КИТАЙСЬКИЙ ВКЛАД В МОДЕРН-АВАНГАРД ЄВРОПИ

The purpose of the article to follow the historic stages of the rapprochement between Chinese-east and uropean-west music area in last century, till the diffusion of the cultural stimulus in creative activity Tan Dun and other epresentatives of the Orient in European cultural space.The declared subject is determined by sum of the postavant-garde cultural wave of modernity where the ntegrative factors "Orient-West" occupy the significant place. In music world Tan Dun, chinese gеnius in european cоmpоser system of self-expression symbolizes deep diffusion of corresponding to cultural quality.The value of the chinese influence on French was displayed by C. Debussi. R. Retie states that C. Debussi’s harmonic harmony is illusory, but the reality of the harmony constructions emerges mеlоdious tonality, linked his style with the Orient. Debussi, with delight said about to "rococo" painting, and used it in his composition "Chinese rоndеl" one of that this sort gallant (in initial meaning – kind, exquisite polite and good-hearted) art. This approach in analysis of the semantic esthetics become clear when "ethnological fine", which easy to reach by dint of quotation half tone melody, obvious and comprehensible all sign of the Orient. The composer didn’t use this instance.M. Voloshin in his essay put the "exotic" of romantic of the romantics an against the symbolists. It is well known that in Russian music culture the ideas of symbolism art original were refracted in creative activity of the national Russian music leader of the modernist style A.Skrjabin and S. Rachmaninov.Beside A. Skrjabin’s aesthetic principles of symbolism and style particularities sounded diversionary and declarative, pointing on the theosophical installation and on indian sources, Buddististical forming and its connection with Chinese religious world. In S. Rachmaninov’s compositions that symbolism style factors are given in the complex joining of artistic inclines. In A. Skrjabin melodies the ideas of the cosmic gigantism found specific russian mаximalism in faithfulness of the Ideal Rachmaninov intended to national folklore tradition. At same time in Rachmaninov’s compositions we can see the obvious installation on symbolism and estheticism in vocal lyric poet. The Role of the russian music in shaping the modernist style as a whole global has defined G. Eimert, which pointed out the russian root of the world avent-garde, generalised position chapters Köhln schools of K. Stockhausen comparatively the one of the Skrjabin base searching for "world theatre" in avаnt-garde tendencies in the second part of the XX century.The transformation from symbolism-expressionism modernism of A. Skrjabin to "new business ability" type "Gebrauchtmusik" german school 1920 years became the expressionism-primitiveness manifestations of the type "Miraculous tangerine" of B. Bartók (1919). This composition is exceedingly original, has carried out "chinese stamp" in european music. It was an pеntаtоnic of the Tangerine as semantic join her with pеntаtоnic style oldeuropean mеlоdiсs, in Hungarian variant united with Asiatic origins, which have been given the European nation.The theatre of B. Brecht is determined in adjectives such as "epic" theatre, its epic principle has generated his deep knowledge of music. The music part of such show is subordinated by popular-cultural type of the expression, where the structure of songs-hits includes the scenic actions in timeless. In this context music of Brecht’s performances can be compared with the cian of Chinese opera moreover, in variant ciuj-pe, "provincialism", which nature forms their deep value.But the main expressive acceptance, which has invented the theatre of Brecht and Peking opera was the agitation-sharp manner of scansion in pronouncing of the text. It is enough to match the fragments an readings from Czincziuj’s shows with alive authentic record (not all theatres capable to do it, but only Moscow Theatre level on Taganka with participation V. Vysockij 1970 years!) of the shows Brecht to make sure these phenomena in deep sense resemblance.The one line of the Czincziuj’s influences is a ballet of R. Glier "Red flower". It is well known that this show got significant success in 1927 in Soviet Russia (Moscow, Big theatre), but then it was subsequently postponed on the secondary scenes of the country. Glier’s ballet did not take categorically the individual psychology traditional music thinking, in revenge after "new youth" blast 1920 years. His ballet consisted of duet of Soviet Captain and Tai Hoa, dancers, the main to heroines on motive of the Internationale such as joining of ideological music sign and intimaty of larval relations did not comply with the classics of the ballet european theatre by the most categorical image.The new stage is an interaction with Chinese theatre, where the culture of the ballet naturally has grown up from dance-acrobatic "military" shows of Beijing operas Jingju. The Opera of J. Adams "Nixon in China" has opened the way of Chinese art in the popular cultural area and became the triumph in 2000 years of the production kuncuy in USA then the process was marked amicable agreement popularity Tan Dun as the genius of American music and the megaphone of Chinese cultural music in system of European music.В статье автор прослеживает исторические этапы сближения китайского (восточного) и европейского (западного) музыкальных ареалов на протяжении ХХ столетия, вплоть до диффузии культурных стимулов в творчестве Тан Дуна и других представителей Востока в европейском культурном пространстве. Это определено итоговостью поставангардной культурной волны современности, в которой интегративные показатели "Восток-Запад" занимают значительное место.У статті автор прослідковує історичні етапи зближення китайського (східного) і європейського (західного)музичних ареалів протягом ХХ століття, аж до дифузії культурних стимулів у творчості Тан Дуна та інших представників Сходу в європейському культурному просторі. Це визначено підсумковістю поставангардної культурноїх вилі сучасності, в якій інтегративні показники "Схід-Захід" займають значне місце

ПРО ТИПОЛОГІЧНУ ІЗОХРОНІЮ У РОЗВИТКУ ПІСЕННОГО ТА ОПЕРНОГО ЖАНРІВ МУЗИЧНОГО МИСТЕЦТВА КИТАЮ І ЄВРОПИ VI–XIX СТОЛІТЬ

Scientific interest of the domestic art criticism to the national cultures of the East and West seems important because this is the way of creating conditions for further cross-cultural contacts of international community. Cultural integration is a global process, which defines the strengthening of cultural, communicational, and civilizational links between national cultures. The achievements of science and art are distributed and absorbed in the modern world, forming its integrity. The problem of the comparative analyses of the Chinese and European music needs a comprehensive research. During the 6-19th centuries in both geographical areas the bright individual cultural and artistic traditions were formed, but their analysison the level of aesthetic consciousness of the Renaissance and the Middle Ages epochs, the stereotypes of musical thinking,the typology of musical genre give an opportunity to see the similarity, classified by us as an isochronism.Thus, the first example of the typological isochronism can be seen in a comparison of the Chinese Tang and Sung Dynasties’ poetry and European musical hymnography. On the basis of the research of analogues we can emphasize the division of the medieval period of cultural worlds under study into two qualitatively different phases, where China is represented by the eras of the Tang and Sung Dynasties (the dominance of the literature, music and painting, respectively), while Europe is represented by Byzantium, Britain and Franco-Germanic area (the flourishing of the musical-poetic hymns creation – the art of the troubadours (trouvère) and minnesingers, respectively). The significance of the separate musical thinking in hymnography and song sphere inspired the birth of ballad-typed theatrical forms in China and Europe (zhugongdiao – "a story accompanied by the musical instrument", "performances" of the troubadours) as well as Yuan drama in China and liturgical drama in Europe in the 13th century. All these factors prove the isochronism on the level of music genre typology.Thus, the next example of the typological isochronism can be seen in the embodiment of the early romantic expression into the artistic system of South Chinese and European musical theater of the 12-16th centuries. The artistic and aesthetic experience of Kunqu opera (Kunshun) and Yuan drama (Zaju) shows that this cultural phenomenon is a unique one in terms of performance techniques, vocal pronunciation, specific features of orchestral accompaniment’s participation in the performance, use of dance elements, acrobatic stunts. The artistic system of Kunqu included dance elements and comic domestic scenes.This system stuck to the general orientation of the art work for the mythological literary themes which can be viewed as the analogy of European liturgical drama and early opera drama with a definite order of the components. Cantilena expression in its aria (singing with instrumental accompaniment) can be paralleled with a song and aria essence of zhugongdiao ballads. They are compared with the lyricism of liturgical dramas and mysteries in the European culture. It has to be said that vocal performances were identical to the ballads of the troubadours and minnesingers. To our mind Chinese opera Kunqu has the same mixture of serious and funny, sacred and domestic, symbolic and realistic elements, and this feature is typical for European, primarily French liturgical drama and mystery of the 12-15th centuries. Kunqu differs from the magnitude of European mystery by the chamber features of music. It is also similar to the early Italian opera by J. Perry and Giulio Caccini and to such operamystery as "Rappresentatione di anima et di corpo" by Emilio de Cavalieri.The third example of the typological isochronism of the cultural worlds under research is the artistic and semantic parallelism of Taiping and Galibaldi hymns. This example shows the specific and similar features of song genres of Chinese and European music of the 19th century. The analysis of the sample hymn, created by the Taipings, has proved the idea of the imitation of aesthetic principles of ancient Chinese poetry and music, combined with the use of modern musical and poetic means of expression. The examples of the Chinese genre of hymn creation of the mid-19th century correlate with European song art of the Biedermeier era and Romantic period. Comparative analysis of the Chinese hymns and European songs as for the implementation of philosophical works and national-patriotic ideas, the system of musical expression (intonation profile, rhythm, harmony, form creation) shows the similarity of the artistic ideas, which is explained by the synchrony in the development of polar cultural worlds. The mentioned above genres reveal the principle of combining the political and artistic creative activities. They integrate the ideas of a high moral aim achievement, patriotic inspiration, and the rejection of life realities, characterized by the romantic aesthetic features in Chinese and European art music.The artistic integrity of Beijing opera Jingju, as a synthesis of dramatic, timbre and imaginative principles, and its comparison with European opera of the 19th century, is based on the dramaturgy of the contrasts, timbres-positions, subordination to the rhetorical theme. It is the fourth example of the typological isochronism of cultural areas under study. The analysis of the Beijing Opera samples in correlation with synchronous European opera performances lets us make a conclusion that there exists a principle of parallelism, in particular, between their systems of the artistic expression. The vocal dramaturgy of the Beijing opera is realized through the male parts. It shows a variety of registers, but it became famous because of falsetto, extremely affective and declamatory singing, which included the natural wide range male timbre. We’ve correlated this style with verism’s declamatory style of the second half of the 19th century. The comparison of the Beijing Opera performances with European samples has shown that they have similar dramatic and plot lines ("Du Shynyan" – "La Traviata" J. Verdi's, "The challenge of family loyalty" – "Taras Bulba" by M. Lysenko, etc). This fact shows the need of theEuropean art works’ analysis in terms of their determination by the rhetorical theme. It is a typological factor of the musical and intonation dramaturgy of the opera drama, usually ignored by the traditional intonation approach.В статье рассмотрены четыре примера типологической изохронии песенного и оперного жанров музыкального искусства Китая и Европы VI–XIX веков. На основе междисциплинарного, синхронистического, типологического и др. методов анализа музыкально-исторического процесса доказывается изохронность творческих феноменов китайской песенной поэзии эпох Тан, Сун и европейской музыкальной гимнографии VI–VIII веков, южно-китайского и европейского музыкального театра XII–XVI веков, тайпинских и гарибальдийских гимнов, оперы Цзинцзюй и европейского музыкального театра ХІХ века. Осуществляется вывод о том, что внутренняя противоположность Востока и Запада, их глубинная самостоятельность как типов цивилизаций, форм историко-культурного развития человечества не отрицает связи в "надфизическом" измерении, обусловленном мировым континуумом.В статті розглянуто чотири приклади типологічної ізохронії пісенного та оперного жанрів музичного мистецтва Китаю і Європи VI–XIX століть. На основі міждисциплінарного, синхроністичного, типологічного та ін. методів аналізу музично-історичного процесу доводиться ізохронність творчих феноменів китайської пісенної поезії епох Тан, Сун та європейської музичної гімнографії VI–VIII століть, південно-китайського і європейського музичного театру XII–XVI століть, тайпінських й гарібальдійських гімнів, опери Цзінцзюй та європейського музичного театру ХІХ століття. Робиться висновок, що внутрішня протилежність Сходу і Заходу, їх глибинна самостійність як типів цивілізацій, форм історико-культурного розвитку людства не заперечує зв’язку в "надфізичному" вимірі, зумовленому світовим континуумом

A HISTÓRIA DOS ESTUDOS DE MUSICOLOGIA NA UNIVERSIDADE DE WROCLAW E SUA RELAÇÃO COM A GÊNESE ESTADO-RELIGIOSA DO JAGELONISMO NOS SÉCULOS XV-XVI

Research on the origins and functioning of the Wroclaw School of Musicology in the first half of the 20th century. is relevant, since the development of new approaches in modern Ukraine requires the broadest historical generalizations, while the general indicator of the genesis and results of the development of the relevant links of educational institutions indicated in the special literature is not sufficiently covered in the scientific works of Ukrainian and foreign musicologists until our time. This is connected not only with the discovery and analysis of new documentary materials and facts, but also with the unfortunate lack of regular cooperation between the musicology centers of Wroclaw and Lviv at the scientific and educational and methodological levels in the modern period. University musicology of the Wrocław school in the forms of musicological embodiments of the concept of a higher school has become an important factor in the educational completeness of professional musical training, taking into account the organic interaction of the higher level of music schooling with primary and secondary levels, which is broken in the modern Western European music-educational system.Pesquisa sobre as origens e o funcionamento da Escola de Musicologia de Wroclaw na primeira metade do século XX. é relevante, uma vez que o desenvolvimento de novas abordagens na Ucrânia moderna requer as mais amplas generalizações históricas, enquanto o indicador geral da gênese e dos resultados do desenvolvimento dos vínculos relevantes das instituições de ensino indicados na literatura especial não é suficientemente abordado nos trabalhos científicos de musicólogos ucranianos e estrangeiros até aos nossos dias. Isto está relacionado não só com a descoberta e análise de novos materiais e factos documentais, mas também com a infeliz falta de cooperação regular entre os centros de musicologia de Wroclaw e Lviv a nível científico, educativo e metodológico no período moderno. A musicologia universitária da escola de Wrocław, nas formas de concretizações musicológicas do conceito de escola superior, tornou-se um factor importante na integralidade educativa da formação musical profissional, tendo em conta a interacção orgânica do nível superior de escolaridade musical com o ensino primário e secundário. níveis, que está quebrado no moderno sistema educacional musical da Europa Ocidental

Bacterial regulon modeling and prediction based on systematic \u3ci\u3ecis\u3c/i\u3e regulatory motif analyses

Regulons are the basic units of the response system in a bacterial cell, and each consists of a set of transcriptionally co-regulated operons. Regulon elucidation is the basis for studying the bacterial global transcriptional regulation network. In this study, we designed a novel co-regulation score between a pair of operons based on accurate operon identification and cis regulatory motif analyses, which can capture their co-regulation relationship much better than other scores. Taking full advantage of this discovery, we developed a new computational framework and built a novel graph model for regulon prediction. This model integrates the motif comparison and clustering and makes the regulon prediction problem substantially more solvable and accurate. To evaluate our prediction, a regulon coverage score was designed based on the documented regulons and their overlap with our prediction; and a modified Fisher Exact test was implemented to measure how well our predictions match the co-expressed modules derived from E. coli microarray gene-expression datasets collected under 466 conditions. The results indicate that our program consistently performed better than others in terms of the prediction accuracy. This suggests that our algorithms substantially improve the state-of-the-art, leading to a computational capability to reliably predict regulons for any bacteria

An Integrative and Applicable Phylogenetic Footprinting Framework for \u3cem\u3ecis\u3c/em\u3e-regulatory Motifs Identification in Prokaryotic Genomes

Background: Phylogenetic footprinting is an important computational technique for identifying cis-regulatory motifs in orthologous regulatory regions from multiple genomes, as motifs tend to evolve slower than their surrounding non-functional sequences. Its application, however, has several difficulties for optimizing the selection of orthologous data and reducing the false positives in motif prediction. Results: Here we present an integrative phylogenetic footprinting framework for accurate motif predictions in prokaryotic genomes (MP3 ). The framework includes a new orthologous data preparation procedure, an additional promoter scoring and pruning method and an integration of six existing motif finding algorithms as basic motif search engines. Specifically, we collected orthologous genes from available prokaryotic genomes and built the orthologous regulatory regions based on sequence similarity of promoter regions. This procedure made full use of the large-scale genomic data and taxonomy information and filtered out the promoters with limited contribution to produce a high quality orthologous promoter set. The promoter scoring and pruning is implemented through motif voting by a set of complementary predicting tools that mine as many motif candidates as possible and simultaneously eliminate the effect of random noise. We have applied the framework to Escherichia coli k12 genome and evaluated the prediction performance through comparison with seven existing programs. This evaluation was systematically carried out at the nucleotide and binding site level, and the results showed that MP3 consistently outperformed other popular motif finding tools. We have integrated MP3 into our motif identification and analysis server DMINDA, allowing users to efficiently identify and analyze motifs in 2,072 completely sequenced prokaryotic genomes. Conclusion: The performance evaluation indicated that MP3 is effective for predicting regulatory motifs in prokaryotic genomes. Its application may enhance progress in elucidating transcription regulation mechanism, thus provide benefit to the genomic research community and prokaryotic genome researchers in particular

Oxygen-Vacancy Abundant Ultrafine Co_3O_4/Graphene Composites for High-Rate Supercapacitor Electrodes

The metal oxides/graphene composites are one of the most promising supercapacitors (SCs) electrode materials. However, rational synthesis of such electrode materials with controllable conductivity and electrochemical activity is the topical challenge for high-performance SCs. Here, the Co_3O_4/graphene composite is taken as a typical example and develops a novel/universal one-step laser irradiation method that overcomes all these challenges and obtains the oxygen-vacancy abundant ultrafine Co_3O_4 nanoparticles/graphene (UCNG) composites with high SCs performance. First-principles calculations show that the surface oxygen vacancies can facilitate the electrochemical charge transfer by creating midgap electronic states. The specific capacitance of the UCNG electrode reaches 978.1 F g^(−1) (135.8 mA h g^(−1)) at the current densities of 1 A g^(−1) and retains a high capacitance retention of 916.5 F g^(−1) (127.3 mA h g^(−1)) even at current density up to 10 A g^(−1), showing remarkable rate capability (more than 93.7% capacitance retention). Additionally, 99.3% of the initial capacitance is maintained after consecutive 20 000 cycles, demonstrating enhanced cycling stability. Moreover, this proposed laser-assisted growth strategy is demonstrated to be universal for other metal oxide/graphene composites with tuned electrical conductivity and electrochemical activity