Simfonijska razmišljanja Blagoja Ivanovskog - povodom 100-godišnjice rođenja kompozitora (1921-1994)

Introduction. Levko Kolodub — is one of the most outstanding Ukrainian composers of the 2nd half of the XXth — the beginning of the XXIth century. He is the author of a huge number of symphonic works (including thirteen symphonies, and also poems, rhapsodes, suites, and so on. Studying his creative work will never lose its actuality in the context of understanding the integrity, depth, and diversity of our national musical culture. The relevance of the study. In 2023 it was the 70th anniversary of Levko Kolodub's first large-scale opus — the symphonic poem “The Great Stonemason”, which he wrote in 1953. Aidar Torybayev, a famous Ukrainian conductor of Kazakh origin opened the new 2023/2024 concert season of the Dnipropetrovsk Philharmonic with this piece. After he received numerous requests from his colleagues for the score, he decided to print it. That made the study of the symphonic poem “The Great Stonemason” necessary. Until now There was no comprehensive study of this composition. So, the concert practice actualized a musicologist studying as well. The main objective of the study — is a musicological presentation of this poem in a wide contextual field, which sets us several tasks, namely: to consider the contexts of the work, the history of its writing, its place in the symphonic heritage of L. Kolodub; to discover the genre model of the poem along, with its distinctive and innovative features of “The Stonemason” as genre invariant of a symphonic poem, stylistic features. The methodology includes methods: biographical (to reconstruct the facts of life, the periods of L. Kolodub's life — childhood and education, related to the poem); historical (to highlight the context of the work), comparative (to reveal the heredity of the Poem about previous examples of the genre), structural and functional, genre-stylistic and intonation-dramaturgical methods (for a comprehensive analysis of the work), source studies (study of epistolary fragments), interviewing with A. Torybyaev (September-October 2023) to clarify the performance and interpretation features of the work. Results and conclusions. As a result of our research, we concluded that Levko Kolodub in his first composition of a large form showed exceptional talent despite his young age. He demonstrated excellent composition skills, a well-formed style, professional expertise, and a constant desire for improvement. “The Great Stonemason” followed the established traditions of the romantic poem genre, with F. Liszt's poems serving as a stylistic model. These traditions included the use of the principle of monothematism in constructing various themes, the sonata form with a contrasting introduction, the hidden cyclicality within the one-part form, etc. The piece was both unique and personal, vividly individual: with themes, inspired by folklore, featuring characteristically scaled harmony, and a requiem episode in its development, etc. it was one of the several similar works from that time, alongside those by Anatoliy Svechnykov, Volodymyr Nakhabin, Andriy Shtoharenko, and others, that glorified national heroes, love for the Motherland, etc. The composer carried the desire for symphonic music and programming throughout his long life. The analyzed poem utilized folkloric principles such as intonation, mode, metrorhythm, etc. The composer employed various techniques such as dramatic conflict within the sonata-allegro, tense development episodes, gradual dynamic growths and declines, numerous polyphonic methods of instrumental and vocal nature, dynamic reprise, etc. These features were crucial for the composer’s further development as an artist. The symphonic poem «The Great Stonemason» continues an active creative life due to its engaging performance. Therefore, we ensure, that introducing this work into scientific circulation has a promising future.

Chinese nation has a long history and profound traditional culture. After thousands of years of inheritance and development, it forms distinctive ethnic characteristics of traditional culture. Music culture is an important part of national traditional culture. In recent years, music teaching has caused more and more attention in society. We have to inherit and develop national culture in music teaching, and attach great importance to national music teaching. This paper introduces the importance of the inheritance and development of national culture in music teaching, and proposes to inherit and develop national culture strategy in music teaching. Every nation in the world loves its own national culture. For a nation, national culture is the spiritual pillar. National culture has a comprehensive impact on people, influencing people's thoughts and people's behavior, etc. By influencing people's way of thinking and behavior, it also seeks to promote the comprehensive development of society. Chinese nation has a long history and profound traditional culture. After thousands of years of inheritance and development, we formed distinctive ethnic characteristics of traditional culture. Traditional culture is our precious spiritual wealth of Chinese nation, which affects every Chinese child, and is an important symbol of our long history. National culture has rich content, not only including literature and art, but philosophy, religion. National music and ethics are also included in this aspect. National culture need to be inherited and developed from generation to generation. In the new era, education workers undertake an important responsibility of inheriting and developing national culture. In every subject teaching, we should attach great importance to the penetration of national culture and education. In recent years, music teaching has caused more and more attention in society. We have to inherit and develop national culture in music teaching, and attach great importance to national music teaching. Folk music is an important part of our national culture and expression form. National music is produced in the folk, which embodies national spirit and national culture with rich content, including folk opera, folk musical instruments, etc. In music teaching, we should pay attention to national music teaching, which is to inherit and develop national culture and cultivate students' sense of national pride and national spirit. I. THE IMPORTANCE OF NATIONAL CULTURE INHERITANCE AND DEVELOPMENT IN MUSIC TEACHING Music teaching is closely connected with national culture, and the two complement each other. Music culture is an important part of national culture. Music education is a form of music culture, and music culture will react on music education to make music education have more cultural connotation. With the development of the Times, music education also should keep pace with the Times. Leaving traditional music, music education will be a madrassa, and cannot have achieved a good development. At the same time, in music education, we shou ld critically inherit traditional music culture, and promote music education's healthy development. National culture inheritance and development, and attachment of importance to national music teaching are of great significance for music teaching. The importance of music teaching inheritance and development of national culture mainly displays in several aspects.

National culture directly affects people’s values, mentality, and dominant management style. Managers of companies in different countries now acutely feel the influence of the cultural context of the country where they work. Understanding and considering the cultural characteristics of various countries with representatives of which a particular company interacts positively affects the company’s management process, creating a synergistic effect in increasing the efficiency of its activities. The most comprehensive assessment of the impact of national culture on the personnel management of an organization that operates in the conditions of several national cultures is a methodical approach based on the approach developed by a group of scientists under the leadership of G. Hofstede and is the 6-D model. The purpose of this study is to analyze the influence of the country’s national culture in which the company operates on the cross-cultural profile of the leader in such a company, based on the 6-D model of national culture. The basis of the 6-D model of national culture is the analysis of the influence of six cultural dimensions, according to which a group of scientists under the leadership of G. Hofstede analyzed the national cultures of different countries of the world. The influence of the country’s national culture in which the company operates on the cross-cultural profile of the leader in such a company was analyzed based on the 6-D model of national culture. Because of the analysis, it was determined that five of the six cultural dimensions of the 6-D model of national culture directly affect the cross-cultural profile of the leader. These are such dimensions as “power distance,” “individualism versus collectivism,” “masculinity versus femininity,” ” uncertainty avoidance,” and “time orientation.” The cultural dimension “Indulgence versus restraint” does not directly affect the peculiarities of personnel management and leadership styles’ peculiarities, respectively. Keywords: cross-cultural profile of a leader, national culture, 6-D model of national culture, “power distance”, ” individualism versus collectivism”, ” masculinity versus femininity”, ” uncertainty avoidance “, “time orientation”.

This short work is one in a series of tone poems for symphony orchestra, written by the composer in late summer 2013. It is written in the tradition of similar works by Franz Liszt, Bedřich Smetana, Mikhail Glinka, and Sergei Rachmaninoff. The composer intended to compose 3 symphonic poems in this set, though may write more. The Symphonic Poem #2 was written with bagpipe in the orchestra. (All parts to this work are available on Academic Commons).

This short work is one in a series of tone poems for symphony orchestra, written by the composer in late summer 2013. It is written in the tradition of similar works by Franz Liszt, Bedřich Smetana, Mikhail Glinka, and Sergei Rachmaninoff. The composer intended to composer 3 symphonic poems in this set, though may write more. The Symphonic Poem #1 was written with a specific emphasis on harp and flute. (All parts of this work are also available on Academic Commons).

The paper starts with underlying the American myth of success basic\n elements/believes: American democracy allows all citizens to raise above\n limitations of their birth, hard work brings wealth and comfort, rewarded are\n who are deserving and with ambition, plus a modicum of good lack (Marsden,\n 1992). The author than compares the myth of success elements with the\n dimensions of the US national culture defined by Hofstede. She argues that\n the American myth of success elements is corresponding to Hofstede’s findings\n of the US national culture characteristics. The American culture was found to\n be extremely individualistic, masculine (challenge, earnings, recognition and\n advancement are important), high risk taking and action oriented, with the\n low extent of acceptance of unequal distribution of power. Fully in line with\n that, according to the myth of success, America has been from its beginnings\n in sixteen century the place where social differences disappear and men have\n an opportunity for advancement to higher level jobs and social status\n regardless their starting position. Together with low power distance,\n individualism and muscularity are the purest US cultural dimensions according\n to Hofstede (1981, 2000, 2001), but they are also the very core of the\n American success myth. The myth of success hero is individual, self made man.\n Those heroes are strong personalities that attain their success through\n education, hard work, and sheer willpower. While no man is an island, it’s\n not external help or special relationships that make the crucial difference\n in the self-made man’s rise, nor is luck the deciding factor. He is the one\n who raises himself, counting on his own self, his own abilities and hard\n work. Masculine cultural dimension is associated with the sympathy and\n identification with strong and successful people. The American myth of\n success hero is assertive, tough and focused on material success, all the\n elements of the masculine cultural dimension. The author than analyzes the\n success stories in Serbia. She points out that in Serbian traditional stories\n of success, basic element is gaining based on luck, whether the gaining comes\n from digging a treasure jar, finding hidden family fortune, or unexpected\n heritage (from an uncle living in America). Success stories that arose in\n Serbia in nighties, when Serbia faced war and post war period and political\n and social disturbances, are new urban legends that imbedded success in a\n lottery or other games of chance winning. Medias and advertisements for games\n of chance, additionally supported the idea of enrichment by pure lack,\n promoting as a Serbian dream lottery and games of chance winning. These\n elements of the Serbian success stories are than compared with the Serbian\n national culture dimensions as defined by Hofstede. The conclusion is that\n there is also mach of the stories elements and Hofstede’s founding that\n Serbian national culture is autocratic and feminine, with high risk avoidance\n and collectivism. These national culture dimensions implicate high fear of\n what future can bring, limited mobility, low motivation and little\n willingness to take risks. Hence, the employees have expectation that their\n organization/community/others, and not themselves, will take care of their\n future, which favors passivity. The success is not in individual endeavor but\n in ambiguous criteria and pure luck, as the Serbian stories of success tell\n us. Unclear success patterns and model that consider success as unexpected,\n unearned, gained due to luck, happy circumstances and fate, are also in line\n with no existence of so called success heroes in Serbia (as there are\n self-made man in America, and success and progress heroes of steel\n revolution), the examples that will serve as an encouragement and motivation\n to others, and that will show the success is possible if some rules and\n patterns are followed. The author than quotes its own research on the Serbian\n American Diaspora business leaders undertaken from 2008th to 2010th.\n (Draskovic, 2010, 2011) showing the acceptance of the American culture of\n success values and the influence of the American culture on their believes\n and behavior. The research results have shown that success stories of the\n American business leaders of Serbian origin are based on believes/elements of\n the American myth of success, although the Serbian culture they originated\n from, has totally different culture of success. The US business leaders in\n their narratives described the ways they have succeeded in America, credited\n American democracy, vertical social mobility and hard work to brought them\n wealth and comfort, showing strong personalities and ambition, plus they had\n a modicum of good lack and ability to recognize the opportunity when it\n comes. They all said they have lived an American dream, the dream of a land\n with opportunity for each according to his ability or achievement. They,\n though coming from a country that has a different culture of success, adopted\n and applied the patterns of success and culture of the American community in\n its value system in business and personal life. In concluding part, the\n author argues that the behavior of the individuals based on the success\n culture prevailing in a society can be changed within a person and within one\n generation, if they change the culture in which they live and work. The\n process of influencing and changing believes and consequently behavior\n regarding the success can be planned and requires conscious effort of a\n national elites to influence the success culture of a nation. Individuals and\n groups are not just the subject of the culture but can influence and change\n it with its own will and efforts. As an organizational culture can be\n influenced and created by stories and myths, the same is possible to be done\n with the national culture by designing, planning and consciously inventing\n national myths, to strengthen the cohesion of society and enhance its\n development. By changing success stories of an nation, it is possible to\n change community attitudes towards their own future and success, and this\n process, with the conscious effort of people in Serbia, but also in other\n countries.

Introduction. Levko Kolodub – is one of the most outstanding Ukrainian composers of the 2nd half of the XX-th – the beginning XXI-thcentury. Studying of his creative work will never lose its actuality in the context of understanding the integrity, depth and diversity of our national musical culture. Theoretical Background. There is no fundamental monograph about L. Kolodub. The brochure by M. Zaghajkevych (1973), collected articles based on the conference materials, dedicated to the 75th anniversary of the Master (2006), books by K. Bila (2010) about the instrumental concert and by L. Makarenko (2015) about folklore principles of his work, so as biographical articles for the Ukrainian Music Encyclopedia (V. 2, 2008) and for the Festival booklet (2019) – became a milestone on this path. Eight letters from Levko (1954) to Janna Brondz (his future wife Zhanna Kolodub), with whom they lived for almost sixty-five years!), recently found in the family archives, – are important for the scientific reconstruction of L. Kolodub’s creative biography. Objectives. The article aims to describe the letters, first submitted for publication and commented in detail, and determine the meaning of this period. Methods. It was used: analytical – to analyze the literature on this issue; historical – to comment and identify the significance of June 1954 in the L. Kolodub’s life; biographical – for the studying of life facts; interviews with J. Kolodub during 2020–2021 to clarify some details; and also – a source method for studying the epistolary corpus. Results and Discussion. The impetus for the letters was a brief acquaintance of two young people after a symphony concert at the Kyiv Philharmonic during the Republican Plenum of the Ukraine Composers Union. The correspondence lasted a little over a month – until the end of their student life. In the first letter, Levko describes in detail how he first saw Janna, decided to approach and talk. Then he tells about himself, about the years of his study at the Kharkiv Conservatory. As he finishes his own Cantata to the state exam in the specialty. How the composition lessons were held in the Professor M. Titz’s class. He remembers also, how he came to M. Titz on December 31, 1947 at the first time and almost until the New Year he showed the Symphony, improvising on the clarinet. Another letter tells, how Levko prepares carefully for the piano exam, where he will also play his own works – Scherzo and Fuga. During the preparing for the composition exam – in really a symphony concert at the Kharkiv Philharmonic – L. Kolodub considerably reworked his Symphonic poem; he describes the changes in detail because he is sure, she’ll be interested in it. We learn about the passing of the colloquium from the last letter, where the author expresses his confidence in the upcoming meeting: after his graduation he is going to come to Kyiv and congratulate Janna on her diploma. Conclusion. So, from these letters we found out L. Kolodub as a competent specialist – erudite, self-critical, hard-working composer, aimed at self-improvement.

Project success factors have become fundamental to project management practice in assuring successful projects. Yet, project failure has become common and a recurrent feature of infrastructure construction projects, not only in developing countries but also in most developed countries including Malaysia resulting in total abandonment of projects, prolonged project delay, cost overrun and client dissatisfaction. Researches on critical success factors impacting project results are important. Nevertheless, these researches are widely done in developed countries such as the USA and the UK under their culture orientation, while neglecting certain aspects, with limited evidence from developing countries such as Malaysia. This paper presents findings from a survey response from Malaysians who are project leaders, project management practitioners and project delivery team on their perception of project success factors. Selected literature review and survey questionnaire were used as data collection method for this study. Respondents’ national and organisational culture dimensions were analysed using Hofstede’s culture models and compared to the national and organisation culture dimensions of both the USA and the UK. The result of the analysis have suggested that that over and above age, and gender, individual perceptions of success factors varies with cultural differences. These findings have important implications for how companies can manage adaptation effectively to be able to achieve advantages in the various cultures where they operate while extending their main sources of advantage across borders, and in some cases even creating cultural diversity itself a supply of advantage.

The national culture has always been one focus of the development and ideological battles of all countries.Under the complex international situation in the world today, all the Chinese people need to consider the question namely how to maintain the purity of national culture in a variety of diverse values.As one important form of national culture, the national music culture deeply performs Chinese culture.However, with the development of education in recent years, the education of national music culture has declined.Therefore, as the main front of developing national music culture, what should schools do?As the centre of inheriting national music culture, what should students do?Here the question namely how to inherit national culture of music will be specifically analyzed in this paper.

The aim of the article is revealing the manifestations of romanticism in the songs created during and after the World War II by the partisans and their supporters, political prisoners and deportees. The author employs studies by Vytautas Kubilius and other literary scholars; however, her research is a folkloristic one, since the songs’ lyrics are perceived as a layer of folklore created at a definite period and characterized by the common stylistic features. Having noted a coherent continuation of the tradition of national romanticism, the author suggests defining the new wave of this style originating in the postwar period as folk romanticism. This folk romanticism blossomed precisely at the time when anti-romantic tendencies prevailed in the public artistic expressions. National culture was suppressed in the occupied Lithuania, and its famous creators silenced. Therefore, the idealist creativity moved to the underground, while traditional national and romantic motives were further developed in the illegal publications by the partisan movement and in the orally spread folksongs. The great representative of the 19th century literary romanticism Maironis established the high style of the Lithuanian poetry; notions prevailing in his poems express the most cherished values, including the glorious past, noble ideals, honor, struggle, and unity. According to Vytautas Kubilius, “the high style shaped by Maironis affected the Lithuanian cultural worldview: several generations used his poems to appreciate the nature and the past of the native country, learned of loving, believing and endurance in the center of the historical whirlwinds” (Kubilius 1993: 145). The return of the romantic ideals of the 19th century in the middle of the 20th century is hardly surprising, since it is only natural in the war and postwar times – the critical period again required resistance and defense from the literature and poetry. The songs created during war and postwar period harbor almost all the typical romantic literary motives. They exalt the beauty of the homeland praising its green villages, winding rivers with meadow banks, the roadside crosses, and faraway woods. These motives are often entwined with those of spring, blossoming, and youth. The native country is frequently portrayed in the songs of resistance as a beloved girl with a “rue spray in her hair” and as a mother taking care of her children. In the songs’ lyrics, there are harsh winds blowing, thunders striking, falcons taking up to the skies notwithstanding, and one is led to hope for the dawn, sunrise, and the glorious morning of freedom. The liberated Lithuanian capital with a tricolor flag blowing out above the Gediminas’ Castle is also often depicted. The motive of Lithuanian woods, or green forests is especially prominent both in the romantic literature and in the postwar folksongs. From ancient times, the woods used to protect Lithuanians against their enemies; during the postwar period, they also served as the only shelter for people prosecuted by the fierce regime.As noted by the folklore researcher Kostas Aleksynas, a huge number of patriotic songs has been created in the course of a comparatively short period of the armed national resistance (Aleksynas 2009: 7), the folksong creativity seemingly acquiring new powers. The continuation of the national romanticism and elaboration of numerous motives employed by the Lithuanian poets analyzed in this article could perhaps explain this phenomenon. Composition of the new folksongs did not require forming of a new poetic language, since the well-established romantic tradition presented itself to use, and only certain appropriate motives had to be selected.

PurposeThe purpose of this paper is to investigate the predictive influence of national cultural models on national infrastructure development. The national culture models of Hofstede, GLOBE, Ronen and Shenkar, and the World and European Values Survey (WEVS), were measured and compared to ascertain the best prediction fit for national infrastructure development.Design/methodology/approachA literature review examined four established cultural models, most of which (with the exception of the WEVS) assert stable, holistic models of national culture for business applications. The argument for cultural divergence in key moderators and mediators such as infrastructure development was also discussed. Then each model's predictability was measured with set correlation methodology, using GDP and population as co‐variates. Also, the marginal influence of the other three cultural typologies were controlled for in each respective analysis.FindingsEach model was found to have a positive significant prediction relationship with national culture infrastructure growth. The most promising model is the WEVS which explains a substantial proportion of the variance in national infrastructure. Additionally, WEVS has a higher predictive link to each infrastructure area than the other models. These results are preliminary and cross‐sectional, yet they suggest that dynamic cultural models may be the best predictors of infrastructure development.Practical implicationsThe study shows that increased efforts by the private sector and government can rely on dynamic models to boost national GDPs, and give better strategic guidance to foreign financial investment and human resources management.Originality/valueThe paper supports the hypotheses that national culture models can “grow” GDP to a healthy level through prediction, assessment, and then taking necessary interventions.

As petroleum projects becomes more international, there is more need for the petroleum professional to communicate across cultural boundaries. Intercultural competency on the part of the petroleum professional begins with an awareness of three types of cultures at work in the workplace: national, corporate and personal. Based on proven research in the field of cross-cultural communication, we propose using the Cultural Onion Model (Smith, 1992) to interpret these three cultures. This Model uses the analogy of an onion with four layers to represent the four layers of a culture. They are Behavior, Authority Structure, Experience and Core. Within a culture, the core contains the values and assumptions from which a culture develops. We then show how differences in core values concerning inequality, individualism, masculinity and uncertainty avoidance can affect the other layers of a national culture. Next, we explore how differences in corporate core practices can affect the culture of different types of company. Finally, we explore the implications of difference in both national and corporate cultures on three work-related areas: communication, leadership and reward system. Methods that work well in one culture may not work well in another, hence the need for cultural adaption. Our model will help the petroleum professional to understand important aspects of national and corporate cultures to become more effective in working across cultural landscapes.

The paper presents research which investigates the implications of national culture and organizational culture in the Lithuanian and Russian SMEs. While much of the attention has been given to organizational culture in large companies, little research has been focused on organizational and national culture in SMEs. The research is based on the main ideas of Hofstede’s framework of seven cultural dimensions and Denison’s cultural model, which measures culture in organizations with four major traits, such as involvement, consistency, adaptability, and mission. The quantitative research is based on responses to a questionnaire embracing various aspects of national and organizational culture. The authors of the research have elaborated proposals for further research.

Genre Composers in France and Belgium rising to the challenge of the great revival of orchestral and instrumental music in the last decades of the nineteenth century found their energies divided between programme music, whose main representative was Liszt (Strauss's symphonic poems were gradually appearing in Paris), and ‘absolute’ music represented by the symphony, sonata, and string quartet. Franck, a crucial figure in the renaissance, evinces this dualism, opting in a number of works for the Lisztian symphonic poem and in others for his distinctive adaptation of the symphony or symphonic chamber work. Few French or Belgian composers – the countries' musical cultures were closely related – accepted the symphony in its Beethovenian form: Franck's cyclic model was preferred, often in three movements; but the symphony was still the ultimate musical ideal, one that was supposed to make the greatest musical demands on both composer and audience. In the decade of La mer , Vincent d'Indy, founder of the Schola Cantorum, composed two multi-movement works that show how one composer could migrate across the divide sketched above. His Second Symphony (composed in 1902–3 and first performed in 1904) pays homage to the ideals of absolute music; its four movements fairly groan under the cyclic principle as motifs are explored and developed, often at great length. Its virtual antithesis, Jour d'ete a la montagne , followed one year later in 1905. D'Indy described this symphonic triptych in terms that recall aspects of La mer : ‘These are impressions of my mountain representing three periods of time, Aurora (a sunrise without clouds), Daytime (a reverie in a pine-wood, with songs coming from down below on the road) and Evening .’

Symphony orchestra of blowers, Representative Music of the Ministry of National Defense is today the performance standard in terms of wind bands in our country. Through its activity carried out during seven decades, the band crowned the creative, interpretative, educational and cultural values of the military music bands from the Romanian garrisons and military units. Having a repertoire that exceeds two thousand works from almost all musical genres (hymns, marches, patriotic and military songs, fantasies, potpourri, overtures, processing of songs and folk games, symphonic poems, symphonies, jazz, Romanian light music, etc.) from the creations of Romanian and universal composers, the wind symphony orchestra supported a rich concert, ceremonial and protocol activity, representing Romania in numerous national and international festivals.