until this time, the master carpenter was both the designer and builder, and was particularly well versed in wood-frame construction. The discipline of architectural history within Japan also developed during this time, led by Itō Chūta (b. 1867–d. 1954), whose study of Hōryūji temple in contrast to the Parthenon situated the Japanese architectural canon within an international context. While studies of Japanese architectural history have focused on the religious structures of Buddhism and Shinto, foreign observers and specialists such as Edward Morse (b. 1838–d. 1925), author of Japanese Homes and Their Surroundings (originally published in 1886), documented the vernacular built environment. Domestic architecture has subsequently been the subject of a wide range of studies in its premodern and modern incarnations. Moreover, the ravages of earthquakes, fires, wars, and developers have exacerbated the rapid transformation of the Japanese built environment from the 19th century to the present. The history of modern Japanese architecture is thus presented through the historical periods from the opening of Japan to the West, post–World War II development, and contemporary trajectories. In addition to a bibliography of individual architects, urbanism, and Japanese gardens have been included in this article to present the broader Japanese architecture integrally with the built and natural environments. The bibliography of Japanese architecture reflects this great variety through time and differing domestic and international contexts. English-language scholarship has long relied on visual interpretation, shaped by the subjectivity of historical periods and personal interests and expertise. While comprehensive in-depth English accounts covering the earliest periods to the present are limited, with most recent scholarship focusing on the modern period (1868–), the following provides a framework of themes and typologies within historical contexts that may serve as a starting point for inquiry and further research. For clarity, all names are listed following English convention, with given name first and family name second; macrons are used for long vowels. Some Japanese names have multiple spellings in English.

This practice-based research explores the notion of Iranian cultural identity as reflected in artworks exhibited in the Tehran Biennials (1958- 1966) and in a particular individual practice. This research uses the five Tehran Biennales and their national and international context as a tool to reveal the development of their influence on the construction of new images of Iranian identity. The research frames these national exhibitions within the influence of Western modernism and Western critique of orientalism. It frames its enquiry in historical and theoretical research and my studio practice as a contemporary Iranian artist. It constructs a methodology appropriate for visual analysis across the five events and for examination and comparison of individual artists and artworks. A core aim of the enquiry is gaining better understanding of the tensions between Iranian-Islamic and pre-Islamic traditions and of the changing national sentiment and the influence of Western modernism in the arts. My method includes ‘action research’ that juxtaposes the theoretic, historic, and artistic aspects based on a ‘self-observer’ and ‘observer of others’. By its cycling of studio production and reflection through critical and visual analysis, this method has enabled me to explore theoretical and historical contexts in my works. The research also examines the motivations and influence of Iranian state ideology on the formation and discontinuation of the biennales as instruments for cultural innovation and internationalisation. As all biennales by their nature seek to survey a field of activity, the research has remained sensitive to a wide range of artists engaged across a spectrum of practices between 1958 and 1966. For some, the period marked a return to their traditions and heritage to recognise and distinguish their national identity from Western art. For others, the new challenges enabled new representations relevant to Iran in the twentieth century. Between these poles, there were many types of ‘return’ and re-emergence, some to Iranian and Islamic heritage, others to an earlier hospitality for international influence. This ten-year period holds the key to my own understanding of my studio practice and the emergence of collage as a technique central to my work. Collage and mixing media have become powerfully associated with the challenges I face in negotiating between East and West, old and new values, and my changing perceptions of myself. The different layers in collage and its variety of media metaphorically suggest the concept of Iranian identity as a layered and collective identity. While my practice comprises autobiographical elements, it is nonetheless analytical in that it draws on the history of the Biennial period. The Tehran Biennials and their attempts to form a new Iranian art provide the background against which I project my conceptions of identity and memory. They are part of the legacy that enables me, a contemporary Iranian woman artist, to explore the various perspectives regarding Iranian identity and the means by which artists visualise it. Moreover, the practice-based method adapted in this research has enabled me to combine historical overview, visual analysis of modern art in Iran, and contemporary insights to offer new an understanding of how art reflects changing identities. This study defines identity, in a personal level, as a multi-layered identity, including fragmented and fragile layers that form within socio-cultural and individual values.

The changing smoking and health scene in the Czech Republic