Throughout the history of music, the dialogue of cultures in the West-East discourse has produced various Orientalism models. Introducing a fashion for oriental decorations in Europe, using new instruments, borrowing modes of musical expression, as well as alluding to signs and symbols of oriental religions and philosophies gave rise to reshaping European musical aesthetics as early as the 18th century. At that time, Wolfgang Amadeus Mozart and his work were undoubtedly pivotal for the art. One can retrospectively observe that Turkish Janissary musical traditions significantly freshened and enriched the composer’s instrumental thinking. This can be seen most in the orchestration of Mozart’s oriental operas – namely, his singspiels Zaide and The Abduction from the Seraglio (Die Entführung aus dem Serail). Being a synthetic genre by its nature, opera is primarily related to literary activity; therefore, its oriental colour and imagery need to be immersed in the philosophical world of oriental narratives and storylines that were very popular in baroque and classicism art. Moreover, on the example of The Magic Flute (Die Zauberflöte), Mozart’s last opera, we can observe how the semiosis of Sufi texts explicitly present in this singspiel libretto gives the work new – Romantic – features. These new characteristics are not limited to the surface aesthetic level of decorations. As an opera reformer, Mozart reshapes the aesthetics of musical language, concurrently refining the ethical component of the genre. Thus, when analysing some instrumental, especially opera pieces by Mozart – namely, Zaide, The Abduction from the Seraglio and The Magic Flute singspiels, one can affirm that the synergy between all orientalism features in the composer’s works and established traditions of the European musical art resulted in the Viennese master creating a new ethical and aesthetic style model, which became seminal for the upcoming epochs.

The importance of visual culture is emphasized in an emerging post-modernist society; besides, visual characteristics are regarded as an extremely important educational means in achieving various social, cultural, and educational goals. Through visual perception of environment humans experience various aesthetical emotions. The visual quality of environment reflects the spiritual culture of society, shapes aesthetically attractive cultural landscape, and cultivates traditions of environmental adjustment that create unique surroundings of our living place. The visual quality is objective and can be measured; but the aesthetical quality is a product of evaluation determined by cultural background and personal features. In the contemporary context of globalisation and multicultural trends, a rapidly changing environment requires from us not only a simple adaptation, but the maintenance of positive, creative, inseparable from aesthetical, relationship as well. Relationship between personality and the world begins from attitude that is an instrumental way of evaluation of environment and determines individual����s reaction to the environmental changes. Tenaciously cultivated relationships and attitudes towards the environment, the objects of art and the values they represent in due course develop into person’s value-oriented convictions that form the core of personality. The attitudes stabilization begins in adolescence, when their outlines, together with personal... [to full text]

The importance of visual culture is emphasized in an emerging post-modernist society; besides, visual characteristics are regarded as an extremely important educational means in achieving various social, cultural, and educational goals. Through visual perception of environment humans experience various aesthetical emotions. The visual quality of environment reflects the spiritual culture of society, shapes aesthetically attractive cultural landscape, and cultivates traditions of environmental adjustment that create unique surroundings of our living place. The visual quality is objective and can be measured; but the aesthetical quality is a product of evaluation determined by cultural background and personal features. In the contemporary context of globalisation and multicultural trends, a rapidly changing environment requires from us not only a simple adaptation, but the maintenance of positive, creative, inseparable from aesthetical, relationship as well. Relationship between personality and the world begins from attitude that is an instrumental way of evaluation of environment and determines individual’s reaction to the environmental changes. Tenaciously cultivated relationships and attitudes towards the environment, the objects of art and the values they represent in due course develop into person’s value-oriented convictions that form the core of personality. The attitudes stabilization begins in adolescence, when their outlines, together with personal self-actualization... [to full text]

Made available in DSpace on 2014-12-17T14:36:37Z (GMT). No. of bitstreams: 1 ArtemisaAS_DISSERT_Pag1_ate_pag80.pdf: 3092024 bytes, checksum: 84093abb355c05bcb8f86787cc620cc3 (MD5) Previous issue date: 2010-09-30 / In order for this study to be developed, the central goal on our investigation was defined as analyzing and interpreting the aesthetical experiences meanings lived by singers-educators in the human formation. The interest for the aesthetical experience theme was built from my own experience for the last twelve years as a member of the School of Music Madrigal, the oldest group in the State Federal University, created for research and cultural extension with structural perspective which brings closer teachers, students and the outer community that comes from different social realities to face the challenge of combining the ability of singing, the corporeity involvement and the aesthetical experiences meanings. This paper points out the understanding of art as perceptive expression of human emotions, such as the creation of existential demand, the restructuring of oneself and the constructions which shape beauty. We seek a dense contribution of new challenges to the peculiar demand of human potential in terms of sensibility repertoire, of involvement, of expectation in magnifying the possibilities and the human and social competences. In the formation human process, we find a living field blooming with natural artistical possibilities, experimenting emotions and feelings shared in collective life, and bringing out impulses to unexpected ludic creation, establishing a powerful aesthetical ambience which highlights the symbolic and imaginary with the deepening of rich ludopoiese properties in several meanings. From the guiding principles of etnophenomenology we find structural and indispensable perspectives which contemplate values, desires, archtype images and ideas that impress originality and fertility to the study. On this path we understand the abundance of living moments of intense commitment, acquaintance, challenges, reunions and connections that stand out from fundamental aspects to freedom, autonomy, creativity and new discontinuities. This acknowledgement brings us closer to the enlighted fullness which makes us humans / Para o desenvolvimento deste estudo definimos como objetivo central de nossa investiga??o analisar e interpretar os significados das experi?ncias est?ticas vivenciadas por cantoreseducadores no processo de forma??o humanescente. O interesse pelo tema da experi?ncia est?tica foi constru?do a partir de minha pr?pria experi?ncia h? doze anos como cantora do Madrigal da Escola de M?sica, grupo de extens?o mais antigo da Universidade Federal do Rio Grande do Norte, um espa?o criado para a pesquisa e extens?o cultural com perspectiva estrutural que aproxima docentes, discentes e comunidade externa oriundos de diferentes realidades sociais para o desafio de combinar a habilidade do canto coral, o envolvimento da corporeidade e os significados de suas experi?ncias est?ticas. Este estudo aponta para o entendimento de arte como sendo express?o perceptiva de emo??es humanas, como cria??o de exig?ncia existencial, de reestrutura??o de si e de constru??es que d?o forma ? beleza. Busca-se uma contribui??o densa de novos desafios ? exig?ncia peculiar do potencial humano em termos de repert?rio de sensibilidades, do envolvimento, da expectativa em ampliar as possibilidades e as compet?ncias humanas e sociais. No processo de forma??o humanescente, encontramos o campo fecundo para usufruir possibilidades art?sticas espont?neas, experimentar emo??es e sentimentos partilhados na vida em grupo, provocar impulsos para cria??o l?dica inusitada, estabelecer uma ambi?ncia est?tica potencializadora que evidencia o simb?lico e o imagin?rio com o aprofundamento das propriedades da ludopoiese ricas em significados diversos. A partir de princ?pios norteadores da etnofenomenologia encontramos perspectivas estruturantes e indispens?veis que contemplam valores, desejos, imagens arquet?picas e ideias que imprimem originalidade e fecundidade ao estudo. Nesse percurso compreendemos a abund?ncia de momentos vivenciais de intenso comprometimento, conviv?ncia, desafios, reencontros e conex?es que despontam em aspectos fundamentais para a liberdade, autonomia, criatividade e novas descontinuidades. Esse reconhecimento nos aproxima da plenitude luminosa para humanescer

Thesis (MDram)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Empirical studies have shown that music has a determinable effect on human emotions. In this study, the function of music is analysed in terms of how it functions in the musical and the cabaret as genres. A broad overview regarding the development of these two genres shows how music is incorporated in these two genres through the ages. A further analysis regarding structural elements show how music is used in the musical to develop action and character, whilst also portraying how music supports the sosio-political onset of the cabaret. These functions are practically applied to My Fair Lady (1956) as text for the musical and applied to Die Kortstondige Raklewe van Anastasia W (2010) as text for the cabaret. In these two texts, chosen songs are analysed in terms of how the music functions in these two genres. In conclusion, a summary of how music functions in these two Musical Theatre genres is given by referring to the results discussed in this thesis. In the results are found a better understanding of how music functions in these genres to heighten the aesthetical and dramatic values of a theatre production. Music also heightens the emotional experience of the staged production. / AFRIKAANSE OPSOMMING: Empiriese studies het bewys dat musiek 'n daadwerklike effek op die mens se emosies het. In hierdie studie word ondersoek ingestel na die funksie van musiek in die musiekblyspel en die kabaret. 'n Breë oorsig van die ontwikkeling van hierdie twee genres toon aan hoe musiek daarin aangewend word. In 'n verdere bespreking van hierdie twee genres word die vorm en funksie van musiek in hierdie twee genres ontleed en aangetoon hoe musiek die handeling en karakterontwikkeling in die musiekblyspel beïnvloed en hoe musiek in die kabaret die sosiopolitiese aard van die kabaret ondersteun. Hierdie funksies is toegepas op My Fair Lady (1956) as musiekblyspel en Die Kortstondige Raklewe van Anastasia W (2010) as kabaret. In hierdie tekste is gekose liedjies ge-analiseer om aan te toon hoe die musiek ten opsigte van hierdie twee genres funksioneer. Ten slotte is daar opsommend uitgelig hoe musiek funksioneer in hierdie twee musiekteater genres met verwysing na die resultate gevind in die bespreking van die tesis. In die resultate word daar 'n beter begrip gekweek van hoe musiek in hierdie genres toegepas word om die estetiese en dramatiese ervaring van hierdie genres te verhoog. Musiek verhoog ook die gehoor se emosionele ervaring van die verhoogaanbieding.

<p>In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization.</p><p>Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.</p>

This is a study of the reactions of high school students in Sweden when reading A Modest proposal (Swift, 1729). If they get the chance to write whatever they want about the text, what do they find important? This study emanates from Rosenblatts (2002) view of reading out of two different stances: the aesthetical and the efferent. The aesthetical mode is reading for pleasure and experiencing the text, whilst in efferent reading the reader is primarily focused on what he or she will carry away as information from the text (Rosenblatt). To be able to categorize the material from the students more properly, a different set of ideas about reading modes, obtained from Tengberg (2011), is also presented and used in this essay.

In this essay results are developed on two different levels. First, it is shown in demonstration that a phenomenological analysis on the lines of Roman’s Ingarden’s study of works in literature can be applied to Virtual Reality works, such as professional-simulators and video-games. In particular it can then be pointed out that: i) sound is separable from the scene, but using sound VR becomes enriched; ii) the main role in literature is left for the imagination, while in VR we find richness in concretization. Second, it is argued in discussion that works in VR can be qualified as works of art. These electronic works may have all the aesthetical qualities (based on the phenomenology of Roman Ingarden) of the works of art in the traditional sense. So, that paper has two objectives: an analysis of VR and the search for the status of VR in art.

In the centre of today’s education there is the individuality of a pupil, the completeness of the education of a personality and the formation of the value-system. It is essential to look for the ways of the individual realization of these new requirements. The application and efficiency of artistical methods as the elements of individualization on purpose to plant aesthetical feelings and the delight in nature in the lessons of natural sciences are researched. The object of the research is the elements of the individualization of the aesthetical relation of the pupils with the natural environment. The aim of the research is to determine the elements of the individualization of the aesthetical relation of the pupils of the 5th and the 6th forms with the natural environment in the lessons of “The nature and the human”. The goals of the research: to reason theoretically the assumptions of the formation of the aesthetical relation with the natural environment in the educational aspect. To reveal the peculiarities of the aesthetical relation of the pupils with the natural environment. To characterize the elements of the individualization of the aesthetical relation of the pupils with the natural environment. The hypothesis of the research. The aesthetical relation of the pupils with the natural environment is being brought up-to-date if it is allowed in the educational process to observe individually and to experience aesthetically the natural environment. The methodology of the... [to full text]

Šiame darbe atsispindi A.Schopenhauerio meno filosofijos pamatinės idėjos. Mąstytojas nuodugniai iškristalizuoja estetinės patirties sampratą remdamasis Platoniškosios idėjos pirmavaizdžiu. Kadangi A. Shopenhaueriui meninis patyrimas užima kilniadvasiškiausią gyvenimo pakopą. Jam itin rūpi paneigti, betikslės, voliuntaristinės, iracionalios valios viešpatavimą, ištrūkti iš valios vergystės. Filsofas padaro radikalią perskyrą atribodamas pagrindo principo pažinimą nuo estetinės – kontempliacinės patirties plotmės. Jis kelia klausimą: kas gali pažinti grynąsias pasaulio formas? Ir iš kart nedvejodamas atsako: tik geniali būtybė, pakylanti virš kasdieniškos rutinos persisunkusios praktinių reikmių. Nes paprasto žmogaus kasdieniškas žvilgsnis nuolatos skendi pragmatiškumo ir suinteresuotumo liūne. Tik genijus, A. Schopenhauerio samprotavimais sugeba pamatyti patį daiktą, pažvelgti objektyviai, atsisakydamas pagrindo principo. Šitokiu judesiu genijus paneigia valią ir trumpai akimirkai suranda ramybės užuovėją. Mąstytojas padaro plačią valios objektyvacijos skleistį norėdamas parodyti kokiuose meno kūriniuose ir per kokią materiją ji kyla iki aukščiausios pakopos. A.Schopenhaueris pradėdamas nuo Architektūros remiasi štai tokiomis medžiagomis, kurios atskleidžia žemiausią valios objektyvacijos pakopą: sunkis, kietumas, sankaba. Ir baigia muzikos menu, kuri yra betarpiškas valios atspindys. Nes tik muzikos mene persipina visos valios pakopos. Toliau svarbų vaidmenį suvaidina I... [toliau žr. visą tekstą] / The thesis presents fundamental ideas of A. Schopenhauer’s philosophy of art. Following the original Platonic ideas, the thinker developed the concept of aesthetic experience. A. Schopenhauer’s artistic experience is positioned in the noblest level of life; he seeks to deny domination of purposeless, voluntary and irrational will and to escape from slavery of will. Philosopher makes a radical separation between recognition of principle of basis and aesthetical-contemplate experience. Moreover, he raises the question about who is capable of knowing the absolute forms of the world. And he gives the answer namely, that only a genial being which can leave the everyday routine full of practical needs behind is able to do that, because an ordinary human being’s everyday attitude is covered by pragmatism and interests. According to A. Schopenhauer, only genius can see the thing as such, maintain an objective attitude and ignore the principle of basis. In this way the genius denies the will and is able to find the moment of peace. The thinker discusses objectivation of will, seeking to show in which pieces of art and in what substances it reaches the highest level. Starting with architecture, A. Schopenhauer refers to the following substances presenting the lowest stage of objectivation of will: gravity, hardness, adherence. The final element is the art of music which is a direct reflection of the will. All stages of the will are presented in the art of music. Moreover, I. Kant plays... [to full text]