Composing the Chimera Suite: Grafting the Conventions of Extreme Metal onto a Jazz Orchestra Setting

<p>The Chimera Suite is a five-movement composition for a modern jazz orchestra augmented with timbres derived from extreme metal. Each movement explores how conventions located in extreme metal can be combined with modern jazz orchestra conventions to create a unique multi-movement suite. While each movement is composed discretely and can stand on its own, the Chimera Suite is intended to be experienced in one continuous sitting, as local and global through-composed forms are used to create thematic unity across the entire suite. Chapter 1 examines the global scenes of jazz and extreme metal, as well as the local Wellington jazz scene through Fabian Holt’s popular genre framework of ‘networks’ and ‘conventions’, and identifies the musical aesthetics that I drew from during the Chimera Suite’s compositional process. In Chapter 2, I analyse extreme metal band Between the Buried and Me’s ‘Silent Flight Parliament’ off their album The Parallax II: Future Sequence, jazz pianist Tigran Hamasyan’s ‘The Grid’ and ‘Out of The Grid’, and jazz drummer Dan Weiss’ ‘Annica’. Each of the artists’ works exhibits various musical conventions located in both jazz and extreme metal genres that I observe via the lenses of through-composed form, heaviness, and the dialectic of freedom and control. I analyse my own composition, the Chimera Suite, through the same lenses of through-composed form, heaviness, and the dialectic of freedom and control in Chapter 3, while discussing the ways in which the musical scenes identified in Chapter 1, and the musical inspirations found in Chapter 2, have impact the suite’s conception. Throughout this thesis, I discuss the unique perspectives afforded through this combination of genres that in turn, call into question the defining elements that contribute towards a genre’s identity.</p>

Composing the Chimera Suite: Grafting the Conventions of Extreme Metal onto a Jazz Orchestra Setting

<p>The Chimera Suite is a five-movement composition for a modern jazz orchestra augmented with timbres derived from extreme metal. Each movement explores how conventions located in extreme metal can be combined with modern jazz orchestra conventions to create a unique multi-movement suite. While each movement is composed discretely and can stand on its own, the Chimera Suite is intended to be experienced in one continuous sitting, as local and global through-composed forms are used to create thematic unity across the entire suite. Chapter 1 examines the global scenes of jazz and extreme metal, as well as the local Wellington jazz scene through Fabian Holt’s popular genre framework of ‘networks’ and ‘conventions’, and identifies the musical aesthetics that I drew from during the Chimera Suite’s compositional process. In Chapter 2, I analyse extreme metal band Between the Buried and Me’s ‘Silent Flight Parliament’ off their album The Parallax II: Future Sequence, jazz pianist Tigran Hamasyan’s ‘The Grid’ and ‘Out of The Grid’, and jazz drummer Dan Weiss’ ‘Annica’. Each of the artists’ works exhibits various musical conventions located in both jazz and extreme metal genres that I observe via the lenses of through-composed form, heaviness, and the dialectic of freedom and control. I analyse my own composition, the Chimera Suite, through the same lenses of through-composed form, heaviness, and the dialectic of freedom and control in Chapter 3, while discussing the ways in which the musical scenes identified in Chapter 1, and the musical inspirations found in Chapter 2, have impact the suite’s conception. Throughout this thesis, I discuss the unique perspectives afforded through this combination of genres that in turn, call into question the defining elements that contribute towards a genre’s identity.</p>

Teleology of A. P. Chekhov’s Story “My Life” (Theme and Thematical Motifs)

Purpose. The study is devoted to main thematical motifs of Chekhov’s story “My Life”. The correspondence between them reveals thematical integrity of the story. Teleology, the philosofical and conceptual aim of literary creative work, gets its manifestation by means of thematic unity. Results. The hero of the story, Misail Poloznev, breaks off relations with his narrow-minded father, an untalented civil architect. Gentry son, Misail would not choose some respectable job and prefers to work as a house-painter. He declares the importance of manual labor, so he feels like a social outcast in the town. The first leading motif of the story is a labor necessity. Another house-painter, Redka, shares its opinion. His credo is no lie, no deceive, technical skills. True and untrue way of living is the next important motif in the plot and thematical structure of the story. It realizes in two subjects: Masha Dolzhikova’s slogan “Everything is being past through” and Doctor Blagovo’s theory of progress indifferent to ethic goals of self-perfection. Misail Polosnev, on contrary, is sure that “nothing gets past through without a trace”, that a man is responsible on his deeds. The motif of life as a play is a derivate of the responsibility motif. Masha plays in life like an actress. She and Dr. Dolzhikov are completely egoistic, so Misail’s father is. Misail, his sister and Redka live for others’ good. Finally, this way is the only right way to live. Conclusion. The general theme of Chekov’s story “Me Life” is free will of the person tied with his or hers sense of responsibility. Motifs of free labor, true living and common duty units the thematical wholeness of the story. Its teleology is a need of ethic existence for everyone.

Aristotle’s Physics

The word physics comes from the Greek word for nature: phusis. As Aristotle himself uses it, the Greek term translated as physics in this context refers to natural science as a whole, including cosmology, biology, chemistry and meteorology, as well as the sort of investigation of the fundamental elements of things, and the laws that govern their behavior, for which we use the term today. The work we call “Aristotle’s Physics” was not published as a book in his own day, and it was not intended for publication as it stands. Instead, like his Metaphysics, it is a compilation—probably by Aristotle himself—of a number of separate writings: they may have been research papers and/or the basis for lectures (the ancient title for the Physics is Lectures on Natural Science, but there is no evidence that this title goes back to Aristotle). Nonetheless, the writings which make up the Physics exhibit a clear thematic unity. Aristotle explains “nature” as “an internal principle of change and rest”: change is thus central to the idea of nature as he understands it. Linked by the notions of nature and change, these writings are all concerned with foundational issues in natural science as Aristotle conceives of it. It is clear from other works that Aristotle took natural science as a whole to be a systematic body of knowledge which should be presented and studied in a systematic order (see Meteorologica I.1 338a20-26 and 333a5-9); in this order, the material in Physics comes first. Aristotle’s other works on natural science, such as De Caelo (On the Heavens), De Generatione et Corruptione (On Coming to Be and Ceasing to Be), De Anima (On the Soul), and De Partibus Animalium (On the Parts of Animals) constantly make reference, explicitly or implicitly, to notions developed and argued for in the Physics—most especially to matter and form; the four types of cause, chance, teleology, and hypothetical necessity; and the nature of change and agency. Matter and form, and the four causes, also play a key role in Aristotle’s metaphysics: see especially the so-called central books (Books Ζ, Η, and Θ), and Book Λ, chapters 1–5. The Physics is divided into eight Books (perhaps corresponding to the length of a scroll of the papyrus on which Aristotle’s works would have been written); in the Renaissance each Book was divided into chapters by the publishers of printed versions, and these are still used for ease of reference.

The Literary Pleasure of Dalia Al-Nahshli’s Poem ‘Al-Khali Fell Asleep’

This study aims to show the artistic and literary value of Al-Nahshli poem. The pleasure of the text comes from the presence of its textual standards, highlighting its thematic unity, which is so clear from the general meaning of the texts, without relying on the linguistic links that represent the standard of consistency, which is the first of the seven text criteria for De Beaugrande & Dressler (1981). The poem is a sad contemplation, a complaint about the passing of time, and a tingling twinge of old age that includes judgments and sermons inspired by human experiences on the extent of his historical consciousness; the idea of ​​death dominates the poem from beginning to end, this fate that human thought in all its stages as a state of dilemma; the poet was one of those who felt this fate.

Franz Schuberts "Wandererfantasie"

Franz Schubert’s D760 is entitled “fantasy”, although the four sections of the work recognisably reference the formal models of a four-movement sonata. Since those models appear in their traditional order, the “fantasy” elements have to manifest themselves differently, transgressing the norms of sonata in two ways: Schubert transforms and deconstructs the individual forms of the four-movement model, while suspending the autonomy of each movement. Both strategies are interrelated: by blurring the form of each movement, Schubert opens them up to the following sections. This is rendered plausible because the movements, which connect seamlessly, are derived from the same thematic material.The deconstruction of the formal models manifests itself in the elision of formal units, the interpolation of non-formal sections, and the startling curtailing of developmental procedures within the formal units. These formal licences generate ambiguous structures that do not lend themselves to definite formal interpretations. Thus formal ambiguity is a constituting element of the “fantastic” in D760.The thematic unity of the work is a result of the continuous transformation of a motif first presented in the main theme of the first movement; a process, in which new variants emerge from the synthesis of previous variations. Furthermore, the Presto, which stands in for the scherzo movement of the Fantasy, reverse engineers the sonata form of the first movement (which had been abandoned before the recapitulation) while completing and normalising the form of the first movement by aligning it with the scherzo form. Thus the Presto assumes the formal function of the missing recapitulation, whose “wrong” key of A flat major is “rectified” through the C-major finale.

GENRE AND STYLISTIC PECULIARITIES OF SCIENTIFIC AND TECHNICAL TEXTS OF “SMART ENERGY SYSTEMS” PROFESSIOLECT IN MODERN ENGLISH LANGUAGE

Постановка задачи. Задача данной статьи - описать жанрово-стилистические особенности научно-технических текстов профессиолекта «Интеллектуальные энергетические системы» в современном английском языке. Результаты. Жанровое наполнение профессиолекта «Интеллектуальные энергетические системы» характеризуется широким синкретизмом и по своим системным признакам во многом напоминает полевую структуру, описание которой целесообразно через категориальную пару «центр vs. периферии». В связи с этим выделены 1) ядерные и 2) периферийные жанры научно-технических текстов профессиолекта «Интеллектуальные энергетические системы» с процентным соотношением 67,6% : 32,4 %. В качестве ядерных жанров выступают: 1) научно-техническая статья, 2) аннотация, 3) презентация и 4) доклад-отчёт. Периферийные жанры представлены: 1) стандартами на технологии и приборы; 2) инструктирующими текстами; 3) пресс-релизом. Классификационными критериями жанров научно-технических тестов, моделирующими их общую жанровую рамку, выступают: а) характер адресности; б) структурно-композиционная организация текста; в) репертуар языковых средств и их сочетание. Цельность жанровых образований в функциональном репертуаре «Интеллектуальные энергетические системы» (ИЭС) обусловлена тематическим единством. Рассмотренные научно-технические тексты представляют собой симбиоз языковых средств, принадлежащих разным семиотическим системам. Продуктивными синтаксическими моделями, соответствующими природе текстового материала профессиолекта ИЭС, выступают развернутые сложноподчиненные предложения с разветвленными придаточными структурами, сложносочиненные предложения с линейным характером связи, пассивные и безличные конструкции. Выводы. Научно-технические тексты профессиолекта «Интеллектуальные энергетические системы», представленные ядерными и периферийными жанрами, находятся в тесной содержательной взаимосвязи с исследованиями в сфере интеллектуальной энергетики. Коммуникация внутри исследуемого профессиолекта характеризуется прагматической направленностью, узковекторной адресностью и общностью институциональной принадлежности коммуникантов. Текстовые материалы отличаются нормативностью отбора и комбинации языковых средств и высокой стереотипностью синтаксических структур. Наряду с признаками, объединяющими все вышеперечисленные жанры, каждый из них выполняет собственные, присущие лишь ему стилистические задачи, демонстрируя разноплановый характер выразительных средств и содержательное наполнение. Statement of the problem. The purpose of this article is to describe the genre and stylistic peculiarities of the scientific and technical texts of the "Smart Energy Systems" professiolect in modern English. Results. The genre content of the "Smart Energy Systems" professiolect is characterized by broad syncretism and in terms of its systemic features resembles a field structure, which study is advisable to conduct using the categorical pair “center vs. periphery". In this regard nuclear and peripheral genres of scientific and technical texts of the "Smart Energy Systems" professiolect were distinguished with a percentage ratio of 67.6% : 32.4%. The nuclear genres are: 1) scientific and technical article, 2) abstract, 3) presentation and 4) report. Peripheral genres are represented by: 1) standards for technologies and equipment; 2) instructional texts: manuals for specialists and consumers; 3) press release. The classification criteria of scientific and technical tests, modeling their general genre framework, are: a) the nature of the target audience; b) structural and compositional organization of the text; c) the repertoire of linguistic tools and their combination. The integrity of genre formations in the "Smart Energy Systems" functional repertoire is characterized by its thematic unity. The considered scientific and technical texts represent a symbiosis of linguistic resources belonging to different semiotic systems. Productive syntactic models that correspond to the nature of the textual material of the "Smart Energy Systems" professiolect are: detailed complex sentences with subordinate structures, compound sentences with a linear connection, passive and impersonal constructions. Conclusion. Scientific and technical texts of the professiolect "Intelligent Energy Systems", represented by nuclear and peripheral genres, are closely related to research in the field of smart power industry. Communication within the studied professiolect is characterized by a pragmatic orientation, narrow-vector targeting and common professional interests of the communicants. The material is distinguished by the normative selection and combination of linguistic tools and high stereotype of syntactic structures. Along with features that unite all genres, each of them performs its own stylistic tasks, demonstrating the diverse nature of expressive tools and content.

Text and discourse models as knowledge formats

Knowledge format is a construct for information storing, accumulating, transmitting. Text and discourse are studied as main knowledge formats. Previous studies have found the literary text is defined as a product of writer’s speech-thinking activity. Discourse is interpreted as a text immersed in a communicative situation. The construction specific features of text and discourse are revealed through their modeling as an objective way of knowledge formats architectonics visualising. Literary text is considered in the form of conceptual domain as a set of literary concepts wich are correlated with writer’s text world. There are two types of writer’s text world models such as monomodel and polymodel. It is proved that monomodel text world is the plot-thematic unity of all literary conceptual domain which the writer creates. The polymodel text world consists of the plot-thematic correlation of literary dominant concepts formed according to different themes. Both monomodel and polymodel text worlds are the base for literary discourse forming. Monomodel text world is the base for monomodel literary discourse. Polymodel text world is the base for polymodel one’s. The research of text and discourse models of knowledge formats is the optimal interpretative way to discover the patterns of knowledge existence.

Seneca’s Phoenician Women — Genre, Structure, Thematic Unity

This article revises current perspectives on the generic status, composition, and subject matter of Phoenician Women by Seneca. It adopts a new approach, focusing on selected elements of text organisation. In particular, emphasis is given to the construction of characters and the analogies and contrasts between them which were already of interest to ancient poetics and rhetoric. Moreover, the article refers to observations, accurate but isolated and largely ignored, made by scholars who recognised Seneca’s originality and suggested that his plays might have been inspired by the declamatory tradition and should be read in the context of evolving postclassical literature. By adopting this perspective, it becomes possible to bring together a large number of partial conclusions that are related to Phoenician Women as well as other plays by Seneca. What is more important, the work brings to light the purposeful composition of the drama and its thematic unity, allowing us to return to the MS versions that until now have been replaced by conjectures, which often distort the meaning of the text. After dismissing the emendations and adopting a new method of reading, Seneca’s Phoenician Women can be regarded as complete and well-organised. The play has certain characteristic features of a tragedy, of all Seneca’s dramas, it is the one most inspired by the genre of declamation and the poetics of Seneca the Elder’s anthology, and it is an example of the use of plot material typical of tragedy for presenting the problem of pietas in all its complexity.

"THE TALE OF THE POSSESSED WOMAN SOLOMONIA". MYTHOLOGICAL CONTEXTS AND PARALLELS

The article discusses a masterpiece of Old Russian literature of the 17th century, “The Tale of the Possessed Woman Solomonia”, in the context of Russian and Finno-Ugric mythology. The plot of the Tale is compared to two close plot sets: about people given away to spirits of nature (lost / cursed) or taken away by said spirits (the plot of the North Russian and Finno-Ugric mythological narratives), and about the supernatural or enchanted wife (husband) (the plot is common in Russian fairy tales and in non-fairytale prose of the Finno-Ugric peoples). Consideration of the Tale in a wider mythological context allows to talk not only about the folklore origins of the Old Russian literary masterpiece or thematic unity of the literary and oral texts, but also about the work of cross-genre transmission for mythological motifs, about the logic and ideology of the plot composition in texts of different genres. In particular, it is assumed that, from the point of view of comparative mythology, the motif of sexual persecution of Solomonia by demons can be considered not a result of the influence of Western European demonology with its idea of the succubi and incubi, but an inverse of the mythological model of exogamous marriage regarding of its content, structure and function. The article offers an extension of the context in which one can think about the plot of the Old Russian tale and about weaving yet another thread into the canvas of interpretations.