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ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° / Musicology (34 I/2023)
ΠΠ±Π΅Π»Π΅ΠΆΠ°Π²Π°ΡΠ΅ ΠΏΠΎΠ»Π° Π²Π΅ΠΊΠ° ΠΎΠ΄ ΠΊΠ°Π΄Π° ΡΠ΅ ΠΏΡΠ΅ΠΌΠΈΠ½ΡΠΎ ΠΠ³ΠΎΡ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΈ (1882β1971) ΠΏΡΠΎΡΠ΅ΠΊΠ»ΠΎ ΡΠ΅ Ρ ΡΠ΅Π½ΡΠΈ ΠΏΠ°Π½Π΄Π΅ΠΌΠΈΡΠ΅ ΠΊΠΎΠ²ΠΈΠ΄Π°, ΠΏΠ° ΡΠ΅ Π½Π°ΡΡΠ½ΠΎ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΡΠ΅ ΠΏΠΎΠ΄ΡΡΠ°ΠΊΠ½ΡΡΠΎ ΡΠΎΠΌ Π³ΠΎΠ΄ΠΈΡΡΠΈΡΠΎΠΌ ΠΏΡΠΎΠ΄ΡΠΆΠΈΠ»ΠΎ. Π’Π°ΠΊΠΎ ΡΠ΅ ΡΠ΅ΠΌΡ ΠΏΡΠΈΠ΄ΡΡΠΆΡΡΠ΅ ΠΈ ΠΠ»Π°Π²Π½Π° ΡΠ΅ΠΌΠ° Ρ Π½ΠΎΠ²ΠΎΠΌ Π±ΡΠΎΡΡ ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ (34), Ρ Π½ΠΈΠ·ΠΎΠΌ ΡΡΡΠ΄ΠΈΡΠ° ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ΠΈΡ
Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠΌ, ΠΊΠΎΡΠ΅ ΠΏΠΎΡΠΈΡΡ ΠΈΠ· ΠΈΠ·Π»Π°Π³Π°ΡΠ° Π½Π° Π‘ΡΡΠ΄ΠΈΡΡΠΊΠΎΠΌ Π΄Π°Π½Ρ ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π½ΠΎΠΌ 2021. Π³ΠΎΠ΄ΠΈΠ½Π΅ Π½Π° ΠΠ΄ΡΠ΅ΠΊΡ Π·Π° ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΡΡΠ΄ΠΈΡΠ΅ ΠΠ°ΡΠΈΠΎΠ½Π°Π»Π½ΠΎΠ³ ΠΈ ΠΠ°ΠΏΠΎΠ΄ΠΈΡΡΡΠΈΡΠ°ΡΠΎΠ²ΠΎΠ³ ΡΠ½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΠ° Ρ ΠΡΠΈΠ½ΠΈ. ΠΠ°ΡΡΡΠΏΡΠ΅Π½Π΅ ΡΠ΅ΠΌΠ΅ ΠΏΠΎΠΊΡΠΈΠ²Π°ΡΡ ΡΠΈΡΠΎΠΊ ΡΠΏΠ΅ΠΊΡΠ°Ρ ΠΏΡΠΎΠ±Π»Π΅ΠΌΠ°ΡΠΈΠΊΠ΅ Ρ Π²Π΅Π·ΠΈ ΡΠ° ΡΠ²ΠΈΠΌ ΡΡΠΈΠΌΠ° ΡΠ°Π·Π°ΠΌΠ° ΡΡΠ²Π°ΡΠ°Π»Π°ΡΡΠ²Π° Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ (ΡΡΡΠΊΠ°, Π½Π΅ΠΎΠΊΠ»Π°ΡΠΈΡΠ½Π° ΠΈ ΡΠ΅ΡΠΈΡΠ°Π»Π½Π°), ΡΠΊΡΡΡΡΡΡΡΠΈ ΠΏΡΠΈ ΡΠΎΠΌΠ΅ ΠΈ ΠΏΠΈΡΠ°ΡΠ° Π΅ΡΡΠ΅ΡΠΈΠΊΠ΅, ΠΊΠ°ΠΎ ΠΈ ΡΡΠΈΡΠ°ΡΠ° ΠΈ ΡΠ΅ΡΠ΅ΠΏΡΠΈΡΠ΅ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ Π΄Π΅Π»Π°.
Π‘ΡΠ°ΠΌΠ°ΡΠΈΡ ΠΠΎΡ
ΠΈΠΎΡ ΠΈΠ·Π½ΠΎΠ²Π° ΠΎΡΠ²Π°ΡΠ° ΠΏΠΈΡΠ°ΡΠ΅ Π²Π΅Π·Π΅ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ Ρ ΡΡΡΠΊΠΈΠΌ ΡΠΎΠ»ΠΊΠ»ΠΎΡΠΎΠΌ, ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡΠ°Π»ΠΈΠ·ΡΡΡΡΠΈ Π΄Π΅Π»Π° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ° ΠΈΠ· ΡΠ°ΠΊΠΎΠ·Π²Π°Π½ΠΎΠ³ βΡΡΡΠΊΠΎΠ³β ΠΏΠ΅ΡΠΈΠΎΠ΄Π° Ρ ΡΠ΅ΡΠ΅ΡΠ΅Π½ΡΠ°ΠΌΠ° Π½Π° ΠΈΡΡΠΎΡΠΈΡΠ°Ρ ΡΡΡΠΊΠ΅ ΡΠΎΠ»ΠΊΠ»ΠΎΡΠΈΡΡΠΈΠΊΠ΅. ΠΠΎΡ
ΠΈΠΎΡ Π·Π°ΠΊΡΡΡΡΡΠ΅ Π΄Π° ΡΠ΅ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΈ ΠΏΡΠ°ΡΠΈΠΎ ΠΏΡΡ ΡΠ²ΠΎΡΠΈΡ
ΠΏΡΠ΅ΡΡ
ΠΎΠ΄Π½ΠΈΠΊΠ° ΠΈΠ· 19. Π²Π΅ΠΊΠ° (ΠΠ»ΠΈΠ½ΠΊΠ° ΠΈ ΠΠ΅ΡΠΎΡΠΈΡΠ°) Ρ ΡΠΏΠΎΡΡΠ΅Π±ΠΈ ΡΠΎΠ»ΠΊΠ»ΠΎΡΠ½ΠΈΡ
ΠΈΠ·Π²ΠΎΡΠ° Π·Π° ΡΠ²ΠΎΡΠ΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΡΠ΅, Π°Π»ΠΈ, Π·Π° ΡΠ°Π·Π»ΠΈΠΊΡ ΠΎΠ΄ ΡΠΈΡ
, Π½ΠΈΡΠ΅ ΠΊΠΎΡΠΈΡΡΠΈΠΎ ΡΡΡΠ΄ΠΈΡΠ΅ Π½Π°ΡΡΠ°ΡΠ°Π»Π΅ Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠΌ Π²ΡΠ΅ΠΌΠ΅Π½Ρ; ΡΡΠΎΠ³Π°, Π½ΠΈΡΠ΅ ΡΠ΅ ΡΠΏΡΡΡΠΈΠΎ Ρ Π΅ΠΊΡΡΠ΅Π½Π·ΠΈΠ²Π½Ρ ΠΈ Π΄ΡΠ±ΠΈΠ½ΡΠΊΡ ΠΏΡΠ΅ΡΡΠ°Π³Ρ ΠΏΠΎΡΡΠΎΡΠ΅ΡΠΈΡ
ΠΈΠ·Π²ΠΎΡΠ° ΠΎ ΡΡΡΠΊΠΎΠΌ ΡΠΎΠ»ΠΊΠ»ΠΎΡΡ, Π²Π΅Ρ ΡΠ΅ ΡΠΌΠ΅ΡΡΠΎ ΡΠΎΠ³Π° ΠΎΡΠ»Π°ΡΠ°ΠΎ Π½Π° ΠΏΡΠΎΠ²Π΅ΡΠ΅Π½Π΅ ΠΈΠ·Π²ΠΎΡΠ΅ ΠΈ ΡΡΡΠ΄ΠΈΡΠ΅ ΠΈΠ· 19. Π²Π΅ΠΊΠ°. Π§Π»Π°Π½Π°ΠΊ ΠΠ²Π°Π½Π° ΠΡΠ΄ΠΈΡΠ° ΠΎΡΠ²Π΅ΡΡΠ°Π²Π° Π΄Π΅ΠΎ ΡΡΠ²Π°ΡΠ°Π»Π°ΡΡΠ²Π° Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ Ρ ΡΠΎΠΊΡΡΠΎΠΌ Π½Π° ΡΠ΅Π³ΠΎΠ²Π° Π΄ΡΡ
ΠΎΠ²Π½Π° Π΄Π΅Π»Π° ΠΈΠ· ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Π΅ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ ΠΏΠΎΠ·Π½Π°Π²Π°ΡΠ° ΡΠΈΠ»ΠΎΠ·ΠΎΡΠΈΡΠ΅ ΠΠ°ΠΊΠ° ΠΠ°ΡΠΈΡΠ΅Π½Π°, Π° Ρ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡ ΡΠΈΠ»ΠΎΠ·ΠΎΡΡΠΊΠΈΡ
ΠΏΠΎΡΡΠ΅ΡΠ° Ρ ΠΌΠ΅ΡΡΡΠ°ΡΠ½ΠΎΡ Π€ΡΠ°Π½ΡΡΡΠΊΠΎΡ. ΠΡΠ΄ΠΈ ΠΎΠ±ΡΠ°ΡΠ° ΠΏΠΎΡΠ΅Π±Π½Ρ ΠΏΠ°ΠΆΡΡ Π½Π° ΡΠΎ ΠΊΠ°ΠΊΠΎ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΈ ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠΈΡΠ° ΠΠ°ΡΠΈΡΠ΅Π½ΠΎΠ²Ρ ΠΈΠ΄Π΅ΡΡ homo faber-a, βΡΠΎΠ²Π΅ΠΊΠ°-ΡΠ²ΠΎΡΡΠ°β. ΠΡΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½ΠΎ, ΠΎΠ½ Π½Π΅ Π·Π°Π½Π΅ΠΌΠ°ΡΡΡΠ΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠΎΠ²ΠΎ ΡΡΡΠΊΠΎ ΠΏΠΎΡΠ΅ΠΊΠ»ΠΎ, Π·Π°ΠΊΡΡΡΡΡΡΡΠΈ Π΄Π° ΡΡ Π΄Π΅Π»Π° ΠΊΠΎΡΠ° ΡΡ ΠΎΠ²Π΄Π΅ ΡΠ°Π³Π»Π΅Π΄Π°Π²Π°Π½Π° ΡΠ΅Π΄Π½Π°ΠΊΠΎ ΡΡΠ΅ΠΌΠ΅ΡΠ΅Π½Π° Ρ ΡΡΡΠΊΠΎΠΌ ΠΏΠΎΡΠ΅ΠΊΠ»Ρ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΠΊΠ°ΠΎ ΠΈ Ρ ΡΠ΅Π³ΠΎΠ²ΠΈΠΌ ΠΈΡΠΊΡΡΡΠ²ΠΈΠΌΠ° Π½Π° ΠΠ°ΠΏΠ°Π΄Ρ. ΠΠ°ΡΠ΅ΡΠΈΠ½Π° ΠΠ΅Π²ΠΈΠ΄Ρ Π΄Π°ΡΠ΅ Π½ΠΎΠ²ΠΈ ΠΏΠΎΠ³Π»Π΅Π΄ Π½Π° ΠΠΎΠ΅ΡΠΈΠΊΡ ΠΌΡΠ·ΠΈΠΊΠ΅, Π° Π½Π°ΡΠΎΡΠΈΡΠΎ Π½Π° ΠΏΠΈΡΠ°ΡΠ΅ Π΄ΠΎΠΏΡΠΈΠ½ΠΎΡΠ° ΠΡΠ΅ΡΠ° Π‘ΡΠ²ΡΠΈΠ½ΡΠΊΠΎΠ³ ΠΎΠ²ΠΎΠΌ ΠΏΠΎΠ΄ΡΡ
Π²Π°ΡΡ. ΠΠ΅Π½ΠΎ ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ ΠΊΡΠ΅ΡΠ΅ ΡΠ΅ ΠΈΠ·Π²Π°Π½ ΠΎΡΠ΅ΠΊΠΈΠ²Π°Π½ΠΈΡ
ΠΌΠ΅ΡΡΠ° Π·Π° ΠΏΠΎΡΠΌΠ°ΡΡΠ°ΡΠ΅, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ ΠΈΠ·Π²Π°Π½ ΠΏΠ΅ΡΠΎΠ³ ΠΏΠΎΠ³Π»Π°Π²ΡΠ° (ΠΊΠΎΡΠ΅ ΡΠ΅ Π½Π°ΠΏΠΈΡΠ°ΠΎ Π‘ΡΠ²ΡΠΈΠ½ΡΠΊΠΈ) ΠΈ Π΄ΠΎΠ±ΡΠΎ ΠΏΠΎΠ·Π½Π°ΡΠ΅ ΡΠ΅ΡΠ΅ΡΠ΅Π½ΡΠ΅ ΠΊΠ° ΠΈΠ΄Π΅ΡΠ°ΠΌΠ° Π‘ΡΠ²ΡΠΈΠ½ΡΠΊΠΎΠ³ ΠΎ ΠΌΡΠ·ΠΈΡΠΈ ΠΈ Π²ΡΠ΅ΠΌΠ΅Π½Ρ. ΠΠ° ΡΠ°Ρ Π½Π°ΡΠΈΠ½ ΡΠ΅ ΠΠΎΠ΅ΡΠΈΠΊΠ° ΠΈΠ½ΡΡΠΈΠ³Π°Π½ΡΠ½ΠΎ ΠΏΠΎΡΡΠ°ΡΠΈ Π½Π°ΡΠΌΠ°ΡΠ΅ ΠΎΡΠ΅ΠΊΠΈΠ²Π°Π½Π° ΠΏΠ»Π°ΡΡΠΎΡΠΌΠ° Π·Π° ΠΏΡΠ΅Π·Π΅Π½ΡΠ°ΡΠΈΡΡ ΠΈ Π΄ΠΈΡΠ΅ΠΌΠΈΠ½Π°ΡΠΈΡΡ ΠΏΠΎΠ·ΠΈΡΠΈΡΠ° ΠΏΠΎΠ²Π΅Π·Π°Π½ΠΈΡ
Ρ ΠΎΠ΄ΡΠ΅ΡΠ΅Π½ΠΈΠΌ Π½ΠΈΡΠΈΠΌΠ° βΠ΅Π²ΡΠΎΠ°Π·ΠΈΡΡΡΠ²Π°β, ΡΡΡΠΊΠΎΠ³ Π΅ΠΌΠΈΠ³ΡΠ°Π½ΡΡΠΊΠΎΠ³ ΠΈΠ½ΡΠ΅Π»Π΅ΠΊΡΡΠ°Π»Π½ΠΎΠ³ ΠΈ ΠΏΠΎΠ»ΠΈΡΠΈΡΠΊΠΎΠ³ ΠΏΠΎΠΊΡΠ΅ΡΠ°, Ρ ΠΊΠΎΡΠΈΠΌ ΡΠ΅ Π‘ΡΠ²ΡΠΈΠ½ΡΠΊΠΈ Π±ΠΈΠΎ Π±Π»ΠΈΠ·Π°ΠΊ. ΠΡΠΈΡΡΠΎΡ Π€Π»Π°ΠΌ ΡΠΎΠΊΡΡΠΈΡΠ°ΠΎ ΡΠ΅ Π½Π° ΠΊΠ°ΡΠ½ΠΎ ΡΡΠ²Π°ΡΠ°Π»Π°ΡΡΠ²ΠΎ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΠΈ ΡΠ°Π·ΠΌΠ°ΡΡΠ°ΠΎ Π³Π° ΠΈΠ· ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Π΅ Π΅ΠΊΡΠΏΡΠ΅ΡΠΈΠ²Π½ΠΎΡΡΠΈ. ΠΠΎΠ½ΠΊΡΠ΅ΡΠ½ΠΎ, ΠΎΠ²Π°Ρ Π°ΡΡΠΎΡ ΡΠ΅ ΠΈΡΡΠ°ΠΊΠ°ΠΎ Π΅ΠΊΡΠΏΡΠ΅ΡΠΈΠ²Π½Π΅, ΡΠ΅ΠΌΠ°Π½ΡΠΈΡΠΊΠ΅ ΠΈ ΡΠ°ΠΌΠΎΡΠ΅ΡΠ΅ΡΠ΅Π½ΡΠΈΡΠ°Π»Π½Π΅ Π΄ΠΈΠΌΠ΅Π½Π·ΠΈΡΠ΅ Ρ ΠΊΠ°ΡΠ½ΠΈΠΌ Π΄Π΅Π»ΠΈΠΌΠ°, ΠΊΠΎΡΠ΅ ΡΠ΅ Ρ ΡΠΈΠΌΠ° ΠΏΠΎΡΠ°Π²ΡΡΡΡ Ρ Π½Π°ΡΠΎΡΠΈΡΠΎΠΌ ΡΠ°ΡΠ½ΠΎΡΠΎΠΌ ΠΈ Π΄Π΅Π»ΠΈΠΌΠΈΡΠ½ΠΎ ΠΏΡΠΎΡΠΈΠ²ΡΠ΅ΡΠ΅ ΡΠΎΠ±ΠΈΡΠ°ΡΠ΅Π½ΠΈΠΌ ΠΎΡΠ΅Π½Π°ΠΌΠ° ΠΎΠ²Π΅ ΠΌΡΠ·ΠΈΠΊΠ΅ ΠΊΠ°ΠΎ Π°ΠΏΡΡΡΠ°ΠΊΡΠ½Π΅ ΠΈ ΠΊΠΎΠ½ΡΡΡΡΠΊΡΠΈΠ²ΠΈΡΡΠΈΡΠΊΠ΅, Π° ΡΠ°ΠΊΠΎΡΠ΅ ΠΈΠ·Π°Π·ΠΈΠ²Π°ΡΡ ΠΈ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠΎΠ²Π΅ Π»ΠΈΡΠ½Π΅ ΠΈΠ·ΡΠ°Π²Π΅. Π‘ ΡΠ»Π°Π½ΠΊΠΎΠΌ ΠΠ΄Π²Π°ΡΠ΄Π° ΠΠ΅ΠΌΠ±Π΅Π»Π° ΠΎΡΡΠ°ΡΠ΅ΠΌΠΎ Ρ ΠΏΠΎΡΠ»Π΅ΡΠ°ΡΠ½ΠΎΠΌ Π΄ΠΎΠ±Ρ, Π°Π»ΠΈ ΡΠ΅ ΡΠΎΠΊΡΡ ΠΏΠΎΠΌΠ΅ΡΠ° Ρ Π΄Π΅Π»Π° Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΠΏΠΎ ΡΠ΅Π±ΠΈ Π½Π° ΡΡΠΈΡΠ°Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ ΡΠ°Π΄Π° Π½Π° ΡΡΠ°Π½ΠΊΠΎΡΠΎΠ½Ρ ΠΏΠΎΡΠ»Π΅ΡΠ°ΡΠ½Ρ Π°Π²Π°Π½Π³Π°ΡΠ΄Ρ, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ Π½Π° ΠΡΠ΅ΡΠ° ΠΡΠ»Π΅Π·Π°, ΠΠ°Π½Π° ΠΠ°ΡΠ°ΠΊΠ°, ΠΠ½ΡΠΈΡΠ° ΠΡΡΠ΅ΡΠ° ΠΈ ΠΠΈΡΠ΅Π»Π° Π€ΠΈΠ»ΠΈΠΏΠΎΠ°. ΠΠ΅ΠΌΠ±Π΅Π»ΠΎΠ²Π° Π°Π½Π°Π»ΠΈΠ·Π° ΠΈΠ·Π²Π»Π°ΡΠΈ Π½Π° ΠΏΠΎΠ²ΡΡΠΈΠ½Ρ ΡΡΠΈΡΠ°Ρ ΠΊΠΎΡΠΈ ΡΠ΅ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΈ ΠΈΠΌΠ°ΠΎ Π½Π° ΠΎΠ²Π΅ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ΅ Π½Π° Π½ΠΈΠ²ΠΎΠΈΠΌΠ° ΡΠΈΡΠΌΠΈΡΠΊΠ΅ ΠΈΠ½ΠΎΠ²Π°ΡΠΈΡΠ΅, ΡΠΏΠΎΡΡΠ΅Π±Π΅ Π·Π²ΡΡΠ½ΠΎΡΡΠΈ, Ρ
Π°ΡΠΌΠΎΠ½ΠΈΡΠ°, ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½ΡΠ°Π»Π½Π΅ Π±ΠΎΡΠ΅, ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΠΎΡΠΌΠ΅, ΠΊΠ°ΠΎ ΠΈ ΠΏΠΎΠ»Π°ΡΠΈΡΠ΅ΡΠ° Π²ΠΈΡΠΈΠ½Π΅ ΡΠΎΠ½Π°.
ΠΠΎΡΠ»Π΅Π΄ΡΠ° Π΄Π²Π° ΡΠ»Π°Π½ΠΊΠ° ΠΏΡΠΈΠ»Π°Π·Π΅ ΡΠ°Π΄Ρ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΠΈΠ· ΠΏΠ΅ΡΡΠΏΠ΅ΠΊΡΠΈΠ²Π΅ Π΅ΡΡΠ΅ΡΠΈΠΊΠ΅, Ρ ΡΠ΅ΡΠ΅ΡΠ΅Π½ΡΠ°ΠΌΠ° ΠΊΠ° ΡΠΈΠ»ΠΎΠ·ΠΎΡΠΈΡΠΈ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ ΡΠ°Π²ΡΠ΅ΠΌΠ΅Π½ΠΈΠΊΠ°, Π₯Π΅Π»ΠΌΡΡΠ° ΠΠ»Π΅ΡΠ½Π΅ΡΠ°. ΠΠ°ΠΊΠΎΠ²ΠΎΡ Π¨ΡΠ°ΡΠ½Ρ
Π°ΡΠ΅Ρ ΡΠ°ΡΠΏΡΠ°Π²ΡΠ° ΠΎ Π·Π½Π°ΡΠ΅ΡΡ ΡΠ΅Π»Π΅ΡΠ½ΠΎΡΡΠΈ ΠΈ ΠΏΠ»Π΅ΡΠ° Ρ ΡΡΠ²Π°ΡΠ°Π»Π°ΡΡΠ²Ρ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³, ΠΎΠ΄Π»Π°Π·Π΅ΡΠΈ ΠΈΠ·Π²Π°Π½ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈ Π΄ΠΎΠΊΡΠΌΠ΅Π½ΡΠΎΠ²Π°Π½ΠΎΠ³ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΠΎΠ²Π°ΡΠ° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ° Π·Π° Π±Π°Π»Π΅ΡΡΠΊΡ ΠΌΡΠ·ΠΈΠΊΡ. ΠΠ°Π»Π΅ΡΡΠΊΠ° ΠΌΡΠ·ΠΈΠΊΠ° Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³, ΠΊΠ°ΠΊΠΎ Π¨ΡΠ°ΡΠ½Ρ
Π°ΡΠ΅Ρ ΠΏΠΎΠΊΠ°Π·ΡΡΠ΅, ΠΏΠΎΡΡΠΈΠΆΠ΅ ΡΡΠ°ΡΠ΅ βΠΏΠΎΡΡΠ΅Π΄ΠΎΠ²Π°Π½Π΅ Π½Π΅ΠΏΠΎΡΡΠ΅Π΄Π½ΠΎΡΡΠΈβ, ΠΎΠ΄ΡΠΆΠ°Π²Π°ΡΡΡΠΈ ΡΠ°ΠΊΠΎ Π΄ΠΈΡΡΠ°Π½ΡΡ Ρ ΠΎΠ΄Π½ΠΎΡΡ Π½Π° ΡΡΠ±ΡΠ΅ΠΊΡΠΈΠ²Π½ΠΈ ΠΈΠ·ΡΠ°Π·, Π±Π΅Π· ΠΊΠΎΡΠ΅Π³, ΠΏΠ°ΠΊ, ΠΏΠΎΡΡΠ°ΡΠ΅ Π°ΠΏΡΡΡΠ°ΠΊΡΠ½Π°. ΠΠΎΠ½Π°ΡΠ½ΠΎ, ΠΠ°ΡΠΊΠΎΡ Π¦Π΅ΡΠΎΡ Π½ΡΠ΄ΠΈ Π½ΠΎΠ²Ρ ΠΊΡΠΈΡΠΈΠΊΡ ΠΠ΄ΠΎΡΠ½ΠΎΠ²Π΅ ΠΊΡΠΈΡΠΈΠΊΠ΅ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³, ΡΠ΅ΡΠ΅ΡΠΈΡΠ°ΡΡΡΠΈ Π½Π° ΠΠ»Π΅ΡΠ½Π΅ΡΠΎΠ²Ρ ΡΠΈΠ»ΠΎΠ·ΠΎΡΡΠΊΡ Π°Π½ΡΡΠΎΠΏΠΎΠ»ΠΎΠ³ΠΈΡΡ. ΠΠ½, ΡΡΠΎΠ³Π°, ΠΈΠ·Π°Π·ΠΈΠ²Π° ΠΠ΄ΠΎΡΠ½ΠΎΠ²Π΅ ΠΏΠΎΠ³Π»Π΅Π΄Π΅ ΠΊΠΎΡΠΈ Π‘ΡΡΠ°Π²ΠΈΠ½ΡΠΊΠΎΠ³ ΡΠ²ΡΡΡΠ°Π²Π°ΡΡ Ρ Π½Π΅Ρ
ΡΠΌΠ°Π½Π΅ ΠΈ ΠΏΡΠΈΠΌΠΈΡΠΈΠ²Π½Π΅, ΠΏΠΎΠΊΠ°Π·ΡΡΡΡΠΈ ΡΠΌΠ΅ΡΡΠΎ ΡΠΎΠ³Π° Π΄Π° ΡΠ΅Π³ΠΎΠ²Π° ΠΌΡΠ·ΠΈΠΊΠ° Π΄ΠΎΡΡΠΈΠΆΠ΅, Ρ ΠΈΡΡΠΎΡΠΈΡΡΠΊΠΈ Π°Π΄Π΅ΠΊΠ²Π°ΡΠ½ΠΈΠΌ ΠΌΠΎΠ΄Π΅ΡΠ½ΠΈΠΌ ΡΠ΅ΡΠΌΠΈΠ½ΠΈΠΌΠ°, ΠΊΠΎΠ½ΡΡΠΈΡΡΡΠΈΠ²Π½Ρ ΡΠ΅ΡΠ»Π΅ΠΊΡΠΈΠ²Π½ΠΎΡΡ ΡΡΠ΄ΡΠΊΠΎΠ³ ΠΎΡΠ΅Π»ΠΎΡΠ²ΠΎΡΠ΅Π½ΠΎΠ³ ΡΡΠ°ΡΠ°.
Π ΡΠ±ΡΠΈΠΊΠ° Varia ΠΎΠ²ΠΎΠΌ ΡΠ΅ ΠΏΡΠΈΠ»ΠΈΠΊΠΎΠΌ Π½Π΅ΡΡΠΎ ΡΠ°ΠΆΠ΅ΡΠΈΡΠ° β Π΄ΠΎΠ½ΠΎΡΠΈ ΡΡΠΈ ΡΡΡΠ΄ΠΈΡΠ΅, Π°Π»ΠΈ ΡΡ ΡΠΈΠΌΠ° ΠΌΠ°ΡΠΊΠΈΡΠ°Π½Π° ΡΠ°Π·Π»ΠΈΡΠΈΡΠ° ΠΏΠΎΡΠ° ΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΡΠΊΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ°. ΠΠΎΡΠ°Π½Π° Π Π°Π΄ΠΎΠ²Π°Π½ΠΎΠ²ΠΈΡ ΡΡΡΠ΄ΠΈΠΎΠ·Π½ΠΎ ΡΠ΅ Π±Π°Π²ΠΈΠ»Π° ΠΏΡΠΎΡΡΠ°Π²Π°ΡΠ΅ΠΌ Π΅ΠΊΡΠΏΡΠ΅ΡΠΈΠ²Π½ΠΈΡ
ΡΡΠ΅Π΄ΡΡΠ°Π²Π° Ρ Π΄Π΅Π»ΠΈΠΌΠ° Π·Π° Π³Π»Π°Ρ ΡΡΠΏΡΠΊΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ° ΠΡΠ³Π° ΠΠ°ΡΠΊΠΎΠ²ΠΈΡΠ°, Π°Π»ΠΈ ΠΈ ΠΏΠΈΡΠ°ΡΠΈΠΌΠ° ΠΈΠ· Π΄ΠΎΠΌΠ΅Π½Π° ΠΎΠ΄Π½ΠΎΡΠ° ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ° ΠΈ Π²ΠΎΠΊΠ°Π»Π½ΠΎΠ³ ΠΈΠ·Π²ΠΎΡΠ°ΡΠ°. Π¦ΠΈΡ ΠΎΠ²ΠΎΠ³ ΠΏΠΎΠ΄ΡΡ
Π²Π°ΡΠ° Π±ΠΈΠΎ ΡΠ΅ Π΄Π° ΠΏΡΡΠ΅ΠΌ Π°Π½Π°Π»ΠΈΠ·Π΅ ΠΎΠ΄Π°Π±ΡΠ°Π½ΠΈΡ
ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΈΡΠ° Π΄ΠΎΠΏΡΠΈΠ½Π΅ΡΠ΅ ΠΎΡΠ²Π΅ΡΡΠ°Π²Π°ΡΡ ΠΠ°ΡΠΊΠΎΠ²ΠΈΡΠ΅Π²ΠΎΠ³ Π΅ΠΊΠ»Π΅ΠΊΡΠΈΡΠ½ΠΎΠ³ ΡΡΠΈΠ»Π°, ΠΊΠ°ΠΎ ΠΈ Π΄Π° ΡΠ΅ ΠΎΠ½ ΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½ΠΈΡΠ° Ρ ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½Π΅ ΠΊΡΡΠ³ΠΎΠ²Π΅ ΡΡΠ²Π°ΡΠ°Π»Π°ΡΠ° ΠΊΠΎΡΠΈ ΡΠ΅ Π³Π»Π°ΡΠΎΠΌ Π±Π°Π²Π΅ Π½Π° Π½Π΅ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π°Π»Π½Π΅ Π½Π°ΡΠΈΠ½Π΅. ΠΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ΅ ΠΠ°ΡΠΈΡΠ΅ ΠΠΈΠ½ΠΎΠ² ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΡΠ΅Π½ΠΎ ΠΎΠ²ΠΎΠΌ ΠΏΡΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΎΠ΄Π½ΠΎΡΠΈ ΡΠ΅ Π½Π° ΠΊΠΈΠ½Π΅ΡΡΠ΅ΡΠΈΡΠΊΠ΅ Π³Π΅ΡΡΠΎΠ²Π΅, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ ΡΠ΅Π»Π΅ΡΠ½Π΅ ΠΏΠΎΠΊΡΠ΅ΡΠ΅ ΠΈΠ·Π²ΠΎΡΠ°ΡΠ° ΡΠΎΠΊΠΎΠΌ ΠΏΠ΅ΡΡΠΎΡΠΌΠ°Π½ΡΠ°, Π° ΡΠΊΡΡΡΡΡΡΡΠΈ ΡΠΎΠΏΡΡΠ²Π΅Π½Π° ΠΏΠΈΡΠ°Π½ΠΈΡΡΠΈΡΠΊΠ° ΠΈΡΠΊΡΡΡΠ²Π°, ΠΏΠΎΡΠ΅Π±Π½Ρ ΡΠ΅ ΠΏΠ°ΠΆΡΡ ΠΏΠΎΡΠ²Π΅ΡΠΈΠ»Π° ΠΠ΅ΡΠΎΠ²Π΅Π½ΠΎΠ²ΠΈΠΌ ΠΊΠ»Π°Π²ΠΈΡΡΠΊΠΈΠΌ ΡΠΎΠ½Π°ΡΠ°ΠΌΠ°. ΠΠ±ΡΠ°ΡΡΠ΅ΡΠ΅ ΡΡΠΈΡΠ°ΡΠ° ΠΊΠ°ΡΠ°ΠΊΡΠ΅ΡΠ° ΡΠΈΠ·ΠΈΡΠΊΠΈΡ
ΠΏΠΎΠΊΡΠ΅ΡΠ° ΡΠ΅Π»Π° Π½Π° ΠΌΡΠ·ΠΈΡΠΊΠΎ Π΄Π΅Π»ΠΎ ΡΠΊΡΡΡΠΈΠ»ΠΎ ΡΠ΅ ΠΎΡΠ²ΡΡ Π½Π° ΡΡΠ²Π°ΡΠ°ΡΠ΅ ΠΌΡΠ·ΠΈΡΠΊΠΎΠ³ Π΄Π΅Π»Π°, Π° Ρ Π΄ΡΡΠ³Π΅ ΡΡΡΠ°Π½Π΅ ΠΈ Π½Π° ΡΠ΅Π½Π·Π°ΡΠΈΡΠ΅ ΡΠΎΠΊΠΎΠΌ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ ΠΈΠ·Π²ΠΎΡΠ΅ΡΠ°, ΡΡΠΎ ΡΠ΅ ΡΡΠ³Π΅ΡΠΈΡΠ°Π»ΠΎ ΡΠΈΡΠΈ Π·Π°ΠΊΡΡΡΠ°ΠΊ ΠΎ ΠΏΠΎΡΠ΅Π±Π½ΠΎΡ Π²Π°ΠΆΠ½ΠΎΡΡΠΈ ΡΠ°Π·ΡΠΌΠ΅Π²Π°ΡΠ° βΠΊΠΈΠ½Π΅ΡΠΈΡΠΊΠ΅ Π΅Π½Π΅ΡΠ³ΠΈΡΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅β. ΠΠΎΡΠ»Π΅Π΄ΡΠΈ Ρ ΠΎΠ²ΠΎΠΌ Π΄Π΅Π»Ρ ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΡΠ΅ ΡΠ»Π°Π½Π°ΠΊ ΠΠΈΠ½Π΅ ΠΠΎΡΠ²ΠΎΠ΄ΠΈΡ ΠΠΈΠΊΠΎΠ»ΠΈΡ, ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ ΠΌΡΠ·ΠΈΡΠΊΠΈΠΌ ΠΊΡΠΈΡΠΈΠΊΠ°ΠΌΠ° ΠΠ΅ΡΡΠ° ΠΠΈΠ½Π³ΡΠ»ΡΠ°, ΠΊΠ°ΠΎ ΠΏΠΎΡΠ΅Π±Π½ΠΎ Π²Π°ΠΆΠ½ΠΎΠΌ Π΄Π΅Π»Ρ ΡΠ΅Π³ΠΎΠ²ΠΎΠ³ Π΄ΠΎΠΏΡΠΈΠ½ΠΎΡΠ° ΡΡΠΏΡΠΊΠΎΡ ΠΊΡΠ»ΡΡΡΠ½ΠΎΡ ΠΈΡΡΠΎΡΠΈΡΠΈ ΠΈ ΠΌΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠΈ. ΠΠ½Π°Π»ΠΈΠ·ΠΈΡΠ°Π½ΠΈ ΡΡ ΡΠ΅ΠΊΡΡΠΎΠ²ΠΈ ΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈ Ρ ΡΠ°ΡΠΎΠΏΠΈΡΡ ΠΠΈΡΠ°ΠΎ, ΡΠΊΠ°Π·Π°Π½ΠΎ ΡΠ΅ Π½Π° ΠΠΈΠ½Π³ΡΠ»ΡΠ΅Π² Π½Π°ΡΠΈΠ½ ΠΌΠΈΡΡΠ΅ΡΠ° ΠΈ ΠΌΠ΅ΡΠΎΠ΄ ΡΠ°Π΄Π°, Π° ΠΊΠΎΠΌΠΏΠ°ΡΠ°ΡΠΈΠ²Π½ΠΎΠΌ Π°Π½Π°Π»ΠΈΠ·ΠΎΠΌ Ρ ΠΊΡΠΈΡΠΈΠΊΠ°ΠΌΠ° Π΄ΡΡΠ³ΠΈΡ
Π°ΡΡΠΎΡΠ° Π΄Π°ΡΠ° ΡΠ΅ ΠΎΡΠ½ΠΎΠ²Π° Π·Π° ΡΠ΅Π³ΠΎΠ²ΠΎ ΠΏΠΎΠ·ΠΈΡΠΈΠΎΠ½ΠΈΡΠ°ΡΠ΅ Ρ ΡΡΠΏΡΠΊΠΎΡ ΠΌΡΠ·ΠΈΡΠΊΠΎΡ ΠΊΡΠΈΡΠΈΡΠΈ Ρ ΠΏΠ΅ΡΠΈΠΎΠ΄Ρ ΠΈΠ·ΠΌΠ΅ΡΡ Π΄Π²Π°ΡΡ ΡΠ²Π΅ΡΡΠΊΠΈΡ
ΡΠ°ΡΠΎΠ²Π°, ΠΊΠ°Π΄Π° ΡΠ΅ ΠΏΠΎΠΌΠ΅Π½ΡΡΠΈ ΡΠ°ΡΠΎΠΏΠΈΡ ΠΈΠ·Π»Π°Π·ΠΈΠΎ.
ΠΡΠΈΠ»ΠΎΠ·ΠΈ Ρ ΡΡΠ±ΡΠΈΡΠΈ ΠΠ°ΡΡΠ½Π° ΠΊΡΠΈΡΠΈΠΊΠ° ΠΈ ΠΏΠΎΠ»Π΅ΠΌΠΈΠΊΠ° ΠΎΠ΄Π½ΠΎΡΠ΅ ΡΠ΅ Π½Π° Π½Π΅Π΄Π°Π²Π½ΠΎ ΠΎΠ΄ΡΠΆΠ°Π½ Π½Π°ΡΡΠ½ΠΈ ΡΠΊΡΠΏ ΠΈ Π½Π° Π·Π±ΠΎΡΠ½ΠΈΠΊ Π·Π° ΠΊΠΎΡΠΈ ΡΠ΅ ΠΈΠ·ΠΎΡΡΠ°Π»Π° Π΄ΡΠΆΠ½Π° ΠΏΠ°ΠΆΡΠ° Π·Π±ΠΎΠ³ ΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°ΡΠ° ΡΠΎΠΊΠΎΠΌ ΠΏΠ°Π½Π΄Π΅ΠΌΠΈΡΠ΅ ΠΊΠΎΠ²ΠΈΠ΄Π°. ΠΠ°ΡΠΈΡΠ° ΠΠ°Π³Π»ΠΎΠ² ΠΏΡΠΈΠΏΡΠ΅ΠΌΠΈΠ»Π° ΡΠ΅ ΠΊΡΠΈΡΠΈΡΠΊΠΈ ΠΎΡΠ²ΡΡ Π½Π° ΠΌΠ΅ΡΡΠ½Π°ΡΠΎΠ΄Π½ΠΈ ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡΡΠΌ ΠΏΠΎΡΠ²Π΅ΡΠ΅Π½ ΡΠ°Π½ΠΎΡ Π΄ΠΈΡΠΊΠΎΠ³ΡΠ°ΡΡΠΊΠΎΡ ΠΈΠ½Π΄ΡΡΡΡΠΈΡΠΈ, Π°ΠΊΡΡΠ΅Π»Π½ΠΎΡ ΡΠ΅ΠΌΠΈ Ρ ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΡ ΡΡΡΠ΄ΠΈΡΠ° ΠΌΠ΅Π΄ΠΈΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΠ΅ ΠΈ ΠΈΠ½Π΄ΡΡΡΡΠΈΡΠ°Π»ΠΈΠ·Π°ΡΠΈΡΠ΅ ΠΌΡΠ·ΠΈΠΊΠ΅, ΠΊΠΎΡΠΈ ΡΡ ΠΎΡΠ³Π°Π½ΠΈΠ·ΠΎΠ²Π°Π»Π΅ Ρ
ΡΠ²Π°ΡΡΠΊΠ΅ ΠΊΠΎΠ»Π΅Π³Π΅, ΠΌΠ°ΡΡΠ° ΠΎΠ²Π΅ Π³ΠΎΠ΄ΠΈΠ½Π΅. ΠΠ²Π°Ρ ΠΏΡΠΈΠ»ΠΎΠ³ Π½Π°ΡΠΎΡΠΈΡΠΎ ΡΠ΅ Π²Π°ΠΆΠ°Π½, Ρ ΠΎΠ±Π·ΠΈΡΠΎΠΌ Π½Π° ΡΠΎ Π΄Π° ΡΠ΅ Π½Π΅ ΠΎΡΠ΅ΠΊΡΡΠ΅ ΡΠΎΠ±ΠΈΡΠ°ΡΠ΅Π½ ΡΠ΅ΠΌΠ°ΡΡΠΊΠΈ Π·Π±ΠΎΡΠ½ΠΈΠΊ ΡΠ°Π΄ΠΎΠ²Π° ΡΠ²ΠΈΡ
ΡΡΠ΅ΡΠ½ΠΈΠΊΠ° ΡΠΈΠΌΠΏΠΎΠ·ΠΈΡΡΠΌΠ°. ΠΠΈ Π·Π±ΠΎΡΠ½ΠΈΠΊ Rethinking Prokofiev, ΠΊΠΎΡΠΈ ΡΠ΅ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΠΈΠΎ ΠΠΈΠ»ΠΎΡ ΠΡΠ°Π»ΠΎΠ²ΠΈΡ, Π½ΠΈΡΠ΅ Π½Π°ΡΡΠ°ΠΎ Π½Π° ΠΎΡΠ½ΠΎΠ²Ρ Π½Π°ΡΡΠ½ΠΎΠ³ ΡΠΊΡΠΏΠ°, Π²Π΅Ρ ΡΠ΅ ΡΠ΅Π·ΡΠ»ΡΠ°Ρ ΠΎΡΠΈΠ³ΠΈΠ½Π°Π»Π½ΠΈΡ
Π°ΡΡ
ΠΈΠ²ΡΠΊΠΈΡ
, Π°Π½Π°Π»ΠΈΡΠΈΡΠΊΠΈΡ
, ΠΎΠ΄Π½ΠΎΡΠ½ΠΎ ΠΈΠ·Π²ΠΎΡΠ°ΡΠΊΠΎ-ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠ°ΡΠΈΠ²Π½ΠΈΡ
ΠΈΡΡΡΠ°ΠΆΠΈΠ²Π°ΡΠ° ΠΎΠΏΡΡΠ° ΠΎΠ²ΠΎΠ³ ΠΊΠΎΠΌΠΏΠΎΠ·ΠΈΡΠΎΡΠ°. Π Π΅Ρ ΡΠ΅ ΠΎ ΠΈΠ·Π΄Π°ΡΡ Π½Π° ΠΊΠΎΡΠ΅ΠΌ ΡΡ Π°Π½Π³Π°ΠΆΠΎΠ²Π°Π½ΠΈ Π²ΠΎΠ΄Π΅ΡΠΈ ΡΡΡΡΡΡΠ°ΡΠΈ Ρ ΠΈΠ½ΡΠ΅ΡΠΏΡΠ΅ΡΠ°ΡΠΈΡΠΈ ΠΎΡΡΠ²Π°ΡΠ΅ΡΠ° ΠΡΠΎΠΊΠΎΡΡΠ΅Π²Π°, ΠΎΠ΄ ΡΡΠ΅Π΄Π½ΠΈΠΊΠ° Π΄ΠΎ Π°ΡΡΠΎΡΠ°, ΡΠ΅ Π·Π°Π²ΡΠ΅ΡΡΡΠ΅ ΠΏΠΎΡΠ΅Π±Π½Ρ ΠΏΠ°ΠΆΡΡ Π½Π°ΡΡΠ½Π΅ ΡΠ°Π²Π½ΠΎΡΡΠΈ.
Π Π΅Π΄Π°ΠΊΡΠΈΡΠ° ΡΠ°ΡΠΎΠΏΠΈΡΠ° ΠΡΠ·ΠΈΠΊΠΎΠ»ΠΎΠ³ΠΈΡΠ° ΡΡΠ΄Π°ΡΠ½ΠΎ Π·Π°Ρ
Π²Π°ΡΡΡΠ΅ Π½Π° ΡΠ°ΡΠ°Π΄ΡΠΈ Π΄Ρ ΠΠ°ΡΠ΅ΡΠΈΠ½ΠΈ ΠΠ΅Π²ΠΈΠ΄Ρ, Π΄ΠΎΡΠ΅Π½ΡΡ Π½Π° ΠΠ΄ΡΠ΅ΠΊΡ Π·Π° ΠΌΡΠ·ΠΈΡΠΊΠ΅ ΡΡΡΠ΄ΠΈΡΠ΅ ΠΠ°ΡΠΈΠΎΠ½Π°Π»Π½ΠΎΠ³ ΠΈ ΠΠ°ΠΏΠΎΠ΄ΠΈΡΡΡΠΈΡΠ°ΡΠΎΠ²ΠΎΠ³ ΡΠ½ΠΈΠ²Π΅ΡΠ·ΠΈΡΠ΅ΡΠ° Ρ ΠΡΠΈΠ½ΠΈ, ΠΊΠΎΡΠ° ΡΠ΅ ΠΎΠ²ΠΎΠΌ ΠΏΡΠΈΠ»ΠΈΠΊΠΎΠΌ ΠΏΡΠ΅ΡΠ·Π΅Π»Π° Π΄ΡΠΆΠ½ΠΎΡΡ Π³ΠΎΡΡΠ΅-ΡΡΠ΅Π΄Π½ΠΈΡΠ΅ Π·Π° ΡΡΠ±ΡΠΈΠΊΡ Π’Π΅ΠΌΠ° Π±ΡΠΎΡΠ°. ΠΠ·ΡΠ·Π΅ΡΠ½Ρ Π·Π°Ρ
Π²Π°Π»Π½ΠΎΡΡ ΠΈΠ·ΡΠ°ΠΆΠ°Π²Π°ΠΌΠΎ ΡΠ²ΠΈΠΌ ΠΊΠΎΠ»Π΅Π³Π°ΠΌΠ° ΠΊΠΎΡΠ΅ ΡΡ ΠΏΡΠΈΡ
Π²Π°ΡΠ°Π»Π΅ ΠΏΠΎΡΠ°ΠΎ ΡΠ΅ΡΠ΅Π½Π·Π΅Π½Π°ΡΠ° ΠΈ Π΄ΠΎΠΏΡΠΈΠ½Π΅Π»Π΅ ΠΊΠ²Π°Π»ΠΈΡΠ΅ΡΡ ΠΏΡΠ±Π»ΠΈΠΊΠΎΠ²Π°Π½ΠΈΡ
ΡΡΡΠ΄ΠΈΡΠ°.The commemoration of the fiftieth anniversary of Igor Stravinskyβs death (1882β1971) remained in the shadows of the covid-19 pandemic, which caused the prolonged response of the scientific community in terms of new readings of the composerβs opus. The Main Theme in the new issue of Muzikologija-Musicology (No. 34) makes a contribution to this response with a series of studies dedicated to Stravinsky, originating from presentations at the Study Day organized in 2021 by the Department of Music Studies of the National and Kapodistrian University of Athens. The topics cover a wide range of issues relating to all three phases of Stravinskyβs creation (the Russian, the Neoclassical and the Serial), including questions of aesthetics, as well as the impact and reception of his work.
Stamatis Zochios revisits the question of Stravinskyβs relationship with Russian folklore, by contextualising the composerβs output of the so-called βRussianβ period with reference to the history of Russian folkloristics. Zochios concludes that Stravinsky followed in the footsteps of his nineteenth-century predecessors (Glinka and the Mighty Five) in drawing on folk sources for his compositions, yet unlike them, he did not make use of studies from his own time; hence, he did not delve into an extensive and in-depth survey of the existing sources of Russian folklore but, instead, relied on established sources and studies from the nineteenth century. Ivan Moodyβs article sheds light on Stravinskyβs output with a focus on his religious works through the perspective of his acquaintance with Jacques Maritainβs philosophy, in the context of the philosophical ferment in Interwar France. Moody pays particular attention to Stravinskyβs interpretation of Maritainβs idea of homo faber, βman the makerβ. At the same time, he does not ignore the composerβs Russian origins, concluding that the works under examination are equally grounded in Stravinskyβs Russian background and his experiences in the West. Katerina Levidou sheds new light on the Poetics of Music, specifically the question of Pierre Souvtchinskyβs contribution. Her examination moves beyond the obvious places to look, namely the fifth chapter (written by Souvtchinsky) and the well-known reference to Souvtchinskyβs ideas on music and time. The Poetics thus emerges as a most unexpected platform for the presentation and dissemination of positions associated with a certain strand of βEurasianismβ, the Russian Γ©migrΓ© intellectual and political movement, with which Souvtchinsky was closely associated.
Christoph Flamm focuses on Stravinskyβs late output and considers it from the perspective of expressiveness. Specifically, he highlights expressive, semantic and self-referential dimensions in the late compositions, which emerge there with particular clarity and partly contradict the usual assessments of this music as abstract and constructivist, but also challenge the composerβs own statements. With Edward Campbellβs article we remain in the post-War era, yet the focus shifts from Stravinskyβs work per se to the impact his output had on the Francophone post-war avant-garde, namely Pierre Boulez, Jean BarraquΓ©, Henri Pousseur and Michel Philippot. Campbellβs analysis brings to the surface the influence Stravinsky had on such composers on the level of rhythmic innovation, and the use of sonorities, harmonies, instrumental colour, musical form as well as pitch polarity.
The last two articles approach Stravinskyβs work from the perspective of aesthetics, with reference specifically to the philosophy of Stravinskyβs contemporary, Helmuth Plessner. Iakovos Steinhauer discusses the meaning of corporeality and dance in Stravinskyβs work, moving beyond Stravinsky's historically-documented interest in ballet music. Stravinskyβs ballet music, as Steinhauer demonstrates, attains a βmediated immediacyβ, thus maintaining a distance from subjective expression, without, however, becoming abstract. Finally, Markos Tsetsos offers a new critique of Adornoβs criticism of Stravinsky with reference to Plessnerβs philosophical anthropology. He, therefore, challenges Adornoβs view that Stravinsky regresses to the inhuman and primitive, demonstrating, instead, that his music affirms, in historically adequate modern terms, the constitutive reflectivity of the human embodied condition.
On this occasion, the Varia section is more concise, to balance out the breadth of the Main Theme. It contains three studies that map out three different fields of musicological research. Bojana RadovanoviΔ has studiously examined the expressive means in the works for the voice of the Serbian composer Jug MarkoviΔ, including the questions from the domain of the relationship between the composer and the vocal performer. By analysing MarkoviΔβs selected works, she aims to illuminate his eclectic style and situate him in the international circles of composers who deal with the voice in non-traditional ways. Marija Dinovβs research presented in this issue deals with kinesthetic gestures, i.e. bodily movements of pianists (including herself) during performances, focusing on the performances of Beethovenβs piano sonatas. The explanation of the influence of physical movements on the musical work includes an overview of the creation of the musical work, and, on the other hand, of the sensations during its performance, which leads to a broader conclusion about the special importance of understanding the βkinetic energy of musicβ. The last article in this section of the journal is Dina VojvodiΔ NikoliΔβs article dedicated to Petar Bingulacβs music criticism, as a particularly important segment of his contribution to Serbian cultural history and musicology. The author analyses Bingulacβs texts published in the journal Misao [Thought] and points to Bingulacβs way of thinking and methods of work, whilst also providing a comparative analysis with the music reviews of other contemporary critics and thus situating Bingulacβs writings within Serbian music criticism from the interwar period, when the journal Misao was published.
Contributions in the section Scientific criticism and polemics refer to the recently held conference and to the collection which has hitherto attracted insufficient attention due to its publication during the covid-19 pandemic. Marija Maglov has prepared a review of the international symposium dedicated to the early recording industry, a current topic in the context of studies of medialisation and industrialisation of music, which was organized by Croatian colleagues in March 2023; this contribution is particularly important considering that the publication of the proceedings of the symposium is not expected. The collection Rethinking Prokofiev, reviewed by MiloΕ‘ BraloviΔ, did not result from a scientific conference either; it is the outcome of original archival, analytical, and performance-interpretive research of Sergei Prokofievβs oeuvre. This collection has gathered together leading experts on Prokofievβs works, from the editors to the authors, and it deserves special attention from the scientific community.
The Editorial Board of the journal Muzikologija-Musicology would like to thank Dr Katerina Levidou, Assistant Professor at the Department of Music Studies of the National and Kapodistrian University of Athens, who served as Guest Editor of the Main Theme. We are very grateful to all colleagues who accepted the roles of peer reviewers and contributed to the quality of published studies
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Despite the emergence of social media as the primary tool for communication in social and business settings, research on effectiveness of communication using of emojis is limited. This project seeks to bridge the gap in understanding the effectiveness of the use of emojis in marketing communication. In particular, the dissertation will focus on an interpretive exploration of the use of emojis in marketing communication as a semiotic that supports persuasion
The neural basis of semantic processing across comprehension contexts
Current neurobiological models of semantic cognition have been predominately derived from studies of single-words or sentences which may provide an impoverished estimate of how semantic processing occurs in real-world contexts. Studies that make use of more ecologically valid stimuli such as natural language or narratives suggest that, counter to the hub-and-spoke framework in which the anterior temporal lobe (ATL) serves as a graded hub integrating information from proximal sensorimotor spokes, the semantic system displays voxel-wise category specialization tiled across a large, distributed network. A complicating factor in reconciling these seemingly conflicting claims is the over-reliance on concrete conceptual knowledge in describing the organization of the semantic system. A recent theoretical account argues that social knowledge, like other types of semantic knowledge, is processed within the ventrolateral ATL, but this claim has not been tested using naturalistic stimuli, which better sample abstract social knowledge, including pragmatic inference.
This thesis investigates the organization of the semantic system across multiple scales, from isolated words to multimodal narratives, and across multiple types of semantic conceptual knowledge, from concrete to abstract. Using comprehension of concrete words as a starting point, the first study describes a critical examination of specialization within the semantic system for taxonomic (dog β bear) and thematic (dog β leash) relations using intracranial EEG recordings from an array of depth electrodes within ATL, inferior parietal lobule (IPL), and two regions within the semantic control network, inferior frontal gyrus (IFG) and posterior middle temporal gyrus (pMTG). Moving across the context and conceptual scale to build upon this work, the second study investigated how the concrete and abstract lexical and semantic properties of single-words, akin to those that informed the hub-and-spoke model, are processed in a complex, complete narrative presented to participants during fMRI scanning. In doing so, this study enabled comparisons between prior studies of isolated words and naturalistic work, thus moving toward an integrated cross-scale account of semantic cognition. Using the same neuroimaging data, the third study extended this work to investigate how context contributes to the construction of meaning by studying how the semantic and social cognitive systems are engaged by social and pragmatic sentence-level content. This enabled a direct, naturalistic test of the claim that social knowledge is housed within the semantic system. The fourth study investigated shared processing between social and semantic systems using fMRI data collected during movie-viewing, which captures the multimodal environment in which social knowledge is exchanged.
The results of these studies collectively demonstrate that the semantic and social systems are differentially engaged across the scales investigated here. Concrete conceptual relations engage one (or more) specialized hubs within the semantic system, whereas processing of naturalistic verbal and event content co-varies with activation in large brain networks. There is evidence of functional gradations within ATL that are differentially sensitive to the demands of narrative comprehension β the anterior superior temporal gyrus (i.e., dorsolateral subregion) and anterior fusiform (i.e., ventral subregion) appear to be particularly sensitive to the quantity and informativeness of external input whereas the anterior middle and inferior temporal gyri (i.e., ventrolateral subregion) appear to be engaged by internal, or endogenous, semantic processing during narrative comprehension. Engagement of this same ventrolateral subregion is observed in response to social word and sentence content, providing support for the claim that social processing is subsumed within the semantic system. Taken together, the results suggest an extension to the current neurobiological model of semantic cognition that accommodates comprehension contexts. The studies undertaken as part of this thesis build upon the existing concept-level frameworks towards a narrative-level framework of semantic cognition
Optimising digital nature for wellbeing
The global burdens of negative psychological states such as stress, anxiety, and burnout represent a growing public health concern. As the incidence of these conditions has risen so too has awareness that natural environments might provide cognitive and affective benefits.
Yet unrelenting urbanisation, unprecedented species extinction, and rampant ecological degradation are fostering a creeping extinction of experience, straining the links between people and planet. In an increasingly technologically mediated world, growing emphasis is being placed on how digital forms of nature could impact health.
Understanding how simulated contact with the natural world might be optimised for positive wellbeing outcomes is vital if βvirtual natureβ is to be used as a therapeutic tool. This thesis consists of three original studies β conducted with large samples and as part of national broadcast initiatives β that aimed to address this burgeoning need.
We first investigated nuances in the way natural soundscapes are experienced. Through an award-winning collaboration with the BBC Natural History Unit, a novel podcast series and experiment generated responses from 7,596 participants. Results indicated how the composition of nature-based soundscapes can affect their restorative potential, demonstrated the crucial role that memories play in these relationships, and suggested that appraisals of restoration can exert an important mediating effect on pro-environmental behaviour.
Next, a similar level of granularity was applied to landscape aesthetics. An online experiment probed how ephemeral features such as sunrise, sunsets, and storms can impact appraisals of virtual environments. Data from 2,509 people supported the familiar urban-nature dichotomy yet revealed substantial momentary and diurnal heterogeneity in measures of beauty and awe. Changes in these metrics also partially mediated participantsβ willingness to pay to visit these locations in the βreal worldβ.
Partnering again with the BBC on a multi-platform broadcast initiative called Soundscapes for Wellbeing, our third experiment assessed how the visual and acoustic elements of a digital nature experience, including music, might influence viewer emotions. Analyses from 7,636 respondents suggested that whilst music could enhance high arousal feelings such as excitement, natural sounds were integral to eliciting restoration, calmness, awe, and nostalgia. Again, these data revealed a substantial moderating effect of memories, underlining the importance of lived experiences in determining outcomes.
Taken together, these findings reveal important distinctions in the way natural soundscapes are perceived, demonstrate the potential for both ephemeral features and natural sounds to elicit the complex emotions of awe and nostalgia, and highlight the profound moderating effects of personal memories. Future work might focus on expanding understanding of how awe, nostalgia, and memories could represent a hitherto under-recognised depth to the therapeutic potential of encounters with nature in both virtual and real settings.Wellcome Trus
Multimodal assessment of emotional responses by physiological monitoring: novel auditory and visual elicitation strategies in traditional and virtual reality environments
This doctoral thesis explores novel strategies to quantify emotions and listening effort through monitoring of physiological signals. Emotions are a complex aspect of the human experience, playing a crucial role in our survival and adaptation to the environment. The study of emotions fosters important applications, such as Human-Computer and Human-Robot interaction or clinical assessment and treatment of mental health conditions such as depression, anxiety, stress, chronic anger, and mood disorders. Listening effort is also an important area of study, as it provides insight into the listenersβ challenges that are usually not identified by traditional audiometric measures. The research is divided into three lines of work, each with a unique emphasis on the methods of emotion elicitation and the stimuli that are most effective in producing emotional responses, with a specific focus on auditory stimuli. The research fostered the creation of three experimental protocols, as well as the use of an available online protocol for studying emotional responses including monitoring of both peripheral and central physiological signals, such as skin conductance, respiration, pupil dilation, electrocardiogram,
blood volume pulse, and electroencephalography. An emotional protocol was created for the study of listening effort using a speech-in-noise test designed to be short and not induce fatigue. The results revealed that the listening effort is a complex problem that cannot be studied with a univariate approach, thus necessitating the use of multiple physiological markers to study different physiological dimensions. Specifically, the findings demonstrate a strong association between the level of auditory exertion, the amount of attention and involvement directed towards stimuli that are readily comprehensible compared to those that demand greater exertion. Continuing with the auditory domain, peripheral physiological signals were studied in order to discriminate four emotions elicited in a subject who listened to music for 21 days, using a previously designed and publicly available protocol. Surprisingly, the processed physiological signals were able to clearly separate the four emotions at the physiological level, demonstrating that music, which is not typically studied extensively in the literature, can be an effective stimulus for eliciting emotions. Following these results, a flat-screen protocol was created to compare physiological responses to purely visual, purely auditory, and combined audiovisual emotional stimuli. The results show that auditory stimuli are more effective in separating emotions at the physiological level. The subjects were found to be much more attentive during the audio-only phase. In order to overcome the limitations of emotional protocols carried out in a laboratory environment, which may elicit fewer emotions due to being an unnatural setting for the subjects under study, a final emotional elicitation protocol was created using virtual reality. Scenes similar to reality were created to elicit four distinct emotions. At the physiological level, it was noted that this environment is more effective in eliciting emotions. To our knowledge, this is the first protocol specifically designed for virtual reality that elicits diverse emotions. Furthermore, even in terms of classification, the use of virtual reality has been shown to be superior to traditional flat-screen protocols, opening the doors to virtual reality for the study of
conditions related to emotional control
Brain processes underlying the perception of audiovisual content
Programa de Doctorado en NeurocienciasLΓnea de InvestigaciΓ³n: Procesos neuronales que subyacen al aprendizaje y la memoria en el animal despierto. Substratos neuronales de los comportamientos apetitivos y exploratoriosClave Programa: DNFCΓ³digo LΓnea: 90La percepciΓ³n audiovisual ha sido tradicionalmente abordada desde perspectivas sociales, psicolΓ³gicas, semiΓ³ticas y antropolΓ³gicas. En los ΓΊltimos aΓ±os ha surgido un enfoque novedoso desde la neurociencia. En el campo de la neurocinemΓ‘tica, las tΓ©cnicas de la neurociencia se utilizan para comprender los procesos cerebrales que subyacen a la percepciΓ³n del contenido audiovisual. Esta Tesis Doctoral estudia estos procesos bajo tres perspectivas principales: (1) encontrar diferencias en la percepciΓ³n de un contenido narrativo en una representaciΓ³n real o en una pantalla; (2) aprender cΓ³mo el estilo y el contenido de las obras audiovisuales afectan a la percepciΓ³n de los espectadores; y (3) determinar si la profesionalizaciΓ³n en los medios tiene un impacto en la percepciΓ³n visual. Con tΓ©cnicas electroencefalogrΓ‘ficas y electrooculogrΓ‘ficas, se registraron los parpadeos y la actividad elΓ©ctrica cerebral de los participantes. Los principales hallazgos de estos trabajos son los siguientes. En cuanto a la primera perspectiva, se encontraron diferencias en la percepciΓ³n de la realidad y el audiovisual. Un contenido narrativo en un video provoca una menor tasa de parpadeo de los espectadores en comparaciΓ³n con el mismo contenido dentro de una actuaciΓ³n real. En cuanto a la segunda perspectiva relacionada con el estilo y el contenido de las obras audiovisuales, se encontrΓ³ que: (i) la tasa de parpadeo de los espectadores cambia segΓΊn el estilo de montaje de las obras audiovisuales, cuanto mΓ‘s caΓ³tico el estilo, menor la tasa de parpadeo; (ii) los cortes de plano inhiben los parpadeos inmediatamente posteriores a ellos, evitando la posibilidad de trabajar en una sincronizaciΓ³n de cortes con parpadeos para evitar la pΓ©rdida de informaciΓ³n visual realizada por ambos procesos; (iii) los cortes de plano afectan la percepciΓ³n de los medios y provocan una posible propagaciΓ³n de la actividad desde las Γ‘reas occipitales hacia las Γ‘reas frontales del cerebro alrededor de 200 ms despuΓ©s del corte; (iv) el estilo de ediciΓ³n donde se insertan los cortes tiene un impacto en la decodificaciΓ³n de los espectadores y los audiovisuales caΓ³ticos y rΓ‘pidos aumentan el alcance atencional pero disminuyen el procesamiento cognitivo superior; (v) existen contenidos narrativos especΓficos que sincronizan aumentos y disminuciones de la tasa de parpadeo de los espectadores, independientemente del estilo de ediciΓ³n en que se presenten; y (vi) los cortes en los audiovisuales no provocan ninguna actividad cerebral asimΓ©trica especΓfica en la banda alfa en los espectadores, lo que sugiere que la asimetrΓa cerebral al ver audiovisuales puede estar mΓ‘s relacionada con el contenido narrativo que con el estilo formal. Finalmente, con respecto a la tercera perspectiva relacionada con la profesionalizaciΓ³n de los medios, se encontrΓ³ que: (i) los profesionales de los medios prestan mΓ‘s atenciΓ³n tanto a las pantallas como al mundo real que los que no son profesionales audiovisuales; (ii) los profesionales de los medios disminuyen mΓ‘s su tasa de parpadeo despuΓ©s de los cortes de plano, lo que sugiere que pueden manejar mejor la pΓ©rdida de informaciΓ³n visual que implican los parpadeos evitΓ‘ndolos cuando se presenta nueva informaciΓ³n visual; y (iii) la conectividad cerebral efectiva ocurre de una manera mΓ‘s organizada en los profesionales del audiovisual. En conclusiΓ³n, los audiovisuales modulan la percepciΓ³n visual de los espectadores, en funciΓ³n de varios parΓ‘metros como el estilo, el contenido y la profesionalizaciΓ³n. Conocer los procesos cerebrales que subyacen a la percepciΓ³n de contenidos audiovisuales puede ser ΓΊtil en mΓΊltiples Γ‘mbitos como el comunicativo, el clΓnico o el formativo, entre otros.Universidad Pablo de Olavide de Sevilla. Departamento de FisiologΓa, AnatomΓa y BiologΓa Celula
The Truth-Default, Diagnostic Utility, and the Value of Contextual Knowledge in Deceptive Interactions
This dissertation describes and reports an experimental study examining the predictions of truth-default theory (TDT). TDT is an expansive, modular theory of deception detection which explains the processes by which people abandon the truth-default state and navigate judgments of message veracity in conversations. The first goal of this study was to test TDTβs seventh proposition, which explains how communicators abandon the truth-default state through trigger events (i.e., actions which prompt communicators to be uncertain about the accuracy of the message) such as decreased sender believability and message coherence. The second goal of this study was to test the predictions of TDTβs ninth hypothesis, which explains how messages are judged as deceptive through the same triggers that prompt the abandonment of the truth-default state. Finally, this study tests TDTβs twelfth proposition, which claims that questioning which produces diagnostic utility will ultimately result in higher judgment accuracy than relying on perceptions of sender believability or message coherence when judging the veracity of messages. The proposed study sampled 361 participants from Amazonβs Mechanical Turk (MTurk), who watched a sequence of two videos and completed an anonymous online survey. None of the study hypotheses concerning TDTβs seventh, ninth, and twelfth propositions were supported, but the findings from this dissertation did contribute to the deception literature with regard to the prevalence of the truth-default and truth bias. Theoretical and practical implications of the results are discussed, as well as a review of the limitations influencing the interpretation of this dissertationβs findings
The Potential of the Transformative Storytelling Technique for supporting informal caregiver wellbeing
In una societΓ in cui i progressi e le innovazioni si verificano quotidianamente, lo sviluppo di strumenti digitali per la salute mentale continua a ritmi quasi incontrollabili. Seguendo le tendenze nell'utilizzo dello storytelling in tutti i campi e riflettendo sulla mancanza di modelli di lavoro e strutture per l'applicazione dello storytelling nel supporto della salute mentale, la Transformative Storytelling Technique Γ¨ progettata e sviluppata come parte di questo lavoro. Questa tecnica rappresenta una nuova categoria per la creazione di contenuti ibridi per guidare l'esperienza del pubblico, a partire dal caso dei caregiver informali.
Lo scopo di questa dissertazione Γ¨ introdurre ed esplorare la fattibilitΓ di una nuova tecnica - Transformative Storytelling (TST) - nel supportare la salute mentale e il benessere dei caregiver informali con storie audio progettate. La tesi Γ¨ presentata in quattro capitoli in linea con gli obiettivi e strutturata secondo le fasi di ricerca e sviluppo applicate nello sviluppo di questa nuova tecnica.
In questo lavoro viene utilizzato il disegno del metodo misto, inclusa la revisione qualitativa dell'ambito nel primo studio, l'indagine narrativa utilizzando interviste semi-strutturate progettate seguendo le categorie di esplorazione TST a priori nel secondo studio e lo studio quantitativo pre-post interventistico combinato con il facciale monitoraggio dell'espressione nello studio pilota. La Transformative Storytelling Technique Γ¨ dimostrata come un approccio metodologico e narrativo digitale potenzialmente di successo per strutturare, sintetizzare tematicamente le esperienze dei gruppi target e consegnarle attraverso la narrazione digitale. Questo potenziale Γ¨ stato osservato nella valutazione pilota pre-post, in cui la tecnica ha dimostrato una significativa riduzione del carico soggettivo e un significativo aumento della felicitΓ durante l'esposizione della storia TST.
Nello Studio 1, vengono esplorati gli strumenti di salute mentale digitale esistenti per i caregiver informali, seguiti dallo Studio 2 in cui Γ¨ stata discussa e proposta una potenziale soluzione di supporto. In linea con ciΓ², il lavoro continua con lo Studio 3 in cui la Transformative Storytelling Technique viene adattata dal Transformative Video Design e viene eseguita la dimostrazione metodologica. Successivamente, la valutazione pilota della tecnica menzionata nello Studio 4 Γ¨ inclusa per testare la fattibilitΓ dell'utilizzo della tecnica di narrazione per supportare i caregiver informali con narrazioni digitali TST. Infine, i limiti e le implicazioni per la ricerca futura sono discussi nella sezione finale.In a society where advances and innovations occur daily, the development of digital mental health tools continues at almost uncontrollable rates. Following trends in utilization of storytelling across fields and reflecting on the lack of working models and frameworks for application of storytelling in mental health support, the Transformative Storytelling Technique is designed and developed as a part of this work. This technique represents a new category for creating hybrid content to guide the experience of audiences, starting with the case of informal caregivers.
The aim of this dissertation is to introduce and explore the feasibility of a novel technique β Transformative Storytelling (TST) - in supporting informal caregiversβ mental health and wellbeing with designed audio stories. The dissertation is presented in four chapters in line with the objectives and structured according to the research and developmental phases applied in developing this novel technique.
Mixed-method design is used in this work, including qualitative scoping review in first study, narrative inquiry using semi-structured interviews designed following a-priori TST categories of exploration in the second study, and quantitative pre-post interventional study combined with the facial expression tracking in the pilot study. Transformative Storytelling Technique is demonstrated as a potentially successful methodological and digital narrative approach for structuring, thematically synthesizing experiences of target groups, and delivering them via digital narration. This potential was observed in the pilot pre-post assessment, where the technique demonstrated significant reduction of the subjective burden and a significant increase in happiness during the TST story exposure.
In Study 1, the existing digital mental health tools for informal caregivers are being explored, followed by the Study 2 where a potential support solution has been thoroughly discussed and proposed. In line with that, the work continues with Study 3 where the Transformative Storytelling Technique is adapted from the Transformative Video Design and methodological demonstration is being performed. Next, the pilot assessment of the mentioned technique in Study 4 is included to test the feasibility of using the storytelling technique for supporting informal caregivers with TST digital narratives. Finally, limitations and implications for future research are discussed in the final section
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