Verbal Text Research Articles

Wątki ekologiczne zwerbalizowane w albumie przyrodniczym Niny Grzelak "Poznajemy las"


 
 
 Ecology, as it is broadly understood, is an integral part of the contemporary life of humankind. Numerous ecology principles stated in various publishing proposals remind us of a human’s duties to the environment around them (including the forest). Acccordingly, the purpose of this article is to discuss selected ecological themes presented in Nina Grzelak’s naturalist album „Poznajemy Las”. The subject of linguocultural considerations, on the other hand, is the verbal content: verbal texts and/or verbal comments complementing the beautiful and carefully selected visual texts; photographs and drawings, which together fit not only into the nowadays fashionable ecological discourse, but also contemporary didactics and, above all, education. A thorough reading of the excerpted ecological and biological proposal makes the following clearer to understand: the peculiarities of the forest ecosystem; the habitat of the dead forest trees; the acoustic qualities of the forest, and it reminds us, among other things, of the pragmatic use of the forest tree, and pro-ecological human activities in the forest in winter. All this „linguistic and visual data” make Nina Grzelak’s proposal an unforgettable ecolecture, which while arousing people’s curiosity, and it has an eco-educational purpose.
 
 

Moral Values Representation through Speech Acts in Indonesian EFL Textbooks: A Critical Discourse Analysis

Abstract: In the last ten years, studies of the representation of moral values in English textbooks have been growing. However, little empirical evidence reveals the use of speech acts to represent moral values through utterances. This study aims to investigate the representation of moral values depicted through utterances in English textbooks for elementary school grades 2 and 5 in Indonesia. By adopting a socio-cognitive critical discourse analysis (Van Dijk, 2015) framework integrated with Searle’s (1969) speech acts, this qualitative study elucidates the representation of moral values only in the verbal text. The data were analyzed by applying several steps, including unitizing, sampling, recording/coding, reducing, inferring, and narrating. The findings of this study showed that curiosity, honesty, and friendliness are the most dominant moral values depicted in two English textbooks for elementary schools in Indonesia. Dialogue/conversation, chapter cover, and instruction for students’ activity are the strategies to promote moral values in the textbooks. This study implies that teachers and textbook writers should provide students with more examples of moral values, particularly those related to daily life communication.

ОСОБЕННОСТИ ГОЛОСА СОПРАНО И ЕГО ИНТЕРПРЕТАЦИЯ: ТРАДИЦИЯ ПЕНИЯ И ВОЗМОЖНЫЕ ОБРАЗНЫЕ ВОПЛОЩЕНИЯ

The article is devoted to the description of the timbre of the soprano voice and its artistic semantics. It provides the definition of the term and a brief overview of the use of voice in operas by foreign composers. Technical fluency and mastery of the cantilena are put forward as essential properties of the voice. The article examines the coloristic features of the soprano voice, the repertoire for it, the connection of the voice with possible figurative interpretations and the emotional sphere. It is emphasised that the use of coloratura soprano is typical for European opera, while Russian composers prefer the properties of the lyrical timbre. It is noted that the vocal and aesthetic features of the coloratura soprano are suitable for the embodiment of fabulous images. The soprano is often the title character of the opera, the ideal image of a romantic heroine. The performer has to be fluent in singing technique and at the same time be able to creatively interpret a piece of music according to its style. The verbal text in opera is important, as it affects the formation of the musical fabric and can serve as an additional means of expression. In Russian musical art, soprano characters represent beautiful heroines of historical, epic, lyrical, comic, dramatic, psychological works.

Ю. ШЕРЛИНГ. ОРАТОРИЯ «EXODUS TRIADA»: ОБРАЗНОЕ СОДЕРЖАНИЕ И КОМПОЗИЦИЯ

The article focuses on analysing the figurative content and composition of Yu. B. Scherling’s oratorio “Exodus Triada”. This work, the title of which appeals to the Old Testament book “Exodus”, raises one of the eternal themes in art — the theme of protest against violence, enslavement and humiliation of one people by another. The article analyses the verbal texts taken from different, sometimes opposite ideological sources (quotations from books of the Old Testament and philosophical works of F. Nietzsche), the role of the cast of performers (orchestra, choir, soloists), the genre, style and compositional features of the oratorio. Each of the three parts has its own title, referring to different historical periods (the Israelis in Egypt, the first Crusade, Nazi Germany), an independent programme motivating the selection of verbal texts, techniques of orchestral and choral expression. The musical and stylistic basis of the oratorio is characterised by a combination of folklore sources, allusions to Jewish folk musical culture with the author’s compositional techniques based on the experience of Western European musical culture of the second half of the XXth century (rhythmic intensity, speech singing, aleatorics, glissando in choral and orchestral parts, vertical dissonance). The general conclusion is that all means of musical and artistic expression contribute to the disclosure of the deeply human content of this work.

D-B Mus.ms. Bach P 803, Georg Simon Löhlein, and Surroundings. Part I

One of the most valuable handwritten folio D-B Mus.ms. Bach P 803, stored in the Staatsbibliothek in Berlin, contains twenty-six layers, which are bound together. It is often associated with the name of Johann Ludwig Krebs, which for a long time gave the impression that the handwritten texts were also done by Krebs. The manuscript was indeed for a long time in Krebs’ house, and J. L. along with his father J. T. Krebs and J. G. Walther, as well as other lesser-known musicians, was one of the copyists. Of the twenty-six attachments, only the second (p. 9–23; further: P 803-II) contained a verbal text and tables with an interpretation of ornaments. It has not been possible to determine who was the copyist of P 803-II to date, and the concept of “anonymous copyist” has become anchored. In 1933, L. Landshoff turned to the tables with the performance of ornaments in P 803-II in connection with the interpretation of keyboard music by J. S. Bach, and forwarded the concept that the author of the text of P 803-II was the famous student of Bach J. L. Krebs. For the first time this myth was partially refuted by D. Wilson in 1979, who discovered the absolute similarity of the ornament Der Pralltriller oder Abzug in P 803-II and in the Clavierschule of G. S. Löhlein. Later Fr. Neumann wrote in more detail on this topic in his work on ornamentation (1978). The author also claimed that the anonymous copyist used the fourth edition of the Löhlein’s Klavierschule (1782) as a model for P 803-II. Thus, the assumption made by H. Zietz that P 803-II was based on the treatise by D. G. Türk (1789) turned out to be erroneous too. Studying these materials, the authors of this article drew attention to the many inaccuracies and false judgments associated with both the handwritten source P 803-II and the peculiarity of the anonymous scribe’s work with Löhlein’s text, as well as with many statements by the above-mentioned authors. It was shown that the third edition of the Löhlein’s manual on clavichord playing (1779) should have served as the primary basis for the anonymous copyist. Special attention was paid to inaccuracies and incorrect recommendations in connection with the interpretation of ornaments. A detailed consideration of the available realizations of ornaments in P 803-II and their interpretation will be established in the following second part of this paper.

AUTOMATIC ASSESSMENT OF COMMUNICATION SKILL IN NON-CONVENTIONAL INTERVIEW SETTINGS: A COMPARATIVE STUDY

This paper presents a comparative study of various technologies for predicting communication skills in interview candidates through non-conventional methods. The study explores three distinct modalities: video, audio, and essay-based assessments. For video analysis, facial expressions and eye movements are employed to gauge candidate confidence and confusion. In the audio domain, Mel-Frequency Cepstral Coefficients (MFCC) features are extracted from audio recordings and processed using deep learning algorithms to assess confidence levels. For essay-based evaluations, features extracted from textual content are fed into an XGBoost model to predict writing skills, with applicability to both written and verbal text. Existing technologies have achieved an accuracy range of 80-90% for essay-based predictions; however, our implementation of XGBoost has demonstrated improved performance with an accuracy between 95-96%. The results highlight the effectiveness of our approach in enhancing communication skill assessments through advanced machine learning and deep learning techniques, setting a new benchmark in the field.

Актуальные методические подходы к разработке онлайн-курсов по искусствоведению

In an article on the topic of art history discipline, the forms and directions of including digital tools in the educational process. For the art historical disciplinary, the emphasis is on working with visual and verbal texts, focusing on the development of skills, analysis of various sources, professional writing and mastery of rhetoric, professional reading skills, critical assessment of sources, understanding the context of the creation of both one’s own art and their critical accompaniment. This needs to be considered when incorporating online learning elements into higher education courses using digital platforms. The introduction of slot machine forms and the importance of communication with the original source, skills in understanding the visual artifact, combined with the use of digital copies and working with originals. The use of digital tools to create exercises may include elements of gamification, but should be didactically justified, and their development should not contain restrictions. Also, students and teachers of humanities often require additional training courses on working with software, technical support and supervisor support. This also applies to the use of digital information tools, which are gradually shaping the individualization of learning (platforms, social networks, chat bots). The 20th Century Fashion: Art and Industry course examines the prospects and features of reverse instructional design in online continuing education courses.

Letters and Musical Sketches. Toward a Proper Integration of Bellini’s Writings.

This article examines the use of XML-based technologies to encode verbal and musical texts in two publishing products featuring autograph material by Vincenzo Bellini (1801–1835), held at the Museo civico Belliniano in Catania, Italy. The first product is a digital scholarly edition (DSE) of Bellini’s autograph letters, encoded using the XML-TEI vocabulary. The second project involves the encoding of Bellini’s musical sketches, which often complement the letters by providing concrete examples of his compositional techniques. An experimental approach using the Music Encoding Initiative (MEI) vocabulary was adopted for these sketches: this encoding process required custom solutions to address the texts’ unique features, such as authorial interventions, the sketches’ embryonic nature, the copresence of musical notation and textual annotations, and the interrelations of different studies. This article therefore examines formal representational strategies and challenges encountered during the encoding process, particularly for musical texts, and presents an initial proposal aimed at properly integrating information from the TEI-encoded verbal texts and MEI-encoded musical texts, using an approach modeled after the Web Annotation Data Model (WADM) and its current implementation in TEI. We believe that the integration of these practices, technologies, and data is a means to unravel Bellini’s compositional process and his artistic sensibility, thereby enhancing both scholarly research and public engagement with his work.

Взгляд на криптофонию в цикле Александра Райхельсона «Шесть переводов из Вилли Мельникова» для терменвокса и фортепиано

The technique of cryptophony, which was developed in the 1990s, presents a rare example of skill and knowledge formed in this country in the sphere of the newest methods of composing music. Its essence is connected with a consistent recoding of a verbal text into a musical text on the basis of correlations between letters and pitches chosen by the composer. The peculiarities of this technique have already been described in their general features, however analysis of the compositions connected with it has not lost its topicality, since it makes it possible to expand our perception of cryptophony and its potential. The object of study in the article is Alexander Raikhelson’s cycle Six Translations from Willi Melnikov for piano and theremin (1996), one of the composer’s first cryptophonic works. The article highlights the peculiarities of Melnikov’s poem, analyzes the principles of the composer’s work, and establishes that the latter’s approach is determined by the content and the capacity of the poems. The short texts that fixate one image each (Nos. 1, 3, 4, 5) are transformed into instrumental miniatures with the help of a simpler cipher (a chromatic or diatonic pitch set stemming from one definite pitch), and in them the syntax of the text is observed and a homophonic texture is used. The movements created from extended poems (Nos. 2 and 6) possess a polymelodic texture the lines of which sever the connection with the words; they make use of two ciphers each that possess individual structures. During the course of study of the cycle, elements of sound-figurativeness have been revealed, which appear in the Six Translations on various levels — from the peculiarities of the organization of the cipher and the textural regularities to the transmission of the poet’s voice by means of the timbre of the theremin. The undertaken analysis discloses the wealth of the possibilities present in the technique of cryptophony and convinces us that the action of the principle of recoding lying at its basis does not limit itself to the identification of the system of correlation between the letters and the pitches, but, spanning various strata, establishes numerous connections between the music and the text that generated it.

The Scene of the Council Hall: the Storyline and the Structure of the Grand Final Scene in the Second Edition of Verdi’s Opera Simon Boccanegra

The comparison of different authorial redactions of operas presents one of the through themes of world Verdi studies. The opera Simon Boccanegra holds a unique position, since the second version of the opera was created by Verdi almost a quarter of a century following the first. The depth of the changes, first of all, in the final scene of the first act, for which a new interpretation of the content was found is stipulated by such a temporal distance. Also important is the fact that the edition of Simon Boccanegra became the first large-scale collaborative work of Verdi and Arrigo Boito. In the two versions of the opera, the interconnection between the storyline and the structural laws is examined in the context of the general evolution of Verdi’s pivotal final scenes. In the original version, the composer still followed the conventional traditions, having created the most conservatively structured scene of that kind of all of his works from the 1850s. In the version of 1881, the final scene was transformed into one of the boldest and most original mass scenes in Verdi’s music. While initially the introduction of the episode missing in the play by Antonio García Gutiérrez (the festivities in honor of the anniversary of Simon Boccanegra having been elected as the doge of Genoa) was stipulated by the tradition of the mass grand final scene, the typical structure of which was in many ways “prompted” the scenario, in the second redaction, already the storyline and the verbal text of the scene of the Council session predetermined its musical-dramaturgical structure. However, even in this innovative final scene, Verdi does not abandon certain attributes of the typical structure. The result was a paradoxically organic combination of tradition and innovation of the scene in the Council Hall, which has become one of the pinnacles of the combined artistic work of the outstanding musician and the playwright.

Testamento eternizado em escarlates letras: literariedade, materialidade e ilustração em A verdadeira história de Chapeuzinho Vermelho (2020)

ABSTRACT Literature, as the art of words, presents its text in different forms and languages. Whether through its humanizing potential or, still, through its narrative quality, it reaches readers and offers them a plurality of tools to create texts, using established works as arguments. After all, literature holds within its scope narratives that are true treasures arranged as a testament for all of humanity. Thus, in this article, our goal is to analyze the literary work A verdadeira história de Chapeuzinho Vermelho [The True Story of Little Red Riding Hood] (2020)1 by Agnese Baruzzi and Sandro Natalini, presented as a book-object with a keen materiality. We will seek to understand the characteristics of the work that promote literary aesthetic enjoyment, moving the work away from a didactic and moralizing perspective. To do so, we will comprehend the specificities of the verbal text, the imagery, and the materiality characteristics that pervade the work, understand the techniques, tools, and proposed interactions, as well as recognize the book’s multimodal capacity.

The specifics of teaching the techniques of conducting gesture in the "Choral conducting" classroom

The profession of conductor is one of the most important musical specialties in the world. The conductor plays the role of the head of the orchestra or choir, is responsible for the accuracy and expressiveness of the sound of the work, and serves as an intermediary between the author and the performer. The nature of the music and the performance interpretation depend on the correct work of the conductor. There is an educational side to the conductor's work. The choirmaster, engaged in teaching, solves a number of educational tasks. The article examines the specifics of teaching conducting gesture techniques in the classroom in the specialty "Choral conducting", highlights the main aspects and problems of conducting a choral group, and compares the work of a choral and symphonic conductor. The technique of managing a vocal group – an academic, folk or church choir - implies the ability to read scores in different keys, arrange them, and correctly distribute the parts depending on the characteristics of the voices. The choir director also works with the literary text of vocal compositions. It is impossible to do without general musical and theoretical knowledge in the field of solfeggio, harmony, and polyphony. The technique of staging the conducting apparatus and the schedule of the timing schemes practically do not differ among the heads of instrumental and vocal groups. This can be explained by the general nature, the psychology of collective music making. However, we must not forget about the specific features of choral conducting. This is the relative smoothness of gestures due to the different allocation of voices than in the orchestra, as well as the non-use of the conductor's baton. The second important difference between a choirmaster and a symphonic conductor is the need to analyze not only the musical, but also the verbal text of the score. The characteristic of the composer's work is added to the characteristic of the poet's work or the features of oral folk art, if the exact author of the text is unknown. In the work of a chorus conductor, vocal performance is of great importance, which is related to the possibilities of the voice. Choral conducting is more intimate than orchestral conducting. The most obvious synthesis of these arts, which almost completely eliminates all differences, can be noted in the management of both vocal and instrumental groups at once: in operas, cantatas, oratorios.

Luigi Nono’s Works from the Late 1950s: The Emergence of a New Choral Style

At the center of attention in the article are Luigi Nono’s choral works from the late 1950s. On the example of analysis of two compositions created consecutively one after the other — La terra e la compagna (The Earth and the Female Friend, 1957) and Cori di Didone (Choruses of Dido, 1958), — the composer demonstrates innovative techniques expanding the arsenal of technical means and testifying of the intensity of the development of his personal choral style within the indicated period of time, and also manifests the tendencies characteristic for the choral texture of the subsequent years. Special attention is given to the texts of Cesare Pavese and Giuseppe Ungaretti that comprised the verbal basis of the analyzed compositions. It is noted that the pathos of the struggle for liberation of the earlier compositions is overshadowed by a lyricism connected to the composer’s focusing to the images of nature. During his work on the texts, Nono actively experiments with the phonetics establishing its impact on the vocal sound. Among the specific peculiarities of the choral writing in the examined compositions, the techniques of timbral modulation, as well as poly-timbral and mono-timbral stereo-monody are emphasized. In the sphere of the organization of the sound material, the transition from serial technique to the technique of sound masses is noted. On the basis of the carried out analysis, the tendencies conducive to the transformation of the image of the choral texture are indicated: the reduction of the melodic horizontal motions to sound-points; the acceleration of attention in mixing timbres within the framework of the unison; and the expansion of the functions of the verbal text (the process of its delinearization and phonetic disintegration).

Tension in Modernist Art and Lyric Poetry at the Beginning of the 20th Century in Estonian Culture: Ernst Enno and Others

The Young Estonia group (1905–1919) was at the centre of Estonian literature at the beginning of the 20th century, when Estonian poetry was both experimental and imitative. Gustav Suits was officially the creator of modern Estonian poetry. At the same time there were poets who wrote original poems that did not imitate previous work. Juhan Liiv was one of these, and Villem Grünthal Ridala and Ernst Enno continue in the same vein. Enno’s nature poetry is pantheistic and symbolic, emotional and sensitive to nature, at times suggesting transcendental cognition. He was interested in Oriental religion, which influenced his poetry to become less rational and more mystical. Ridala and Enno also used visual effects, and their texts have been set to music as well as becoming part of the visual arts in films and serials. The paper analyses the verbal texts of Enno and Ridala, and the interaction between visual and verbal texts.

Modern Global Trends in the Development of Choral Performance

"The relevance of the studied issue is the need to identify the main trends in choral performance, and determine the principles of the work of conductors and choral artists in the context of renewal of the components in this field. The aim of the research is to study the problem of current global trends in the development of choral performance as a complex multifaceted and integral phenomenon. Its practical methods (audio search; audio selection; audio analysis) were used in the research. The aspects of modern choral performance (interdisciplinary; socio-cultural; as well as artistic management; professional training; modern engineering technologies; information and communication space; technologies aimed at preserving human and professional resources) were identified. The current components of activity in the field of modern choral art were established. The directions of modern choral practice were identified (activation of the musical group in the life of society; expansion of traditional executive functions; growth of the genre stylistic palette of the choral repertoire). The system of key modernized methods of interpreting choral works of the 20th and 21st centuries was studied (principles of intonation; the principle of expanding the range; the principle of enriching the technical means of interpretation; the principles of forming the performance texture; the principle of interpreting the verbal text in the context of the choral score; the principle of creating different types of sound). The general features of modern choral performance in Ukraine and in the world were studied. The results can be applied in the process of researching future choral performing practice and preparing the relevant studies. The prospects of research in this field of musical culture are to enrich the theoretical and practical sectors of choral art as a complex system which is open for updates. Keywords: choral art, choir, choral work, performance interpretation, choral genre, choral style, timbre dramaturgy, performance analysis."

К проблеме воплощения богослужебного текста в духовной музыке А. Д. Кастальского (на примере тропарей)

The article is devoted to the methods of musical representation of the content of the liturgical text in the spiritual choral music of A. D. Kastalsky. The creative path of this outstanding musician, his aesthetic views, the main features of the composer's style have been largely studied by now. However, the methods of Kastalsky's refraction of the theological aspects of chants in Russian musicology have not yet been purposefully studied. This article aims to consider specific methods of musical embodiment of liturgical texts in Kastalsky's choral compositions. His polyphonic adaptations of several Znamenny chant troparia are used as material.The methodological base of the presented article is multi-component. The authors are guided by the original analytical technique of Prot. Michael Fortunato, to some extent refract the analytical experience of Prot. Sergius Pravdolyubov. The main methodological basis is the concepts developed by the musical scientists of the scientific school of the Moscow Conservatory - A.N. Myasoedov, V.V. Protopopov, Yu.N. Kholopov and their followers. In particular, the concept of tonal states is widely invoked.The analysis of selected znamenny arrangements of tropar chants includes several aspects, such as: slogo-rhythmic modeling of a verbal text; reduction of the melodic structure of Znamenny chants and understanding of their logic depending on the verbal content; clarification of the relationship of textural, timbre and harmonic features with significant fragments of the text. The authors come to the conclusion that Kastalsky is constantly striving for coloristic, sonant marking of all essential images of the liturgical text, and thereby creates an emotionally rich "translation" of the ancient monodic chant into the modern language of full-sounding polyphony.

Певческие рукописи Антониево-Сийского монастыря в Синодальном певческом собрании (ГИМ): палеография и штрихи к истории монастыря и монастырской библиотеки

The Synodal Singing Collection of the State Historical Museum contains a complex of singing manuscripts from the Antonievo-Siysky Monastery. Most of them date from the 17th century. It is the time when the domestic tradition of church singing was intensively transformed. In the Antonievo-Siysky Monastery, the process of changes proceeded quite actively, and the Siysky complex of manuscripts is a valuable source on the history of Russian church singing in the transitional period.All types of musical notation, known in the ancient Russian manuscript tradition of the 15th–17th centuries, are presented in the Antonievo-Siysky singing manuscripts, including double-signs (dvoznamenniky), as well as several pre-reform manuscripts with a naon edition, in which cinnabar marks modern to the main text are affixed. The complex allows us to trace how the preferences of the Siya scribes and singers in using this or that type of notation in practice changed during the 16th–18th centuries.According to the edition of the verbal text, the Siysky singing manuscripts are divided into three groups: pre-reform, transitional and post-reform. The variety of editions of the verbal text makes it possible to study the methods of work of Nikon's editors of the Printing House and their monastic followers.The repertoire of chants recorded in the Siysky manuscripts reflects the excellent knowledge of the Siya master-singers both the singing heritage of the end of the 15th–16th centuries and the creative achievements of their contemporaries from the major singing centers of that time.

Spiritual-semantic approach as a methodological basis for the analysing religious music (on the example of V. Stepurko’s cycle “Monologues of the Ages”)

Spiritual-semantic approach as a methodological basis for the analysing religious music (on the example of V. Stepurko’s cycle “Monologues of the Ages”)

MONOLOGIC AND DIALOGIC METHOD IN THE PROCESS OF SOCIAL SCIENCE STUDIES

Higher education, faced with many of today's global challenges, focuses on innovative approaches to the organization of the study process, which will be able to professionally prepare and develop students' thinking. It is important for social science students, especially future social science professionals, to develop a holistic experience. Therefore, the purpose of the article is to analyze monological and dialogic methods in the study process. Studies based on verbal text knowledge transfer develop the working memory of a social science professional, but the ability to navigate and work in real professional situations remains very weak. It is hoped that students will acquire the necessary skills in practice, although in reality the acquired theoretical knowledge exists separately from the specific case and the ability to work with this case. The conclusions show, that it is necessary not only to teach students to work with a large amount of information, but also to highlight the importance of how to apply it in practice and whether it is possible at all. The most important conclusions show, that by using the dialogic method, students delve into various events, they develop an "image" of the topic, a context is formed for knowledge, an understanding of the studied phenomena is gained, and experience is formed. In order to implement the dialogic method, the teacher places significant emphasis on group relations and processes. Ideally, all group processes become study processes. The method of the article is the analysis of theoretical literature.

Förutsättningar för ämnesspecifik läsförståelse i samhällskunskap i grundskolan

This paper deepens the understanding of conditions for students' subject-specific reading comprehension created through different ways of working with reading in civic education, and the support students thus get to read verbal texts. Motivation for the study is found in an increasing need for knowledge about reading in various school subjects, and theoretical foundation is found in New Literacy Studies and disciplinary literacy. Video recordings were analyzed from lessons in three different schools and six different classes (ca 100h in total). The schools worked with reading in different ways, two schools used different models for teaching reading and one school did not use any particular model. The material was analyzed using thematic content analysis. Seven different functions for reading were identified together with reading materials. Furthermore, we analyzed which text levels were in focus. Results show that the classrooms where teachers work according to special models give clearer support to read and comprehend longer coherent verbal texts by using this type of texts and working with them through a variety of functions for reading activities, activities general for several subjects as well as more subject specific activities.