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Early Ukrainian-Belarusian-Polish traditional melo-massif: Interethnic wedding macro-areas
Get PDFThrough rhythm-typological analysis and cartography the author has detected a
similarity in the typological structure of early traditional musical forms
belonging to agricultural and wedding genres on the territory which unites
Ukraine, Belarus (within its ethnic area at the beginning of the 20th
century), Eastern Poland (the Vistula river basin), and Lithuania (Dzūkija
and Aukštaitija). This concerns several dozen song types, composed of items
from a common grammatical base, forming the Ukrainian- Belarusian-Polish
early-traditional melo-massif ‒ UBPEM. These types share interethnic
(2-4-lingual) areals, which do not correlate with linguistic ones
“Musical archaeology”: historical geography of the Baltic-Slavic areas through the reproduction of ritual melodies
No full textThe author describes her experience of creating a geographic atlas of folk melodies (song forms) of Ukrainians and neighbouring ethnic groups, published in 2020. More than 130 maps included in the atlas reveal a commonality of musical thinking in songs used in the rituals connected with the annual agricultural cycle and with marriage rites. This type of thinking links the Ukrainian, Belorussian and Polish people, at the same time separating their geographic region from the Russian folk culture. The Ukrainian name for the scientific discipline dealing with mapping musical forms is “melogeography” (a concept defined by Volodymyr Hoshovsky in 1971). At the dawn of typological studies, Filaret Kolessa described the emerging approach as “musical archaeology” (1925). The methodological basis for creating melogeographic maps is the rhythmic-typological method of classifying folk melodies which has been consistently developed in Ukrainian ethnomusicology since the beginning of the 20th century (the article presents a short overview of the emergence of structural and cartographic approaches in East Slavonic science). These methods did not gain popularity in Polish ethnomusicology (though they prove useful in Polish ethnology), therefore the author covers the following issues: methodological and practical challenges in mapping musical phenomena (what mapping is for, what type of reflection and knowledge it develops); types of phenomena mapped and motivations behind their choice; types of sources used; crucial problems during field studies and their impact on mapping; role of musical analysis and transcription in mapping (whether these tools remain essential)
Apie kai kurias tipines ritualinių dainų formas: slavų ir baltų (ukrainiečių-baltarusių-lenkų-lietuvių) arealas
No full textPastaruoju dešimtmečiu straipsnio autorė domėjosi tipologiniu ukrainietiškų ir baltarusiškų pagrindinių tradicinių ritualinių melodijų tipų aprašymu. Tai dainos, lydinčios kalendorines šventes ir žemės darbų sezonus, atliekamos per vestuves ir gimus vaikui. Bendras įrašytų melodijų (garso įrašų ir natų) fondas sudaro daugiau nei 50 000 pavyzdžių. Tipologinės melodijų grupės (tipologinės šeimos) išskiriamos metodais, būdingais Ukrainos etnomuzikinei mokyklai, kurią XX a. pradžioje suformavo Stanislavas Ludkevičius, Filaretas Kolessa ir Klimentas Kvitka ir kuri iš esmės atsinaujino 1990–2010 m. Tarp dainų pavyzdžių, turinčių bendrą ritualinę funkciją (paskirtį), buvo ieškoma bendrųjų formų, t. y. menzūrinio (nekirčiuoto) tipo ritminių modelių, atitinkančių silabinę dainų tekstų schemą. Šie ritminiai-silabiniai modeliai tapo pagrindu tam tikros formos melodinių variacijų serijoms kurti. Autorė yra sukūrusi specialius žanrinius melodinių formų registrus (apie 160 pagrindinių ritminių-kompozicinių modelių tipų), pateiktus tipologinėse lentelėse. Kiekvienam žanro melotipui atliktas kartografavimas (nustatyta apie 400 tipinių dainų formų paplitimo sričių). 132 lentelės ir žemėlapiai buvo išspausdinti Klymenko monografijos II tome (žr. Клименко 2020). Melodiniai tipai – tipologiniai modeliai (meloformos, melotipai) – ne visuomet apsiribojo ukrainiečių etnine teritorija. Nustatyta, kad daugelis atlaso žemėlapių turi tęsinį ukrainiečių kaimynų slavų etninėse teritorijose – pirmiausia baltarusių, paskui lenkų etninėse teritorijose, taip pat nedideliu mastu su Ukraina besiribojančiuose Rusijos regionuose, kuriuose kaimų gyventojai kalba rusiškai. Svarbu, kad keli žemėlapiai vedė link lietuvių etninės teritorijos. Autorė bendrąją polietninę erdvę vadina „slavų ir baltų ankstyvuoju tradiciniu arealu“. Tyrinėjant pietryčių Lietuvos (Dzūkijos) ir (kiek mažiau) pietvakarių Lietuvos (Suvalkijos), taip pat kai kurių gretimų šiaurės rytų (Aukštaitijos) zonų tradicijas, buvo aptiktos skirtingų žanrų ritualinės melodijos, bendros su ukrainiečiais. Straipsnyje analizuojama keliolika ryškiausių Ukrainos ir Lietuvos melotipologinių kontaktų atvejų, įvardijamos paralelės, kurias reikėtų tirti ateityje. Ukrainietiškų dainų formų aprašyme naudojami jų ritminiai-silabiniai kodai (žr. 1 lentelę), susidedantys iš natos kodo, žyminčio ritminės organizacijos tipą (ketvirtinė nata – dviejų taktų ritmai, aštuntinė – trijų taktų [jambo – chorėjo] ritmai), iš skaitinio kodo, kuriame skaičiai rodo skiemenų skaičių silabinėse grupėse (sumodeliavus pradines formas), o skaičių skaičius reiškia silabinių grupių skaičių formoje – dažniausiai 2 arba 3 grupes (rečiau kitokius skaičius). Greta melotipologinio, autorė remiasi ir arealoginiu metodu – reiškiniai lyginami, atsižvelgiant į jų geografines charakteristikas (duomenis apie lyginamųjų melodijų lokalizaciją), todėl analitinėje straipsnio dalyje gausu nuorodų į sudarytus ir publikuotus žemėlapius.The author examines more than a dozen song forms of Lithuanian folklore, which have parallels in Ukrainian folk songs. By mapping the key rhythm-syllabic forms of the ritual songs of the Ukrainians, the author established about 400 areas of distribution of typical song forms. It turned out that the many ritual areas extend beyond the Ukrainian ethnic territory to the north and east. Some of them reached the south of Lithuania (Dzūkija, Suvalkija, and to a lesser extent Aukštaitija). The article briefly comments on such polyethnic melodic forms, compares their genre and structural features
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
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