Classical Tradition Research Articles

On the Classical Traditions of Azerbaijani Piano Art

The purpose of the research is to characterise the peculiarities of classical traditions in the history of Azerbaijani piano culture and generalise these traditions. The priority of the study is to consider the classical traditions of Azerbaijani piano culture as aesthetic principles of its functioning. The research methodology is based on a categorical understanding of such a concept as classical. The significant phenomena of the piano art of Azerbaijan are considered from a contextual aspect. The study is based on the principle of historicism, which is characterised by diachrony; the history of Azerbaijani piano art is covered in stages. The scientific novelty of the research is the first to generalise the classical traditions of Azerbaijani piano culture based on historical material. The first attempt to classify the classical traditions of Azerbaijani piano culture is essential. Conclusions. At the end of the 20th and the beginning of the 21st century, studying Azerbaijani piano culture required a reevaluation, new approaches, and generalisations. Creative consciousness, embodied in the classical traditions of Azerbaijani piano art, acquires diversity and multidimensionality in contemporary phenomena. This is why the present research relies on the importance of interpreting classical traditions. The classics of Azerbaijani piano culture serve as a model for future generations of Azerbaijani pianists. The classical performance paradigm was based on important factors such as the high professional skills of pianists and a deep understanding of musical works, their artistic reading, interpretation, and interpretation. The outstanding pianists of the second half of the 20th century are united by a common ideological, performing and musicological approach, which can be called a ‘solid foundation’ of Azerbaijani piano art. Classical traditions represent both applied and professional techniques, as well as music’s philosophical and aesthetic concepts. The classical traditions of the Azerbaijani piano culture, laid down by prominent figures, developed as a natural combination of the performance and pedagogical levels. The integrity and completeness of the classical style define the distinctive features of pianism.

THE MESSAPIC ELEMENT -IHI: A NEW INTERPRETATION

The lexical item -ihi~aihi in Messapic epigraphy poses a significant challenge for scholars, functioning as a vital grammatical and semantic component in inscriptions. This article seeks to reassess the role of -ihi, suggesting it may function as an interjection or a reflection of -i rather than merely as a genitive marker. By offering a reinterpretation of -ihi, the study aims to establish a new framework for the fragmentation, analysis, and interpretation of Messapic inscriptions. This fresh perspective will be explored through detailed examination of selected examples, incorporating internal-comparative analysis, methods of ‘frame semantics’ (according to Ch.K. Fillmor and S. Marchesi- ni), linguistic anthropology, and the hermeneutic method. Initially identified in the 19th century as a genitive ending, -ihi has garnered significant scholarly at- tention as a pivotal element in text fragmentation, serving both as a marker and a guiding principle thereof. However, persistent debates have arisen regarding its exclusive function as a genitive marker, with some scholars contending that it solely denotes nouns, adjectives, and pronouns. This dichotomy has posed chal- lenges in conceptualizing word fragmentation beyond the grammatical function of -ihi, fostering a geni- tive-centric perspective that has rendered Messapic somewhat enigmatic, even labeled as a ‘phantom lan- guage’. The assertion that the majority of Messapic vocabulary consists of nouns ending in -ihi has intensi- fied scholarly interest, prompting deeper investigations into its nature. Yet, despite its declared function as genitive, exploring alternative roles for this lexical item, particularly in the context of potential Illyrian or Proto-Albanian origins, remains largely unexplored territory. Considering the conceivable historical inter- play of -ihi~aihi within the context of Illyrian – Proto-Albanian > Classical Albanian, an etymological explo- ration seems justified, especially from an internal-comparative perspective. An examination of the classical Albanian tradition, which predominantly employs the suffix -h at the end of words terminating with vowels, such as in the case of Buzuku (1555), suggests a possible connection between -hi and this suffix, perhaps as a post-vocalic resonance rather than solely a genitive marker. Fur- thermore, parallels between Messapic genitive structures and Proto-Albanian remnants, which persisted into the post-Messapic era and even into modern Albanian, hint at a broader linguistic continuity. While -ihi undoubtedly aids in text segmentation, serving both as a word ending and occasionally as an emotional interjection, its classification solely as a genitive marker oversimplifies its linguistic signif- icance. Examples highlighting the interpretive paradoxes surrounding -ihi underscore the need for a nu- anced examination of its multifaceted roles, including its potential as a reflection of the -i ending or an in- terjection mimicking mourning practices, particularly in funerary contexts. The efficacy of -ihi in formal text segmentation notwithstanding, the question of its true linguistic function persists: is it primarily a genitive ending, a reflection of the -i ending, or an interjection? This inqui- ry demands thorough investigation, especially considering its implications for understanding Messapic lan- guage and culture. By delving into these complexities, this article aims to illuminate the enigmatic nature of -ihi and its broader significance in the study of Messapic epigraphy and Albanian linguistic evolution.

Pentecostal Liturgical Spaces

The Anglican Communion recently faced a threat of a split between revisionist and conservative groups about the acceptance of LGBTQIA+ members and ministers in liturgical spaces or their exclusion based on their status. The study aims to use the journey of the Anglican Communion as a case study to find out whether these positions are also prevalent in liturgical spaces in Pentecostal congregations and whether it is a contested or embracing space towards LGBTQIA+ members and ministers. The study employs decolonial and intersectional approaches to critically analyse ecclesial pronouncements of the Apostolic Faith Mission of South Africa, a Classical Pentecostal church in South Africa, to determine whether these position statements are conservative or revisionist; whether Pentecostal liturgical spaces are contested or embracing for LGBTQIA+; and if not, what can be done to transform Pentecostal liturgical spaces into welcoming and embracing spaces for LGBTQIA+ members and ministers. The Apostolic Faith Mission of South Africa, standing in the Classical Pentecostal tradition, can find in their tenet of the priesthood and prophet-hood of believers, a democratic and transformative principle, that is inclusive of LGBTQIA+ members and ministers; Pentecost offers a humanizing pneumatological space that embraces the God-given humanity of the LGBTQIA persons and cultivate respect for their human rights to live without fear of discrimination, bias and prejudice in the household of faith. Such Pentecostal liturgical spaces reflect the queer sociality of the Azuza Street Revival.

The Structural Role of the Subject in Categorical Propositions and Its Existential Import

Since it is a system that distinguishes right from wrong, all judgments made in Logic must be about a “thing.” In categorical propositions, judgment is based on this thing. The concept that refers to the “thing” in the proposition is used in the “subject” location. The subject is the element on which the entire system is occurred. In the classical logic tradition, it is commonly accepted that only affirmative propositions require the existence of their subjects. However, for a judgment to be formed in the proposition, the subject must reference an entity. In this study, the discussions in the classical tradition regarding the existence of the subject in the proposition will be examined, and the existential import of the subject will be questioned due to these discussions because the existence of the subject is remarkable in many aspects in terms of classical logic. For example, in order for a contradiction to occur between two propositions, the existing subject must be used in two separate propositions to ensure “unity in subject”, one of the eight conditions of contradiction. Moreover, the actuality-possibility discussions regarding the individuals to whom the subject refers between Fārābī and Ibn Sīnā will be included, and approaches to possible individuals of the subject will be evaluated. In order to determine the consistency of the logical system, it is crucial to examine the ontological meaning of the subject.

Beyond dissonance: the transformative power of thought analysis in philosophical practice

This paper provides a comprehensive examination of thought analysis as a contemporary practice within philosophical inquiry, exploring its theoretical foundations, methodological approaches, and practical implications. Rooted in classical philosophical traditions yet acutely relevant to modern life, thought analysis—officially conceptualized by Tianqun Pan—serves as a bridge between knowledge and action, addressing the cognitive dissonance that often hinders personal growth and rational decision-making. Through an analysis of historical and recent sources, including case studies from the laboratory of thought analysis at Nanjing University, we investigate whether logical reasoning is an innate human capacity or developed through education and practice, highlighting the importance of fostering logical skills in thought analysis. Ethical considerations, such as trust between analyst and visitor and the principle of value neutrality, are critically examined to underscore the necessity of maintaining visitor autonomy and preventing bias. We explore the relationship between thought analysis and therapeutic practices, emphasizing that while thought analysis is not inherently therapeutic, it possesses qualities that can lead to psychological relief and personal development through the clarification of thought. Comparative analyses with Logic-based Therapy and Logotherapy illustrate the unique position of thought analysis within philosophical practice. By reframing thought analysis as a form of humanistic care rather than clinical therapy, the paper advocates for its role in promoting clear thinking, self-awareness, and ethical living, thereby contributing to individual well-being and social harmony. Ultimately, the study affirms thought analysis as a transformative practice that aligns philosophical inquiry with practical life, empowering individuals to achieve greater coherence between their beliefs and actions.

Modern Chinese and European Vocalist Training Methods: An Exploration of the Involvement of Bachelors With the Help of IT’ Sources

ABSTRACTIn this day and age, there is a need to create a modernised educational system, as well as to preserve and popularise the classical traditions of high art. Thus, it is important to study the problem of shaping professional academic singers in Europe and China. The purpose of this study was to explore the methods of developing the vocal apparatus of European and Chinese students in 21st century. This system includes a series of leading components responsible for preserving unique timbres, expanding the capabilities of the voice, and the reflection of Western and Eastern cultures. The following methods were used in the study: questionnaire, analysis, comparison and synthesis. The study involved 100 students from institutions and universities in Ukraine and China. Having studied modern methods of training singers, the authors have established the components of professional vocal education in China and Ukraine, as well as the common student training characteristics. The distinctive properties of the European and Chinese professional vocal schools manifested in national traditions were also determined. The results of the conducted student survey allowed academic vocal teachers to identify progressive vocal training methods commonly used in China and Europe.

Wilde Jagd, Ostwind, Westwind, himmlisches Kind

Abstract Winds are fascinating forces of nature, awe-inspiring and devastating when they appear as storms, and therefore a powerful theme in religion, literature and narrative, in music and the arts. Greek-Roman Antiquity personified the winds as nature deities, bearing resemblance to the angels and often represented as embodiments of forceful and tyrannic masculinity. These classical traditions are reflected in their own ways in the visual arts since the Renaissance. In legend and literature from the Middle Ages up to our times, however, winds and storms seem to be preponderantly allied to the dark forces of evil, the devil, wizards and witches, the Wild Hunter, whereas in folktales, the unruly winds appear mostly as helper figures, creating often moments of extraordinary fun.

Metaphorical Mirrors: Aesthetic Reflections from Plato to Nietzsche (and Beyond)

AbstractThis article weaves together three main strands: first, the ambiguities of mirror metaphors in relation to concepts of artistic representation and expression; secondly, the double-sided and sometimes paradoxical influence of Plato in this area of aesthetics; thirdly, the need to interpret long-lasting metaphors in the history of ideas not as static figures of speech but as dynamic tropes which shift in sense and implications with changes of context. In constructing and exploring this thematic configuration of mirrors, metaphors, and Plato, the chief concern is to draw out—via a small selection of texts, including passages from Schopenhauer and Nietzsche—some underappreciated complexity in the various classical traditions that have contributed to aesthetics and philosophy of art.

The Campanile at Old Parkland, Dallas, Texas

The Campanile, a bell tower located on the Old Parkland campus in Dallas, Texas, was commissioned in 2018 by Crow Holdings as part of the development of a commercial campus with classical buildings and landscaped courtyards. Designed to house a large, newly commissioned bell, its architecture draws inspiration from America's early twentieth-century classical traditions. The 220-foot tower has three sections: base, shaft, and bell chamber, featuring traditional materials such as brick, limestone, and bronze. The project, completed in 2021 despite the challenges of the pandemic, involved skilled craftsmanship and incorporated local symbols, reflecting both classical and regional heritage.

Reimaging Music Education Through a Rhizomatic Approach Focusing on Performing, Creating, Responding, and Connecting

In music educators’ endeavoring to integrate equity into our curriculum, adopting a rhizomatic approach could provide a valuable perspective for reassessing the Western classical tradition as the norm. From a philosophical perspective, the rhizome is perceived as an interconnected multiplicity, where various elements are intricately connected without a central or hierarchical control system. In essence, a rhizomatic approach is more expansive than top-down alternatives and inherently places greater emphasis on equity. Given a rhizome’s noncentered and nonhierarchical nature, the concept of a rhizome encourages engagement with music comparatively or relationally, fostering a broad perspective that recognizes the interconnectedness between musics. More importantly, lessons using a rhizomatic approach may promote teachers and students to view all forms of musics as equally significant, honoring diverse musical traditions rather than exclusively prioritizing Western classical heritage.

JAMAL ASSADI: A VOICE OF CULTURAL BELONGING IN MODERN ARAB POETRY

This article explores the poetry of Jamal Assadi, a prominent Palestinian poet whose works delve into themes of identity, displacement, and cultural belonging. Using a biographical approach, the study analyzes how Assadis personal experiences, particularly as a Palestinian Arab living in Israel, inform his poetic voice. By drawing on Assadis own words from interviews and his body of work, the article examines key poems to highlight his reflection on time, memory, and the socio-political struggles of the Arab world. Assadis use of both classical Arabic poetic forms and modern free verse techniques enriches the Arab literary tradition, blending the old with the new to address contemporary concerns.The critical method employed in this article focuses on the relationship between Assadis life and his literary creations, emphasizing how his poetry acts as a mirror of personal and collective experiences of exile and cultural fragmentation. Additionally, the article explores Assadis engagement with global literary traditions, showing how intertextuality plays a role in his political critique. Ultimately, this article affirms Assadis significant contribution to modern Arab literature, arguing that his poetry serves as both a continuation of classical Arabic traditions and a platform for innovation. By addressing themes of cultural resilience and political critique, Assadis work provides a nuanced and powerful voice within the broader landscape of Arab poetry, making it an essential subject of literary study.

Cultural Resonances and Stylistic Divergences: A Conceptual Study of Shi Guangnan’s 'Regret for the Past' and Rossini’s 'William Tell'

This paper explores the cultural resonances and stylistic divergences in the works of two influential composers, Shi Guangnan and Gioachino Rossini, focusing on Guangnan’s Regret for the Past and Rossini’s William Tell. By examining the cultural and historical contexts in which these pieces were composed, this study analyzes how both works reflect their respective national identities, emotional themes, and broader societal narratives. The paper delves into the structural and stylistic elements of each piece, comparing Guangnan’s use of traditional Chinese music with modern influences and Rossini’s operatic innovations within the Western classical tradition. Through this comparison, the study highlights how these composers navigate universal themes like regret, heroism, and nationalism. In addition, it suggests future research directions, including the exploration of other composers from diverse traditions, the analysis of universal themes in cross-cultural music, and the impact of digital technologies on global musical exchanges. This paper contributes to the growing field of cross-cultural musicology by providing new insights into the interplay between cultural identity and musical expression.

El paradigma de Pigmalión en el poema 14 de Pablo Neruda

The article discusses the possible influence of Ovid on poem 14 of Veinte poemas de amor y una canción desesperada (1924) by Pablo Neruda, specifically through the paradigm of Pygmalion (Met. X, 243-297), which the Chilean poet uses to develop themes of love, creation, and transformation. The connection is evident in the characterization of the lyrical subject as lonely and misanthropic, but also in relation to the poetic addressee. The beloved is lavished with gifts and attentions, and the lyrical subject wishes to make her bloom. The comparative analysis, besides confirming the presence of a new classical hypotext in Veinte poemas de amor y una canción desesperada, suggests new avenues of interpretation of the collection, especially in the cycle dedicated to Marisombra, whose passivity is akin to Pygmalion’s statue. This contribution can contribute to a better understanding of Neruda’s work and emphasize the relevance of the classical tradition, never sufficiently highlighted, in his poetry.

A portrait of self-regulated musical learning behaviors among rock musicians: Applications in music education

Rock music and Western classical music seem very different but musicians in the two cultures may have enough self-regulated musical learning behaviors in common for concurrent application in school-based music education. In this paper, I describe the self-reported self-regulated musical learning behaviors of seven successful rock musicians, compare their behaviors to those expected in the Western classical tradition, and suggest ways to combine norms from both traditions in effective music education programs. Data are collected through digital ethnography methodology from a series of interviews published in YouTube. Emergent themes in the self-regulated musical learning behaviors of rock musicians include (1) passion for music making, (2) the importance of choice, (3) a need for personal control over learning, and (4) an emphasis on musical composition in daily practice.

Mending the Red-Black Thread: Marxism, the Black Radical Tradition, and the Robinson Thesis

Cedric Robinson's increasingly popular and influential work Black Marxism is best understood as a project of post-Marxist critique. Robinson's book, now regarded as a classic, asks a series of important questions of Marxism, but each of its major arguments marks a fundamental departure from the theoretical perspectives of both European and Black Marxists. The book exists in a historical moment of crisis for the left and intellectual retreat from Marxism; Robinson's relationship with Marxism and his place in the political tradition to which he gave a name, the Black Radical Tradition, suggests three main arguments. First, Robinson's critiques of the classical Marxist tradition — focused on its apparent economism and Eurocentrism — are based on a flattening of this tradition and a marked break from Marxist methodology. Second, Robinson's critique does not neatly align with the perspectives of the radical Black intellectuals whom he discusses, and indeed his conclusions are frequently in conflict with them. Third, the emancipatory project of Black Studies and the research programs convened under Robinson's influence will be best served by cautious and critical engagements with Robinson's seminal work. The generative questions that Robinson asks will be better answered through a materialist account of Black history, a syncretic understanding of Black culture, and a nonreductive, revolutionary Marxism providing the guide for political action.

THE MUSICAL DRAMATURGY AND COMPOSITION STRUCTURES IN THE SYMPHONIES BY JEAN SIBELIUS

The article is dedicated to the peculiarities of conceptional and compositional solutions in the symphonies by Jean Sibelius. The author of the article proposes a new periodisation of the creative life of Sibelius as a great representative of the symphony genre, consisting of two triads of symphonies, surrounding the fourth one. The resources of renovation of the Viennese classical tradition by Sibelius are considered based on the rst triad (Nos. 1, 2 and 3) and the programmatic symphony “Kullervo”. Among the diverse historical connections of Sibelius’ symphonic searches, the author of the article highlights the receptions of the traditions of A. Bruckner and P. I. Tchaikovsky and the historical parallels of the symphonism of Sibelius, G. Mahler and P. Hindemith. The dialectic of contrasting-composite forms and metamorphoses of thematic material is de ned as the main integrating factor in the symphonies of Jean Sibelius.

Philosophical aspects of the ethics of responsibility by Hans Jonas

In the article the philosophical aspects of Hans Jonas' ethics were described and analyzed. The analysis of their logical coherence and consistency in the observed moral imperatives was carried out. The reconstruction of the meaning of the ideological and contextual context was carried out, within the framework of which Jo-nas formulates the main provisions of his ethical theory. As the main application updating the proposed un-derstanding and ethics of the Recommendation, the solution of the technology, or rather its (their) intensive and irreversible growth, is proposed. The irrelevance of imperative ethics was emphasized in the light of the new particularly acute challenges facing modern civilization. The main epistemological and problematic as-pects of Jonas's ethical theory were highlighted, formulated in the form of questions, the search for answers to which constitute the justification of these scenarios. The application of the author 's logic of argumentation and the metaphysical basis of the new ethics in the key of rationalism, as well as the possibility of its applica-tion in the political dimension at the global level of environmental problems was demonstrated. The author's dichotomies were revealed when analyzing the ethical attitude to such categories as “value” and “responsibil-ity”. The substantial novelty of the Jonas concept was presented, taking into account the main provisions of Kant's formal ethics and ontological explanations of technical Heidegger. It was concluded that, unlike many irrational interests in modern philosophy, the ethics of Realization was embedded in the classical tradition of philosophical knowledge, although constructive polemics were associated with it. The question of the ap-plicability of the practical application of the new ethics was raised.

Acercamiento al concepto de naturaleza humana en Juan Manuel Burgos

This article is an approach to the concept of human nature in Juan Manuel Burgos, who analyzes three positions that are in conflict: naturalism, culturalism and modernism; delving into the classical-Thomistic tradition, divided between Thomism and personalism. In this way, the metaphysical concept of human nature presented by Thomism and the criticisms that arise from culturalist thought are analyzed. However, the author not only describes the conflict between the classical tradition and culturalism, but also proposes a new understanding of the category of human nature from personalism, with the intention of freeing it from the Greek burden, and at the same time contributes to the development of an anthropology centered on the person and his humanity.

Distributive Conflict, High Inflation, and Stabilization Programs in a Small Open Economy Framework: The Case of Argentina in the 1980s

ABSTRACT The debates between demand-pull and cost-push theories of inflation have shaped stabilization programs since the 1923 German hyperinflation. This article combines elements from the modern revival of the Classical tradition of value and distribution and the Latin American Structuralist Approach to analyse the political economy behind Argentina's high-inflation regime and stabilization policies from 1983 to 1989. Our main hypothesis is that exchange rate dynamics play a crucial role in stabilizing distributive configurations and price dynamics in a small open economy with conflicting claims. High external debt, persistent devaluation expectations, and exchange rate policies imposed by international creditors to safeguard the economy's repayment capacity are identified as the primary causes behind the failure of stabilization attempts in Argentina during the late 1980s.

Stoicism 'à la mode': Senecan Ethics in Roger Bacon’s 'Moralis philosophia'

While recent scholarship accents early Franciscans’ use of Greek and Greco-Arabic sources in their ethics, Roger Bacon’s appeal to Stoic ethics via Seneca in his Moralis philosophia, the last book of his Opus maius, has not been given its due. Bacon’s citation of Seneca’s dialogues privileges De ira and works he associates with it. Placing Bacon’s ethics in the context of classical and Christian traditions on anger, this paper argues that Bacon uses Seneca to undermine the arguments for righteous anger in both these traditions, specifically those validated by his Franciscan contemporary John of La Rochelle. Bacon’s alternative addresses ethical and political concerns he shares with his dedicatee, Pope Clement IV, and with Franciscan confrères committed to popular preaching and the apostolate to non-Christians. As such, Bacon’s Stoic ethics à la mode needs clearer recognition in the ongoing reinterpretation of thirteenth-century Franciscan thought.