Period Style Research Articles

Chopin’s Nocture Style in the Romantic Period: A Case Study of Nocture Op.9 No.1

Nocturne had a great development in the Romantic period of the 19th century. Chopin, as a typical representative of the Romantic period, pushed the development of nocturne to a new climax. His works have a very high artistic value and are a precious artistic heritage for future generations. Chopin has made great contributions to the development of romantic music. Therefore, Chopin's works have left a lot of places worth exploring and studying, which has had a profound influence on the development of Western music. This paper will be based on the general situation of romantic music, starting from Chopin's life and creation process, through the analysis of Chopin's “Nocturnica Op.9 No.1” piano works as the theme of detailed discussion, from the music melody style, touch keys, pedal use and music emotional expression, to grasp the style of the work and processing. The performance skills in the works and rich artistic expression show. By understanding the musical style and artistic characteristics of the Romantic period, we can further grasp the style and treatment of Chopin's works, and apply his performance personality to Chopin's other music works, so as to improve the level of performers' playing skills, restore the musical emotional expression that the composer wants to convey to the audience, and improve the performance of music.

An Ethiopian “Renaissance” Queen? Mentewab as Protector of Arts and Patron of Iconography

In Ethiopia, the period from the late 16th and 17th Centuries has caused a controversy because some consider this period as Ethiopia’s recovery from religious, civil conflicts as well as sectarian discord, while others including Kofi Darkwah (1975), define it as a continued descent prosses for the empire. In line with this disagreement, factual information can speak for itself in the course of this study. Emperor Susenyos (1572-1632 CE) was a strong supporter of Catholicism, yet his son, Fasilidas (1603-1667 CE) as his successor, reinstated Ethiopian miaphysite Orthodoxy. The establishment of Gondar as the permanent capital in 1636, is an event heralded by Henze (2000) as the onset of an Ethiopian Renaissance, particularly in artistic, architectural, and musical domains. After Fasilidas’s demise, his son, Yohannes I reigned from 1632-67 CE. Yet, it was Fasilidas’s grandson, Iyasu I the Great (r. 1682-1706 CE), who distinguished himself through extensive architectural projects, notably transforming Gondar into a captivating city. Iyasu I’s assassination caused significant turmoil in Gondar, subsequently resulting in a gradual loss of political power. When Iyasu I’s son, Bakaffa (r. 1721-1730 CE) ascended to the imperial throne, the arts - namely, chant (zema), poetry (qene), interpretation (tergum) and refinement of the court minstrels’ music had already been supported and vigorously promoted. However, it was Bakaffa’s wife and later widow, Mentewab (1706-1773 CE), who emerged as the pivotal figure in this Ethiopian “Renaissance”. Additionally, the diverse styles of Ethiopian iconography sponsored by Mentewab, some adorned with elements reminiscent of the decorative style of the Rococo period, illustrate the queen’s remarkable aesthetic standards. The research on Mentewab, also known as Welete Giyorgis, has been guided by portrayals in iconographies, chronicles, paintings, testimonials from church builders and castles, and indirectly by information provided in texts such as Kebre Negast, and Fetha Nagast. To this end, special attention has been drawn on Mentewab’s legacy as the founder, protector, and patron of the Ethiopian Orthodox Tewahedo Church Narga Selassie, renowned for its resplendent Qwara style that fused European, Islamic, and Indian elements while retaining strong Ethiopian traits. With special attention to the iconographic representations of Queen Mentewab as the ktetor of Narga Selassie Church, the study explores symbolic significances embedded within relevant creations and artistic styles. By contextualising them within their historical framework, this analysis explores Mentewab’s influence on her contemporary politics, religion, art, and literature in Ethiopia.

A Quantitative Exploration of the Consistency of Visual Rhythms and Social Values in Oil Painting Art

Abstract In the process of oil painting creation, creators present their ideology to the audience through diversified ways of expression so as to produce spiritual resonance with the audience. In this paper, the consistency of social and artistic values of color in oil painting art is studied from three aspects: color attributes, visual rhythm, and color psychological effects. Combined with the HSV color model, the relationship between hue, saturation, and brightness values, which in turn describes color harmony and aesthetics, is used to assess the artistic and social value of oil painting art. Finally, by taking oil paintings of the Literary Review Period style and Classical style as samples, the social and artistic value consistency of oil paintings can be analyzed through color. The results of the study show that when the value of the color attributes of Rembrandt’s oil paintings in the Literary Review Period reaches 240, the saturation value rises sharply, and the hue value likewise falls sharply, forming a strong color focus, making the paintings more toned down and fresh, and alluding to the spirit of resistance that the creator wants to express. The social attributes of purity and solemnity are created when color characteristics are purified, and saturation is smoothed in classical-style oil paintings.

Категорія стилю (ідіостилю) як літературознавче явище

The article summarises modern approaches to the interpretation of the essence of the concepts of «style» and «individual style of a writer». The universality and interdisciplinary nature of the definition of «style» lies in the fact that the term is used by linguistics, cultural studies, aesthetics, art studies and literary studies. And this gives rise to a certain difficulty in understanding of the term, sometimes leading to unwanted synonymy and blurring of conceptual boundaries. Various interpretations of this concept can be observed in literary studies. For example, scientists distinguish the style of a time and the style of a tendency and direction; the writer’s style and the style of a certain period of his (or her) creativity; the style of a work and the style of its individual element. The relevance of the study is determined by the fact that scientists have not yet developed common approaches to the study of this category. Therefore, the most widespread thing in literary studies is the understanding of style as an individual creative manner, the «creative face» of a particular writer. The concept of «style» is widely used to comprehend the trends of the literary process, to clarify the national specificity of literatures and the creative individuality of authors. The article highlights the essence of the concept of «individual style of a writer», which is based on the works of famous literary critics. It is established that the problem of idiostyle is one of the most relevant in literary studies when researching a literary text. The correlation between general style and idiostyle is analysed. It is determined that they are generally interrelated and to a certain extent determine each other. Often, style is also considered as a display of the essence of many individual styles, united by common features. Therefore, individual style can be considered as a space of interaction between the author and the recipient, each of whom is looking for the most optimal means of expression and cognition. The style carriers and stylistic dominants laid down by the writer help the reader to «build» the «author’s image». The individual style of a writer is defined as an extremely complex phenomenon, which can be explained by a whole complex of style-forming factors. Among them literary critics distinguish socio-historical and cultural conditions, correlation of biased traditions and special innovation in a particular work of a writer or in hisentire creativity, specific generic and genre features of the work, tone of the narrative, worldview, artist’s talent, freedom of creativity, fictional truth and creative conjecture.

The evolution of music style of the Romantic period’s piano works

The evolution of music style of the Romantic period’s piano works

Cold War Cosmopolitanism: Period Style in 1950s Korean Cinema

Cold War Cosmopolitanism: Period Style in 1950s Korean Cinema

Remembering the Herero-Nama Genocide in Namibia

Remembering the Herero-Nama Genocide in Namibia

MUSIC AND EMOTION: FROM ANCIENT GREECE TO CONTEMPORANEITY

Understanding how music and emotion co-vary has been the focus for many scholars for a long time, starting with the writings of Ancient Greeks to contemporary thought. Philosophers, musicologists, and cognitive scientists alike have been puzzling on the extent to which music can have an influence on how humans feel, think and act morally and ethically. Therefore, the understanding of this relation is of paramount importance as we are immersed in organized-sound contexts every day, and this has a major effect on how listeners think and act in social environments. The current investigation aims at highlighting the development of the music and emotion relationship throughout the stylistic periods of the European space (with a short comparison to Ancient Chinese music) as a preamble for a more nuanced future research on the topic.

Historical Analysis of the Sümerbank Factories Established in Accordance with the First Five-Year Industrialization Plan

In its foundation years, The Republic of Turkey has adopted a development model based on modernization, innovation and the principle of statism in its economic policies. In this respect, the First Five-Year Industrial Plan, which includes the priority needs of Turkey, was prepared and the state started to build new factories in the 1930s. These factories not only brought employment and innovation to the city where they were located, but they also played an important role in shaping the life style of the Early Republican Period. Among the factories built in accordance with the First Five-Year Industrial Plan, this study aims to focus on Sümerbank factories, where the foundations of economic and social development were laid, and examine their transformation in the historical process. Firstly, an extensive literature review was conducted on the Sümerbank factories established between 1933 and 1938. Following that, the site selection criteria of Sümerbank factories located in different regions of Turkey and their physical aspects during the establishment phase were examined. Finally, by documenting the existing features of these industrial heritage places, a general assessment was made on the transformation from the 1930s to the present.

ARCHITECTURAL AND AESTHETIC FACTORS OF INFLUENCE ON THE MEDIA FORMATION OF LVIV ARCHITECTURE AND URBAN SPACES

Architectural and aesthetic factors of influence on the media formation of architecture and urban spaces are decisive for the identification of the environment. The image of the environment directly conveys the essence of its media formation. Architectural and aesthetic factors play an important role in media formation of historic environment and determine its character. They are visual manifestation of the "spirit of place". In the architectural space of modern Lviv we can find the heritage of different stylistic periods and identify them through the architectural and artistic image. The compositional, functional, procedural factors are highlighted and their influence on the media formation of Lviv city is analyzed. The assessment of the interrelationships of the architectural and aesthetic factors of the Lviv environment with its media formation was carried out on the basis of a multidimensional matrix of interrelationships. It has been established that architectural and aesthetic factors have the greatest influence on visual as well as mental media formation. Connections with sound, smell and tactile media formation are weak. It was revealed that nowwadays architectural space of the city is losing its philosophical and informative essence. Aesthetic qualities of modern architecture along with functional, technical and economic indicators in the conditions of globalization acquire a unified and commercial character. Therefore, it is necessary to change the approach to architectural design.

КОМПОЗИЦІЙНІ ЧИННИКИ ВПЛИВУ НА ФОРМУВАННЯ МЕДІЙНОСТІ АРХІТЕКТУРИ ТА МІСЬКИХ ПРОСТОРІВ ЛЬВОВА

Lviv has a unique history and architecture. The landscape of the city gives the primary expressive media formation while compositional factors play an important role in its formation. In the architectural space of modern Lviv there is a heritage of different stylistic periods, and we can identify them with their architectural and artistic look. During the centuries architects made sure that the city was perceived as a complete system and its elements were harmoniously connected with each other. Cultural traditions of different times were constantly combined with local landscapes by various forms, textures, scales, colors to ensure the functionality of the space. The media formation of the city broadcasts its cultural value and makes it possible to look at the past from the present and understand it. The article defines the role of such compositional factors of influence on the media formation of architecture and urban spaces as form, proportions and decorations. The research was conducted on examples of historical architecture of Lviv, architecture of the Soviet period and modern architecture of the city. Social values and mentality of different historical periods are important in creating buildings and structures. Conducted analysis allows to find out architecture in Lviv became unified and commercialized after the Soviet period. This trend is also followed in modern architectural design. Despite this, it is worth remembering that society perception of the beauty and harmony of architectural environment is constantly changing so it is necessary to analyze the media formation of architecture from this point of view.

IDENTIFYING THE DIFFERENCES THE HARPSICHORD AND THE PIANO INTERPRETATION OF J. S. BACH'S BWV 1056 CONCERTO IN F MINOR

The Baroque period is a period in which the form and style of the renaissance period came to an end, religious and mythological subjects were dealt with in all branches of art, and the period between renaissance and classicism in art history and described as 'ornate art style'. In this article, the differences between the harpsichord interpretation of J.S.Bach's Bwv 1056 F Minor Concerto originally written and the modern instrument piano interpretation were determined. In the first parts of the study, the general features of the Baroque period, the baroque period in music, the most important composers of the baroque period, the instruments of the baroque period and the music forms of the baroque period are mentioned. Subsequently, the focus is on the journey from the past of the harpsichord to the modern piano, J.S.Bach's style and harpsichord concertos; In the last part, with the support of the Project* recordings the analysis of BWV 1056 F Minor Concerto’s piano and harpsichord interpretations were analyzed and evaluated. It is aimed that this article will be a pre-study tutorial and contribution to many musicians and commentators.

Dynamic Form: How Intermediality Made Modernism

Dynamic Form: How Intermediality Made Modernism

Johann Melchior Molter

Among young musicians there is not much motivation to "go outside the box". We are so used to seeing from a young age the same books and the same typical pieces. All this just to get in front of a jury and play the same passages that we started to study since we were 12 years old. But it is inevitable that a hurricane of questions sweeps through your head when you see that a composer from the 18th century you didn't know wrote a concerto for your instrument. Which instrument did the composer play? In which stylistic period can we place him? Who was the concerto written for? Do we know if there is another concerto for my instrument? This is what my research is about, to study the life as well as the bassoon concertos of the German composer Johann Melchior Molter, born in Karlsruhe in 1696, unknown to me until a year ago. He was chapel master in Karlsruhe, he travelled around the cultural centres of Europe, which gave him a unique and varied style that is present in all his works.

Theory, Period Styles, and Comparative Literature as Discipline

In his article, Theory, Period Styles, and Comparative Literature as Discipline, Slobodan Sucur attempts to answer the following question: Can a rapprochement be brought about between various, often antagonistic, literary-theoretical views and the concept of comparative literature itself, which requires accord, consensus, agreement, etc., for it to function as a concrete body and discipline? Sucur attempts dealing with this question in three parts of the paper: First, he establishes a relationship/link between the theoretical discord of today (humanism, formalism, deconstruction, etc.) and the high theorizing which began during the JenaBerlin phase of Romanticism (Shelling, Hegel, F. Schlegel, etc.); secondly, he attempts linking the origin of comparative literature with later Romanticism (Virgil Nemoianu’s idea of the Biedermeier) in order to account for some inconsistencies between ideas of „theory” on the one hand, and „discipline” on the other; and thirdly, he speculates on whether or not „literary history” – an idea often neglected now – can be the bridge where literary theory meets up with comparative literature as a disciplinary endeavor, that is, in the act of writing a comparative literary history.

BİTHYNİA KENTİ KLAUDİOPOLİS’TEN (BOLU) BİR HEYKEL BAŞI

This article considers the head of a marble painted statue which was found during construction work in the city center of Bolu and delivered to the Bolu Archeological Museum. This study aims to clarify the identity and dating of the head. The statue head has been examined in terms of craftsmanship techniques, and a stylistic-typological analysis has been carried out with respect to the facial features, facial expression, head posture, hairstyle and headband. Combining the findings from this analysis with information about the context around the find-spot and data concerning administrative and religious personalities in the history of the city, an attempt has been made to draw some conclusions about the statue head. The facial features of the Bolu head reflect primarily the idealism and linear style of the Classical Period. On the other hand, its facial expression and head posture can also be seen in sculptures of the Hellenistic Period. No other similar sculpture has been encountered previously. In view of this, we would appear to be faced with an eclectic and unique work, probably a local production, indicating that the head is not a copy of a particular work. The stylistic and typological features of the Claudiopolis (Bolu) head can also be seen on sculptures from the Hellenistic Period up until the time of Hadrian, making it quite difficult to date this head. However, the polishing technique applied to the surface of the statue head where bare skin is visible may point to a date in the Hadrianic period, an important phase in the history of Claudiopolis. This dating may be supported by the fact that right next to the head structural foundations and a structural element are said to have been unearthed, and these have been dated to the Hadrianic period due to the inscription on this structural element. There is no definite attribute indicating who the head is depicting. The only accessory on the statue head is a circular cross section headband. Because of this, only the hairstyle and the type of headband can provide clues as to the statue's identity. The head does not possess the usual hairstyle of the Roman imperial period. Divided into two from the bun, the hair is combed from back to front and cut short around the face from the forehead to behind the ear. This style and model of haircut is also manifested in representations of Artemis and Apollo from the Classical Period, although the treatment of the bun differs. In addition, such short hair is a rarity in female statues, and researchers concur that it is exceptional for women to be depicted with short haircuts, unlike in the case of men. Furthermore, a circular cross-section headband is understood in most cases to be an indication of a male hero or god. One of the twelve phyla of Claudiopolis is named after the god Apollo. Based on the ancient history of the city and the typological comparison of this head with other sculptural works, it can be suggested that the statue head under discussion depicts Apollo and can be dated back to the Hadrianic Period.

Ottoman religious architecture in Croatia

Objective: To provide a description and analysis of built, surviving, and lost Ottoman religious monuments in Croatia within the historical and sociopolitical context. Methods: Based on the analysis of relevant published sources, historical maps, online sources, as well as site analysis, we provide a description of Ottoman architectural, religious, and cultural heritage in the contemporary Croatian regions of the Dalmatian hinterland and Slavonia. This includes the art historical interpretation of the remains of the three surviving 16th-century domed mosques in three Croatian towns: Klis (today, the Catholic Church of St. Vitus in the Fortress), Drniš (now incorporated into the Catholic Church of St. Anthony held by the Franciscans), and Đakovo (today, the Catholic Church of All Saints). Results: The period of Ottoman rule saw the construction of a great number of Ottoman religious buildings in what is now the territory of the Republic of Croatia. There were two methods of mosque establishment: from the ground up, or by repurposing an older building, generally of Christian origin. With cessation of Ottoman rule these objects decayed and became less interesting for reutilization for Christian religious purposes. Many such converted objects perished in spite of their new utilization. The site analysis revealed the continuity of these sacred places in spite of religious conversion of the sacral site. Conclusion: The introduction of Ottoman architectural and urbanistic features was the defining feature of urban development in Croatia during the Ottoman era. In the settlements, the Ottomans built both sacral and utilitarian profane buildings, but Ottoman religious buildings were the most prominent. In the territory of present day Croatia, only three such Ottoman places of worship remain in existence as structures, albeit reconverted into Catholic churches. Today, due to the conversion and renovation works, they represent a fusion of several stylistic periods.

Fegyvernek, „Pusztatorony”

East of the n–S reach of the Danube in Hungary, even east of the Tisza one can only sporadically come across relics of the renaissance stylistic period – certainly in close correlation with the events of the general mediaeval and early modern-age history, apart from the geographic situation. That explains why the exposure of new architectural details in the ground-floor space of the “Puszta Tower” of Fegyvernek built in the second half of the 15th century and only known so far for its facades already assessed in 1872. The imprint and fragmentary remains of the wall articulating architectural elements defined lately as remains of a pair of facing sedilia allude to the quondam representative interior of the room, and the details can be interpreted as an example of the coexistence of the gothic and the renaissance in Hungary.The “find” is new proof of the existence of momentous buildings prior to the Ottoman occupation and also of the chance for research to explore their remains. The short account is a preliminary report on a partial result of excavations going on in Jász-nagykun-Szolnok County.

Material characteristics of historic scagliola interiors in Vienna: A view through the microscope.

Composition and microstructure of four Viennese scagliola samples, originating from the early 18th to early 20th centuries, were analysed by different methods of microscopy. Results indicate a similar composition in all samples; only minor differences could be observed in the porosity and grain-size-distribution. While, the calcium sulphate raw material was fired at low temperatures (<200°C), the presumable presence of anhydrite II in two samples may indicate hot spots (200-300°C) during the calcination. To achieve 'marble-like' patterns mineral pigments were used to dye the ground mass. The first results show that scagliola surfaces of this study were produced by using the same or very similar technology between the 18th and early 20th centuries. The present study focuses on scagliola interiors in Vienna, Austria from different stylistic periods between the early 18th and early 20th centuries. Scagliola, also called stucco marble, imitates natural stone. It is produced by a mixture of gypsum (CaSO4 ·2H2 O), different pigments, animal glue and water. In the history of interior design, the material played an important role in the 18th and 19th centuries in Central Europe. The aim of the research was a detailed investigation of four selected samples in order to identify the raw materials and manufacturing technology of the stucco marbles used over time in Vienna. As a first step thin sections (i.e. polished, transparent samples with a thickness of 0.03 mm) were prepared from the samples and analysed by different microscopic techniques. All samples showed similarities in their bulk properties, but detailed investigations revealed also some differences in their mineralogical composition. The gypsum binders contained typical air voids and so-called secondary pores which were formed by dissolving larger binder-related particles during the preparation of the mixture. The macroporosity (i.e. the amount of the pores in the samples which are larger than 0.01 mm) measured on microscopic images varied in a narrow range between 14.1% and 19.3%. The raw materials of all samples were fired at relatively low temperatures (i.e. below 200°C), but in two samples we could also determine a few anhydrite (CaSO4 ) crystals that normally form at higher temperatures in the kiln. This indicates that the distribution of temperature in the kiln was heterogeneous during the firing process. The amount and appearance of some minor mineral constituents such as dolomite (CaMg[CO3 ]2 ) and celestine (SrSO4 ) suggest that they were naturally occurred in the raw material and not deliberately added to the binder as a filling material. To achieve different colour hues and imitate natural stone surfaces, fine-grained mineral pigments and charcoal powder were used. Although we have no distinct information about the gypsum sources of these stucco marbles, several small historical gypsum quarries existed southwest of Vienna. Some of them were already in operation in the 16th century, thus a local gypsum occurrence used as a raw material is very probable. Due to the fact that the main features of the analysed samples were very similar, we assume that the scagliola surfaces of this study were produced by using the same or very similar technology between the 18th and early 20th centuries.

The Effect of Chronic Alcohol on Cognitive Decline: Do Variations in Methodology Impact Study Outcome? An Overview of Research From the Past 5 Years.

Excessive alcohol use is often associated with accelerated cognitive decline, and extensive research using animal models of human alcohol consumption has been conducted into potential mechanisms for this relationship. Within this literature there is considerable variability in the types of models used. For example, alcohol administration style (voluntary/forced), length and schedule of exposure and abstinence period are often substantially different between studies. In this review, we evaluate recent research into alcohol-induced cognitive decline according to methodology of alcohol access, as well as cognitive behavioral task employed. Our aim was to query whether the nature and severity of deficits observed may be impacted by the schedule and type of alcohol administration. We furthermore examined whether there is any apparent relationship between the amount of alcohol consumed and the severity of the deficit, as well as the potential impact of abstinence length, and other factors such as age of administration, and sex of subject. Over the past five years, researchers have overwhelmingly used non-voluntary methods of intake, however deficits are still found where intake is voluntary. Magnitude of intake and type of task seem most closely related to the likelihood of producing a deficit, however even this did not follow a consistent pattern. We highlight the importance of using systematic and clear reporting styles to facilitate consistency across the literature in this regard. We hope that this analysis will provide important insights into how experimental protocols might influence findings, and how different patterns of consumption are more or less likely to produce an addiction-vulnerable cognitive phenotype in animal models.