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Cultural policy of Armenia
No full textDiploma thesis describes fundamental aspects of Armenian cultural policy and preservation of monuments. It focuses on cultural specifics such as an important role of diaspora, problematic history and unclear relations with European Union and Russia. Thesis describes a process of creation and implementation of cultural policy, which still does not exist as an official and uniformly binding document. It reveals roles of individual entities dealing with a topic of cultural policy as well as ways of financing the culture and preservation of monuments. Neighbouring states of Georgia and Azerbaijan are also investigated for the cause of cultural policy comparison of the whole region.Diplomová práce popisuje základní aspekty arménské kulturní politiky a památkové péče. Zaměřuje se na kulturní specifika země, jakými jsou významná role diaspory, problematická historie a nejasné vztahy k Evropské unii a Rusku. Práce popisuje proces tvorby a implementace kulturní politiky, která v zemi stále neexistuje jako oficiální a jednotný závazný dokument. Odhaluje roli jednotlivých aktérů na poli kulturní politiky a možnosti podpory a financování kultury a památkové péče. Diplomová práce se dále zabývá sousedními státy Gruzií a Ázerbájdžánem pro potřeby následného srovnání kulturní politiky v rámci celého regionu
Cultural policy of Armenia
No full textDiploma thesis describes fundamental aspects of Armenian cultural policy and preservation of monuments. It focuses on cultural specifics such as an important role of diaspora, problematic history and unclear relations with European Union and Russia. Thesis describes a process of creation and implementation of cultural policy, which still does not exist as an official and uniformly binding document. It reveals roles of individual entities dealing with a topic of cultural policy as well as ways of financing the culture and preservation of monuments. Neighbouring states of Georgia and Azerbaijan are also investigated for the cause of cultural policy comparison of the whole region.Diplomová práce popisuje základní aspekty arménské kulturní politiky a památkové péče. Zaměřuje se na kulturní specifika země, jakými jsou významná role diaspory, problematická historie a nejasné vztahy k Evropské unii a Rusku. Práce popisuje proces tvorby a implementace kulturní politiky, která v zemi stále neexistuje jako oficiální a jednotný závazný dokument. Odhaluje roli jednotlivých aktérů na poli kulturní politiky a možnosti podpory a financování kultury a památkové péče. Diplomová práce se dále zabývá sousedními státy Gruzií a Ázerbájdžánem pro potřeby následného srovnání kulturní politiky v rámci celého regionu
Hudba arménského hymnáře: Tnteseanův korpus
Get PDF- Haig Utidjian V této disertační práci si klademe za cíl objasnit a co nejpřesvědčivějším způsobem také popsat postupy, které Ełia Tntesean (1834-1881) používal při pořádání a redakci své verze melodií arménského hymnáře. Zároveň se pokoušíme vyložit jeho úsilí v kontextu dalších snah o zaznamenávání melodií arménských hymnů v Limōnčeanově systému hudebního zápisu v Cařihradu devatenáctého století, tedy v době, kdy již byla středověká neumatická notace do značné míry nesrozumitelná. Náš přístup zahrnuje vzájemné porovnání Tnteseanových muzikologických textů a pedagogických publikací s jeho transkripcemi v západní notaci a jeho zralejší realizací melodií hymnů v Limōnčeanově systému (publikováno posmrtně v roce 1934). Tyto informační zdroje pro nás představují koherentní korpus, jehož jednotlivé komponenty jsou vzájemně provázány. Porovnání s jinými hymnáři ze stejného období, prozkoumání paralel se sousední praxí osmanských makamů, terénní práce s přežívajícími zbytky ústní tradice a kritické studium Tnteseanových spisů a transkripcí nám umožňují objasnit aspekty notace a provozovací praxe. Zároveň nás vedou i k odkrytí jemného vývoje estetiky tohoto hudebního projevu. Navíc podrobná analýza Tnteseanova korpusu nám umožňuje řešit i zásadní otázky týkající se způsobu, jakým byly středověké neumy...Haig Utidjian - Abstract In this thesis we attempt to establish, in as concrete and tangible a manner as possible, the procedures used by Ełia Tntesean (1834-1881) in compiling and redacting his version of the melodies of the Armenian Hymnal, and to place his own endeavour in the context of other attempts to record the melodies of Armenian hymns using the Limōnčean system of musical notation in nineteenth-century Constantinople - at a time when the mediaeval neumatic notation had already become largely intractable. Our approach entails the juxtaposition of Tntesean's musicological articles and paedagogical publications with his transcriptions in Western notation and with his mature realisations of the hymnal melodies in the Limōnčean system, published posthumously in 1934 - treating these sources as a coherent corpus, of which the diverse components are allowed to shed light on each other. Comparison with other hymnals from the same period, the investigation of parallels with the neighbouring practice of Ottoman makams, fieldwork with surviving remnants of the oral tradition, and a critical examination of Tntesean's writings and transcriptions enable us to elucidate aspects of notation and performance practice, and to expose a subtle evolution in aesthetic. Furthermore, a detailed analysis of the Tntesean...Institute of MusicologyÚstav hudební vědyFaculty of ArtsFilozofická fakult
The music of the Armenian Hymnal: the Tntesean corpus
No full textHaig Utidjian - Abstract In this thesis we attempt to establish, in as concrete and tangible a manner as possible, the procedures used by Ełia Tntesean (1834-1881) in compiling and redacting his version of the melodies of the Armenian Hymnal, and to place his own endeavour in the context of other attempts to record the melodies of Armenian hymns using the Limōnčean system of musical notation in nineteenth-century Constantinople - at a time when the mediaeval neumatic notation had already become largely intractable. Our approach entails the juxtaposition of Tntesean's musicological articles and paedagogical publications with his transcriptions in Western notation and with his mature realisations of the hymnal melodies in the Limōnčean system, published posthumously in 1934 - treating these sources as a coherent corpus, of which the diverse components are allowed to shed light on each other. Comparison with other hymnals from the same period, the investigation of parallels with the neighbouring practice of Ottoman makams, fieldwork with surviving remnants of the oral tradition, and a critical examination of Tntesean's writings and transcriptions enable us to elucidate aspects of notation and performance practice, and to expose a subtle evolution in aesthetic. Furthermore, a detailed analysis of the Tntesean..
The music of the Armenian Hymnal: the Tntesean corpus
No full textHaig Utidjian - Abstract In this thesis we attempt to establish, in as concrete and tangible a manner as possible, the procedures used by Ełia Tntesean (1834-1881) in compiling and redacting his version of the melodies of the Armenian Hymnal, and to place his own endeavour in the context of other attempts to record the melodies of Armenian hymns using the Limōnčean system of musical notation in nineteenth-century Constantinople - at a time when the mediaeval neumatic notation had already become largely intractable. Our approach entails the juxtaposition of Tntesean's musicological articles and paedagogical publications with his transcriptions in Western notation and with his mature realisations of the hymnal melodies in the Limōnčean system, published posthumously in 1934 - treating these sources as a coherent corpus, of which the diverse components are allowed to shed light on each other. Comparison with other hymnals from the same period, the investigation of parallels with the neighbouring practice of Ottoman makams, fieldwork with surviving remnants of the oral tradition, and a critical examination of Tntesean's writings and transcriptions enable us to elucidate aspects of notation and performance practice, and to expose a subtle evolution in aesthetic. Furthermore, a detailed analysis of the Tntesean..
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
Encoding Armenian Neumes
Get PDFUIDB/00693/2020
UIDP/00693/2020Chant notations are found across a large geographical area encompassing Europe and part of the Middle East (including the Levant and the historical Armenian lands). The Neumes Module represents a collective endeavour on the part of the MEI Community to capture into a machine-readable format the meaning of chant notations. In recent years intensive efforts were devoted towards improving the applicability of the MEI Neumes Module, first applied almost exclusively to St Gall notation (aka ‘East Frankish notation’), and recently extended to include the encoding of Old Hispanic, Aquitanian and square notations (MEI Neumes Module, version 4.0). With this paper we aim to contribute towards expanding the interoperability of the MEI Neumes Module by testing it against the Armenian neumatic notation. From an encoding point of view, Armenian notation shows a higher degree of complexity compared to the neumatic notations so far tackled by MEI. Indeed, unlike all the neumatic notational systems hitherto dealt with by MEI, with the Armenian system we possess no information on either the melodic contour or the number of pitches associated with the neumes. Therefore, one of the fundamental elements of the current Neumes Module cannot be applied to the encoding of Armenian neumes: the ‘neume component’ , that is, a ‘sign representing a single pitched event, although the exact pitch may not be known’. Moreover, encoding Armenian neumes will serve to take even further the recent tendency to encode the visual appearance of the neumes rather than their semantics. In this paper we outline the challenges of encoding Armenian notations with MEI and propose a solution applicable to future projects aiming at the digital analysis of the Armenian chant repertory.publishersversionpublishe
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
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