Stylistic Movement Research Articles

Formation of the genre of clavier sonata in Austria: sonatas by Leopold Kozeluch (from the music collection of the Razumovskys)

The article examines the period of European culture associated with the formation of the Viennese Classical School in Austria. The transition of music from the baroque to the classical style in the second half of the 18th century was marked by the work of some composers, whose works received various names of stylistic movements, such as “Storm and Wind”, or names specific to the style of orientation of these movements – gallant, sentimental or mixed. A special place in the constellation of composers from this period belongs to Leopold Kozeluch (1747-1818), Czech by origin, who received a selected education in Prague and Vienna, being a student of F. Dušek and A. Salieri. Later, Leopold Kozeluchva occupied a place of honor in Austrian musical culture. Among the numerous works for harpsichord and other instruments signed by Leopold Kozeluch, the Three Sonatas dedicated to Princess Liechtenstein are of particular interest, due not only to the musical material of the sonatas themselves, which reproduce the solemn theme of J. Brahms’ work, but also, directly, to the person to whom they are dedicated – the Princess of Liechtenstein. The Three Sonatas in three movements can form an integral cycle, determined by the internal logic of the unfolding of the events, but they can also be interpreted separately, undoubtedly representing significant individual artistic values.

Neoclassicism with a British Accent: Edwardian and Georgian Reflections in Russian Architecture of the 1900s–1910s

The article is dedicated to one of the stylistic trends of architecture of the Russian Empire in the early decades of the 20th century, namely neoclassics. The repertoire of classical architecture as such is cosmopolitan, but the very idea of arousing the classics at the beginning of the last century, marked by the appearance of Art Nouveau and the beginnings of modernism, turned out to be equally close to Great Britain in the Edwardian era and Russia during the time of the last emperor. This unanimity in the rejection of stylistic innovations is interesting as a phenomenon and undoubtedly deserves special study. At this stage, it can be stated that in Russian neoclassicism there was also a place for Anglomania, which was expressed, however, not in formal echoes of the Edwardian style, but in an interest in the history of the British classical tradition (primarily, the architecture of the Georgian era). The Edwardian idea of reviving the noble style of the past was embodied in Russia both in direct appeals to the legacy of Charles Cameron, who, serving the order of Catherine the Great, was an agent of Georgian architecture, and in an appeal to English scholars, who provided rich material on ancient Roman archaeology. The English influence in Russian neoclassicism is traced in the article from the very beginning (i. e. the moment when the Mansion of the Racing Society in Moscow, considered the first building of this stylistic movement, was designed by Ivan Zholtovsky in 1903) through the programmatic “Cameron-style” architecture of the Prince Sergey Shcherbatov’s house in the same place, created by Alexander Tamanyan, to those “Georgian” apartments inside the Palace on the Moika river embankment that were designed by Andrey Beloborodov for Prince Felix Yusupov, one of the most famous Anglomaniacs of St. Petersburg. “Georgian” reflections are also found in the Moscow mansion of Gavriil Tarasov built by Zholtovsky. Its exterior contains some references not only to Palladio’s Palazzo Thiene (Vicenza), but also to London’s Burlington House designed by Colen Campbell. Thus, the British “accent” in Russian neoclassicism of the 1900s–1910s sounds no less obvious than the Italian one.

About the role of stylization in russian easel sculpture of the 1990-2010's

This article examines stylization, an important technique of the artistic language of Russian easel sculpture of the 1990s - 2010s, and analyzes the contextual specificity of this method of artistic utterance. A brief explanation of the specifics of stylization as a formative element of artistic language is offered. Special attention is paid to the process of creating figurative expressiveness by means of stylization. Ways in which the semantic field of an artistic work is formed are identified. The novelty of this research work lies in the fact that the work of Russian sculptors in the late 20th – early 21st century is understudied, and the issue of stylization in the theory of sculpture has not been elaborated well. It is noted that stylization became a leading technique at the turn of the century. Following a brief outline of the use of stylization in sculpture throughout the history of world cultures, an analysis of modern easel sculptural compositions is performed, leading to the conclusion that stylization tools used in 21st century Russian sculpture feature relevance and diversity. The main approaches to treating the figurative component through stylization are highlighted, and it is noted that stylization in sculpture tends towards a sign (hieroglyph). Two main approaches to solving the problem of stylization are identified: synthetic and phenomenal. The first approach combines the experiences of world cultures, or the main stylistic movements, and represents author's representation or reference in a given plastic system. The second is a unique, personal approach to imaginative narrative. The characteristics of these approaches are illustrated by concrete examples from late 20th– early 21st century Russian sculture. In conclusion, the outlook for the development of stylization as one of the most important compositional techniques of modern plastic arts is evaluated.

Stylistic Change in Early Modern Spanish Poetry Through Network Analysis (with an Especial Focus on Fernando de Herrera’s Role)

Early Modern Spanish literature, also known as Golden Age Spanish literature, is a well-established period in the History of Spanish literary tradition, covering from the beginning of the sixteenth century to the end of the seventeenth century, from Renaissance to Baroque works. In the case of poetry, the stylistic change from one aesthetic to the other has been examined from a historical point of view, with some scholars considering a transitional group of poets between both stylistic movements, and many pointing to the writer Fernando de Herrera (1534–1597) as a bridge between the Renaissance style of Garcilaso de la Vega (1501–1536) and the Baroque of Luis de Góngora (1561–1627). This paper examines the stylistic change from Renaissance to Baroque in Spanish poetry and Herrera’s place on it from a quantitative, computational point of view, applying a methodology which combines Stylometry and Network Analysis to a big corpus of poems and authors writing in this period. The resulting stylometric network for Renaissance and Baroque poetry proves there is a computationally measurable chronological evolution in the texts of this period, as well as a change of style from Renaissance to Baroque, and supports the existence of a transitional group of poets between these two literary movements, one of which is Fernando de Herrera.

Slobodni neupravni i slobodni upravni govor u romanu "De Bello Civili" Svetislava Basare i njihovi prevodni ekvivalenti u engleskom jeziku

Most of the research studies on the translation equivalents of the direct and indirect speech were dealing with translations from English to Serbian language. In this paper, we investigate whether structural and/or stylistic movements occur when the free direct and free indirect speech (and their subtypes) are translated from Serbian language to English language. Novel De bello civili by Svetislav Basara is used as a research corpus. Almost all types of direct and indirect speech are present in the novel. Events in the novel take place very quickly, since the plot of the novel takes place in one day, reminding us how substantial the events of a single day can be. The events in the reality of fiction and events in the inner world of protagonists are mixed here, and hence the dominance of free direct speech. The research led to conclusion that forms in free indirect speech in English and Serbian language share most of the features (require context, use of past verb tenses, use of speech verbs and thoughts verbs that can be used in the main sentence etc), except for the sequence of tenses that is inherent in English and not in Serbian language. Since free direct speech does not include the shift of tenses, the examples of this type of reported speech are almost identical in both languages. Given that the narrator of the novel is at the same time the leading protagonist whose words are communicated, there is the omission of prenominal focalization, and there are cases when it is difficult to distinguish the free direct speech from free indirect speech. This implies the omission of author's speech and orthographic markers, which may impose a problem during translation. From the given examples, it can be seen that in some cases the translator was not guided by the Serbian language, in terms of following and communicating the reported speech. Although the free indirect speech is more flexible category in the Serbian language (Karavesović 2010), when translating into English there is often a problem of transferring all stylistic features. Following the rule of the sequence of tenses that is inherent in the English language, but not in Serbian, the translator diminishes the actuality achieved by the use of the free indirect speech in the original. Furthermore, sometimes it is very difficult to distinguish between the free direct and free indirect speech in the Serbian language; these two types of reported speech cannot be equalized in the English translation, and usually the indirect speech with subtypes is used as translation equivalent.

Buildings and energy: architectural history in the climate emergency

As the current climate emergency deepens, it is no longer adequate to leave ideas of sustainability to engineers, practitioners, and studio-based educators. Ways of understanding and teaching architecture’s history must also respond. This needs to go beyond highlighting exemplars and models from the past for what they may teach us practically in terms of passive environmental conditioning. The very terms and frames of reference we use to discuss buildings in the context of history require reconsideration. This article proposes that understanding architecture from a radical material perspective has the potential to foreground the entrenched relationship between architecture and energy consumption in the history of architecture. Energy consumption is the key factor in climate change. Making historians and students more aware of how this critical relationship shaped the built environment through time places an emphasis, and thus responsibility, on the very high energy consumption of architecture. We propose two essential questions: how has humanity’s changing ability to harness useful energy interacted with the history of architecture? And how might we understand buildings through time not as objects fashioned solely by individual genius, patronage, stylistic movements and/or theoretical considerations, but as products that also result from the powerful nexus between assemblage and energy? This article attempts to demonstrate a possible approach, by sketching out three historical ‘scenarios’ that speak to different periods in time (pre-industrial, agrarian; industrial, coal- and steam-based; and late industrial, oil- and electricity-based). In these scenarios we trace regimes of energy consumption and their attendant networks of production, suggesting the centrality of such an approach to a full appreciation of building as a material process. We propose that this approach might form a new and complementary basis for research and teaching in the history of architecture.

Architectural Heritage of the Avant-Garde era in Southern Russia

This research explores Southern Russian architecture from the mid-1920s to 1930s considering issues of continuity, tradition, and innovation. The scope of the research comprises both well-known architectural monuments commissioned to Soviet leading professionals as well as a group of little-known architectural structures. In the paper, it is concluded that despite the fact that this period is usually associated with the widespread Soviet Avant-Garde style of architecture, the influence of other stylistic movements, such as Traditionalism and Art Deco, was also very strong. The research specifically focuses on the problem of heritage preservation. The heritage protection status does not guarantee the preservation of a building. Paradoxically, the smaller a township and the poorer the local economy, the better the state of historical architectural objects.

Umereni modernizam kao treći put u stvaralaštvu Alfreda Kazele

The work of an artist is related to society, politics, and ideology, which are important aspects of the context in which the work of art is created. The multi-layered relationship between art/music and society/politics can especially be seen when we consider neoclassicism, which was for decades after the Second World War in literature defined as a stylistic movement in the service of the ruling (totalitarian) regimes. Consequently, authors of neoclassical works were criticised for returning to tradition and order, and their works for reducing expressive means. Among them, the name of Italian composer Alfredo Casella stands out, whose works were criticised because of their alleged coherence with the aesthetic requirements of the regime. Starting from the hypothesis that neoclassicism is a modernist movement, I will examine the third period of Casella's work in the context of moderate modernism, as a third way between the aesthetic requirements of the regime and modernistic expression that was characteristic of the composers' earlier period.

"АНГЛИЙСКОЕ" В ТВОРЧЕСТВЕ И. В. ЖОЛТОВСКОГО: ДОМ СКАКОВОГО ОБЩЕСТВА

I.V. Zholtovsky’s name as well as his architecture are imagined as fully associated with Italian influences. Meanwhile, by the beginning of the 20th century, Italy was by no means the most significant country of palladianism: this stylistic movement had been developed much more in England, in addition the first monograph on Palladio was published in London (1902). Having studied the biographical documents of Zholtovsky, one can conclude that the “English theme” in his life was no less significant than the “Italian”. Moreover, this relation was not limited to the sphere of political or cultural preferences, but strongly affected the architect professional activities. By the example of Zholtovsky’s first independent work, the Horseracing Society house in Moscow, one can trace how the creative credo of Zholtovsky-neoclassicism was formed; how from imitation of the British Victorian style, through the study of English architectural books, he came to his own version of neoclassic style (that was so far from the patriotic-nostalgic features of the pre-revolutionary decades of Russian architecture).

Saxophone in jazz: aspects of paradigmatics

Saxophone in jazz: aspects of paradigmatics

Fractal design in streetscape: Rethinking the visual aesthetics of building elevation composition

Each stylistic movement in building design and within its context throughout history is meant to possess a distinct visual character that is measurable in some way. From another perspective, building aesthetic measures in architecture have regularity included both experience and theories. Current styles of architecture are full of irregularity using a series of geometric construction which parametrically repeat themselves to produce complex images that could be defined as fractal. Recently, studying contemporary fractal dimensions in architecture has become significant as has been the metallic ratios in the past. In this study, fractal analysis is used to interpret current building elevation composition in a mathematical quantifiable way (boxcounting method). These measures are then verified by comparing results of questionnaires focused on habitats' perception of visual aesthetics of building elevation composition. This paper attempts to try to understand how fractal geometry contributes to the perception of buildings in their context and its participation in aesthetics measures. Findings confirm that highly dense fractals are not necessarily visually unpleasant, and that visual aesthetics are not correlated to fractal dimensions. This is due to the too many variables and conditions that are involved.

Review: Patrick Burke, Come in and Hear the Truth: Jazz and Race on 52nd Street. Chicago: University of Chicago Press, 2008 (hbk). xiv + 314pp. $35.00. ISBN 978-0-226-08071-0

Patrick Burke, Come in and Hear the Truth: Jazz and Race on 52nd Street. Chicago: University of Chicago Press, 2008 (hbk). xiv + 314pp. $35.00. ISBN 978-0-226-08071-0.Ever since Philip Bohlman and Ronald Radano published their groundbreaking collection of essays, Music and the Racial Imagination, there has been a steady stream of studies exploring and extending the questions it raised about how musical practice relates to racial categories and racist discourse. Patrick Burke's study of the racial politics of jazz on 52nd Street in New York City explicitly takes its cue from this research. Beginning in the 1930s, when the famous Onyx Club emerged as a kind of unofficial 'workingmen's club' for studio musicians, and following the rise of 52nd Street as a major commercial centre in the 1940s, Burke develops a subtle and detailed analysis of the racial dynamics of jazz production and reception. His focus is on 'the mutual influence between musical style and racial representation' (p. 5) as these took shape within and around the area of 52nd Street.Clubs such as the Onyx, the Spotlight, the Three Deuces, Jimmy Ryan's and many others are etched into jazz mythology, not the least by William Gottlieb's famous photograph of 52nd Street, which he took in July 1948. The neon signs above the clubs proclaim the myth as powerfully as do the many stories and images we have of what was going on inside. They announced to musicians and audiences alike not only the growing popularity of jazz, but also the new conception of jazz performance that was taking shape there, encapsulated in the after-hours jam sessions and small-group swing bands. The regular appearance of performers such as Coleman Hawkins, Billie Holiday, Art Tatum and Dizzy Gillespie in the clubs, along with the musicians' emphasis on spontaneity and virtuosity as essential features, reinforces the claim that it was there, on 52nd Street, that jazz underwent a transformation from popular entertainment into a modernist art form, a change that was mirrored in the stylistic movement from swing to bebop.Broadly speaking, Come in and Hear the Truth is about the problem of conceptualizing this transformation. Most accounts of jazz history explain key moments of change in terms of a succession of styles, usually embodied in the work of a 'canon' of great (sometimes even heroic) performers and composers and measured against a set of core musical conventions. Taken together, these conventions form what is meant when performers and critics refer to the 'jazz tradition'. The transition from one style to the next involves artists in a thorough-going revision of this tradition, mostly by reconstituting those conventions that have become worn out, cliched or no longer meaningful. The really great players or composers are those individuals who are able to do this, to reinvent the music's language and gestures without destroying jazz in the process. An exemplary text in this regard is Martin Williams's The Jazz Tradition, in which the shift from swing to bebop is understood in terms of the individuals who made it possible. In Williams's study, 52nd Street exists only as a colourful backdrop to a story that is ostensibly about the individual artist's capacity to transform the musical materials they find in the work of their predecessors and, thus, to find new ways of rediscovering and, ultimately, overcoming the essential problems the jazz tradition presents them with.By focusing our attention on 52nd Street-'the street that never slept', in Arnold Shaw's famous phrase-Burke moves the question of change in an entirely different direction. Jazz styles appear in conjunction with each other, jostling for attention, their identity emerging from a complex cross-fertilization of ideas and methods, personnel and practices, rather than as successive stages of an evolutionary movement. Individual performers certainly shape what is happening, but not independently of the groups and clubs and recording studios within which they lived and worked. …

Scalable muscle-actuated human simulation and control

Many anatomical factors, such as bone geometry and muscle condition, interact to affect human movements. This work aims to build a comprehensive musculoskeletal model and its control system that reproduces realistic human movements driven by muscle contraction dynamics. The variations in the anatomic model generate a spectrum of human movements ranging from typical to highly stylistic movements. To do so, we discuss scalable and reliable simulation of anatomical features, robust control of under-actuated dynamical systems based on deep reinforcement learning, and modeling of pose-dependent joint limits. The key technical contribution is a scalable, two-level imitation learning algorithm that can deal with a comprehensive full-body musculoskeletal model with 346 muscles. We demonstrate the predictive simulation of dynamic motor skills under anatomical conditions including bone deformity, muscle weakness, contracture, and the use of a prosthesis. We also simulate various pathological gaits and predictively visualize how orthopedic surgeries improve post-operative gaits.

Premises of formation and development trends of modern theater architecture

A theater as an architectural form and as a performance art went through a long and difficult path of establishment and transformations before it reached its present state, which, however, continues to change constantly. This article considers the main stages of the theater architecture development. The authors analyze the structure of entertainment facilities within the framework of various historical periods and stylistic movements. They identify the factors influencing the formation and further development of this type of structures. The authors give examples of the latest architecture of theater buildings.

Visual Image Statistics in the History of Western Art

The history of Western visual art is traditionally divided into a succession of stylistic movements on the basis of the art-historical provenance and visual qualities of artworks. Little is known about how the visual statistics of Western artworks have changed over time, though this data could inform debate about the transitions between art movements. This longitudinal statistical study shows that two measures of the statistics of Western paintings remained relatively stable for 500 years, and similar to the values found in photographic images depicting the same subjects. Dramatic changes began in the late nineteenth century between the years 1878 and 1891, when the statistics of artworks became steadily more variable, and more frequently departed from values that are typical of representational images. This period can be considered as a major turning point that marks the beginning of the Modern Art movement. Statistically, abstract Modern art is more diverse than the representational art of any period. There is only limited evidence that aesthetic responses to paintings bear any relation to their visual statistics.

A.R. MENGS TRA ROMA E MADRID: LE INQUIETUDINI DEL PITTORE FILOSOFO SULL’ISTITUZIONE ACCADEMICA NELLA SECONDA METÀ DEL XVIII SECOLO

It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peña case, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.

A.R. MENGS TRA ROMA E MADRID: LE INQUIETUDINI DEL PITTORE FILOSOFO SULL’ISTITUZIONE ACCADEMICA NELLA SECONDA METÀ DEL XVIII SECOLO.

It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peña case, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.

Meaningful Assessment of Robotic Surgical Style using the Wisdom of Crowds.

Quantitative assessment of surgical skills is an important aspect of surgical training; however, the proposed metrics are sometimes difficult to interpret and may not capture the stylistic characteristics that define expertise. This study proposes a methodology for evaluating the surgical skill, based on metrics associated with stylistic adjectives, and evaluates the ability of this method to differentiate expertise levels. We recruited subjects from different expertise levels to perform training tasks on a surgical simulator. A lexicon of contrasting adjective pairs, based on important skills for robotic surgery, inspired by the global evaluative assessment of robotic skills tool, was developed. To validate the use of stylistic adjectives for surgical skill assessment, posture videos of the subjects performing the task, as well as videos of the task were rated by crowd-workers. Metrics associated with each adjective were found using kinematic and physiological measurements through correlation with the crowd-sourced adjective assignment ratings. To evaluate the chosen metrics' ability in distinguishing expertise levels, two classifiers were trained and tested using these metrics. Crowd-assignment ratings for all adjectives were significantly correlated with expertise levels. The results indicate that naive Bayes classifier performs the best, with an accuracy of [Formula: see text], [Formula: see text], [Formula: see text], and [Formula: see text] when classifying into four, three, and two levels of expertise, respectively. The proposed method is effective at mapping understandable adjectives of expertise to the stylistic movements and physiological response of trainees.

‘Super‐Natural’: Parametricism in Product Design

As a stylistic movement, Parametricism has the scope to move beyond the limits of architecture, penetrating adjacent disciplines. Renowned industrial designer Ross Lovegrove, known as ‘Captain Organic’ for his nature‐inspired designs, acknowledges the potential of ‘new codes of creation’ being incubated in architecture schools for product design, accelerating innovation across materials, structures and manufacturing technologies.

Searching for Charles Johnson: The Outlier and the Ordinary in Jazz

In jazz's historical discourses, major figures are often regarded as “geniuses” of exceptional ability or talent. At the same time, such artists have been used to construct jazz's historical canon, often representing entire genres or stylistic movements. In fact, these musicians might be wholly unrepresentative of the performance communities from which they come. Conceptualizing such artists as “outliers” allows us to see their experiences as both exceptional and grounded in the community. It also leads to a fuller understanding of the roles of “ordinary” jazz musicians, who were members of the same communities but did not achieve wider recognition.