Научный архив: статьи

The Clavierschule (1765) by Georg Simon Löhlein, musical director in Leipzig, and renowned music teacher, was recognized by many musicians, especially due to its thoughtful pedagogical target. The Clavierschule has served as a model for many instrumental practical educational publications dedicated to keyboard instruments. It becomes logically clear why the anonymous musician wanted to make a handwritten copy of this particular work, which was included as a second attachment in the well-known manuscript D-B Mus. ms. Bach P 803. Namely in this manuscript Löhlein’s table of ornaments with such compound ornaments as Der Pralltriller oder Abzug (The Pralltriller or Abzug) and Der Abzug mit dem Nachschlag (The Abzug with suffix) is duplicated. The present work is devoted to the consideration of these ornaments. The term Abzug in history of music performance is not so well investigated. It attracted the attention of the authors of this paper when it was found to be used in the anonymous manuscript mentioned above pertaining most probably to the year 1779. A systematically based examination of the research literature (E. Dannreuther, 1895; L. Landshoff, 1933; W. Mitchell, 1949; E. Hays, 1976; D. Wilson, 1979; E. Reilly, 1966; R. Donington, 1992; K. Palmer, 2001; I. Ahlgrimm, 2004, and others) was undertaken with special emphasis on the word Abzug. An examination of these sources has shown that they do not contain a historically integral study of the concept Abzug. It became clear that it was necessary to turn to historical materials. Thus, the study of the named topic is based on the research of early treatises and music dictionaries published by J. J. Quantz (1752), C. P. E. Bach (1753), Fr. W. Marpurg (1755), J. Fr. Agricola (1757), G. S. Löhlein (1765), E. L. Gerber (1790), G. Fr. Wolf (1787), D. G. Türk (1789), and others. The research showed that historically the term Abzug was very closely associated with the term Pralltriller, and that, on the other hand, these two terms often were understood interchangeably. Originally the definition of the term Abzug was treated as a special dynamic expression together with an articulation technique (Quantz). In subsequent development, the term became mainly associated with ornamentation (Pralltriller, Schneller, Prallende Doppelschlag, etc.), and in this direction the views of C. P. E. Bach had a great influence. The study of sources pertaining to the second half of the 18th century showed that Bach’s Pralltriller had been realized in the publications of other musicians in all three manners: in some according to his Versuch published in 1753, in others according to the second edition of 1759, and lastly — departing from his initial instructions. In result, it has been the case that a wide variety of definitions of the term Abzug and its performance solutions in the field of ornamentation were present during this period and that when studying the sources concerning this term (as many others too) it is necessary to approach the solution of the problem contextually

One of the most valuable handwritten folio D-B Mus. ms. Bach P 803, stored in the Staatsbibliothek in Berlin, contains twenty-six layers, which are bound together. It is often associated with the name of Johann Ludwig Krebs, which for a long time gave the impression that the handwritten texts were also done by Krebs. The manuscript was indeed for a long time in Krebs’ house, and J. L. along with his father J. T. Krebs and J. G. Walther, as well as other lesser-known musicians, was one of the copyists. Of the twenty-six attachments, only the second (p. 9–23; further: P 803-II) contained a verbal text and tables with an interpretation of ornaments. It has not been possible to determine who was the copyist of P 803-II to date, and the concept of “anonymous copyist” has become anchored. In 1933, L. Landshoff turned to the tables with the performance of ornaments in P 803-II in connection with the interpretation of keyboard music by J. S. Bach, and forwarded the concept that the author of the text of P 803-II was the famous student of Bach J. L. Krebs. For the first time this myth was partially refuted by D. Wilson in 1979, who discovered the absolute similarity of the ornament Der Pralltriller oder Abzug in P 803-II and in the Clavierschule of G. S. Löhlein. Later Fr. Neumann wrote in more detail on this topic in his work on ornamentation (1978). The author also claimed that the anonymous copyist used the fourth edition of the Löhlein’s Klavierschule (1782) as a model for P 803-II. Thus, the assumption made by H. Zietz that P 803-II was based on the treatise by D. G. Türk (1789) turned out to be erroneous too. Studying these materials, the authors of this article drew attention to the many inaccuracies and false judgments associated with both the handwritten source P 803-II and the peculiarity of the anonymous scribe’s work with Löhlein’s text, as well as with many statements by the above-mentioned authors. It was shown that the third edition of the Löhlein’s manual on clavichord playing (1779) should have served as the primary basis for the anonymous copyist. Special attention was paid to inaccuracies and incorrect recommendations in connection with the interpretation of ornaments. A detailed consideration of the available realizations of ornaments in P 803-II and their interpretation will be established in the following second part of this paper.

European musical performance practice in the end of the 17th and the first two thirds of the 18th centuries, especially in Germany (the “Berlin School” and the stylistic trend of socalled “Gallant Mannerism” — the middle of the 18th century), is marked by the flourishing of musical ornamentation in performance (Spielmanieren — definition given by Marpurg, 1755). The works of J. J. Quantz and C. P. E. Bach were of great importance in the development of the art of ornamentation in Germany. Particularly Bach in his treatise Versuch über die wahre Art das Clavier zu spielen (1753), introduced the new term Pralltriller for an ornament, which later became widespread, including our time. The Pralltriller represented in Bach’s understanding a trill-sign placed above the second note of a descending two-note stepwise pattern. In the second edition (1759) Bach changed his previous explanation, writing that the second initial note should not be played. In an unexpected turn of events musicians, departing from Bach’s two different interpretations, performed the Pralltriller in a fanciful variety of ways changing its essence and turning its performance lastly into a shortest kind of trill. Thus, the article attempts to conduct a detailed study of not only the available historical materials, beginning from C. P. E. Bach and directly after that from the interpretations by F. W. Marpurg, G. S. Löhlein, J. A. Hiller, etc., but also focuses on the interpretation of these materials by scholars of the 20th and 21st centuries

Denmark is one of the most attractive European countries for immigrants due to its high level of socio-economic and political development. However, an increase in the migration burden has led to a tightening of the country’s migration legislation, aimed primarily at limiting the flow of migrants from non-Western countries, preventing segregation, and ensuring the successful integration of migrants into the host society. This study aims to analyse the distribution of immigrants and their descendants in Denmark, focusing on migrants from African countries (Somalia, Morocco, Egypt, Ghana, the Democratic Republic of the Congo, and Eritrea) between 2010 and 2023. The authors examine legislative changes in Danish migration policy and analyse data from the Danish Statistical Office regarding migration trends and the geographic distribution of both the native population and individuals of foreign origin across second-level administrative units (communes). The research methodology employs the Herfindahl–Hirschman index to assess the degree of territorial concentration of people of African descent, alongside the Ryabtsev index to measure the similarity between the settlement patterns of migrants and their descendants from Africa and those of Denmark’s indigenous population. The results indicate a decrease in the territorial concentration of the African population in Denmark, as well as a convergence between the settlement patterns of African migrants and Danish-origin residents. However, the intensity of these processes varies significantly based on immigrants’ status, duration of residence in Denmark, and the size of specific African diasporas. Despite the observed deconcentration and increased settlement integration, the African population, particularly individuals of Somali and Moroccan descent, continues to exhibit high levels of territorial exclusion and segregation. Their settlement patterns are often concentrated in ‘vulnerable residential areas’, which still reflect significant socio- spatial disparities

It is shown that the secular displacement of the Earth center of mass (drift), observed by space geodesy methods, and the deformation of the Earth surface make the most significant contributions to the secular changes in gravity on the Earth surface, which are recorded using absolute and superconducting gravimeters. The simplest estimates of the secular variation in gravity at a given station can be made directly from the secular variation in the station altitude determined by GPS satellite data. These data determine the trend of the station directly with respect to the drifting center of the Earth mass. However, they do not allow estimating the contributions of the above effects: the drift of the center of mass and the change in station height due to deformation but actually determine their difference. The performed analysis made it possible to estimate the contribution of the drift of the Earth center of mass in the variations of gravity at a given gravimetric station, as well as the contribution of the Earth surface deformation and the corresponding change of the station height. For 8 known and leading gravimetric stations, the indicated components of gravity variations were calculated. It was shown that these two factors are the main ones, and their sum mainly explains the observed gravity variations at a number of well-known gravimetric stations: New Alesund (Norway), Seva (Antarctica), Churchill (Canada), Wuhan (China), Medicina (Italy), Bologna (Italy), Membach (Belgium) and Metsahovi (Finland).

The paper analyzes the function of the prefix inter-, which allows to reduce the 15 main senses (described in the OLD) to the basic two. The sense of the prefix depends on the situation described with the compound: a) the situation of dividing space: ‘a border between two or more points disconnecting them’ (inter hostes flumen erat). Most of the verbs in this group are transitive and accompanied by a countable object: intercalare ‘to insert a day or month into the calendar’; interloqui ‘to interrupt, to speak between’. b) the situation of connected space: ‘all the space (or time) between two points connecting them within the same situation’ (inter arma tacent musae). The majority of these verbs are transitive and are used with an uncountable object: interbibere ‘to drink dry, drain’; interlegere ‘to pick off here and there, to thin’. Some verbs can have either sense depending on the context (interesse: a. ‘to lie between, intervene’ modo inter me atque te murus intersit (Cic. Cat. 1. 10.), b. ‘to be in the company of, to take part’ legit scripta de se carmina, legit historias, et posteritati suae interfuit (Plin. Ep. 2.1.2). On the basis of this classification principle four verbs are analyzed in which the meaning of the prefix inter- is unclear: interire, interficere, interimere, intellegere. Three of them have the prefix inter- in the sense of division and form pairs of compounds (an intransitive verb of state interire — a verb of action interimere, interficere). The verb intellegere has two senses as different stages of its semantic development: 1. ‘to choose between’, ‘to notice, discern’ and 2. ‘to collect together (all the parts)’ > ‘to grasp, understand (the whole picture of an object or a situation)’.

Опубликованный С. И. Писаревым в 1771 г. перевод трактата ПлутархаDe liberis educandis (Περὶ παίδων ἀγωγῆς) неожиданно оказывается первым русским переводом Плутарха с языка оригинала («еллиногреческого»). Статья посвящена некоторым особенностям этого перевода, а главным образом, — выявлению его источника, то есть того базового издания, которым пользовался Писарев в своей переводческой работе (контаминация, конечно, не исключается). При этом поиске автор прежде всего уделяет внимание маркированию поэтических цитат. Встроенные в текст трактата цитаты в переводе Писарева выделены курсивом, частью — вместе с последующим авторским текстом Плутарха, который, очевидно, воспринимается переводчиком как продолжение цитаты. В латинских переводах, которые сопровождают греческий текст в доступных Писареву двуязычных греко-латинских изданиях цитаты даются с отступом и выделяются курсивом. Переводчик мог пользоваться одним из таких изданий. С другой стороны, указанного критерия недостаточно, поскольку единообразие оформления цитат отсутствует в изданиях трактата отдельными книгами. Поэтому для более уверенного опознания источника автор сравнивает текст перевода с греческим текстом нескольких изданий XVI–XVIII вв. Анализ разночтений последовательно исключает все издания, кроме двух, выбор между которыми затрудняется тем обстоятельством, что отличие между ними сводится к порядку слов в цитате. Тем не менее анализ порядка слов в переводах поэтических цитат у Писарева позволяет предположить, что его источником послужило франкфуртское издание 1599 г., переизданное в 1620 г. и затем в Париже в 1624 г

In the article which serves as a sequel to an earlier one the author argues that Draco’s constitution (DC) in Arist. AP 4 does not derive from an oligarchic political pamphlet in which it served as a prototype of a constitution to be implemented in Athens as the majority of scholars believe. The preponderance of scholars believe, relying on the alleged similarity of DC to the project of the ‘Constitution of Five Thousands’ (AP 30) in 411 BC, that DC emerged in the same ‘moderate’ oligarchic circles as a project of the same kind. Others propose later dates for its appearance but almost unanimously ascribe to oligarchic moderates who pleaded for a ‘hoplite constitution.’ The author argues contra that although DC is not reliable as a historical document, it differs considerably from the known political projects of oligarchs. Its distinguishing features make it anachronistic for conditions of 5th–4th centuries BC, but they are much more at home in the last decades of 7th BC. It is likely that Aristotle found this fictional account in one of the historical sources he used in the AP in which it was fabricated to fill a gap in the lacunose history of the early Athenian constitution and it may have been meant to diminish tendentiously Solon’s contribution, representing the latter as modifying the already existing state order

Im Folgenden werden die Satzlehre-Bände der „Ausführlichen Grammatik der lateinischen Sprache“ von Raphael Kühner, die 1878/79 zuerst erschien und in ihrer Bearbeitung durch Carl Stegmann 1914 bis heute eine verbreitete Lateingrammatik ist, mit der neu erschienenen „Oxford Latin Syntax“ von Harm Pinkster in der Konzeption verglichen. Zwischen beiden Satzlehren aus sehr unterschiedlichen Zeiten und sprachwissenschaftlichen Kontexten gibt es natürlich deutliche Unterschiede: zunächst die andere Gesamtkonzeption, ferner die Art des Korpus, den Satzbegriff, die Stellung der Kasussyntax, nicht zuletzt die Behandlung infiniter Konstruktionen und schließlich den Geltungsbereich der Syntax. Von diesen Unterschieden abgesehen finden sich aber auch einige Gemeinsamkeiten: zunächst eine korpusbasierte Form, wonach beide Satzlehren ihre Ausführungen auf zahlreiche sprachliche Belege stützen. Zweitens steht die Einzelsprache des Lateinischen im Vordergrund und es bleibt wenig Raum für sprachliche Vergleiche. Drittens sind beide Satzlehren rein deskriptiv, was im Falle des Kühner-Stegmanns das Gegenteil zu normativ, im Falle der OLS aber zu formallinguistisch oder theorielastig bedeutet im Sinne formaler Ansätze der neueren Linguistik, womit etwa die verschiedenen Movement-Regeln der generativen Theorie gemeint sind. Ein wichtiges Ergebnis lautet, dass beide syntaktischen Ansätze legitim sind und beide mit wachem Methodenbewusstsein weiter gebraucht werden sollten, um Probleme der lateinischen Syntax zu lösen

The article examines an unpublished inscription conserved in the Nerantzia Castle of Kos (Greece). It consists of four elegiac couplets that Coan scholar Stamatios K. Pantelidis (Παντελίδης) composed some time before 1879. It was supposed to be located in the facade of the school founded the year indicated in the inscription. Seemingly, after the earthquake which devastated Kos in the year 1933, it was relocated in the warehouse of the Nerantzia Castle in northern Kos along with many other inscriptions. On the one hand, it provides the possibility of knowing how stonegravers work, to what extent Greeks knew their very own language in its ancient form and the way they dealt when it came to use (then and now) unusual forms of the language. On the other hand, the inscription is relevant to the cultural history of Greece in the last years of Ottoman rule and in the years after it, as Kos was part of the Ottoman Empire until 1912, date in which it passed under Italian rule until 1947, when the isle was incorporated into the Hellenic Republic. Therefore the purpose is to clarify the historical and real circumstances of the inscription, as well as to analyze the compositional process of this dedicatory epigram from the metrical point of view (it contains many deviations from to the classical precepts), style and classical tradition. The inscription has not been previously studied due to its peculiar characteristics. Indeed, it is an epigram written in modern times but in an archaizing Greek (i. e. roughly respecting the rules of classical grammar), so it is not studied by neohellenists given the ancient character of its language, nor by classicists because it was composed in recent times

The article deals with a passage from the prologue of Aristophanes’ Acharnians, vv. 30–31. Close reading of the passage and analyzing each verb of the series in vv. 30–31 shows that the entire series of verbs in Acharnians 30–31 describes Dikaiopolis’ suffering and constitutes the culmination of the woes listed in his monologue. This last and greatest of his woes cannot be mere annoyance at having come first to the Pnyx and not knowing how to kill time. στένω must mean a lament tragic in tone, and κέχηνα intensifies this vocal lament though adding a comic bathos. σκορδινῶμαι does not refer here to drowsy stretching as it is usually interpreted by scholars but to convulsions of rage and despair. πέρδομαι indicates acuteness and intensity of Dikaiopolis’ disappointment; the relationship between σκορδινῶμαι and πέρδομαι is similar to that between στένω and κέχηνα, where the second verb emphasizes and marks the culmination of the first (“I’m moaning so much that my mouth is open wide” and “I’m convulsed to the point of farting”). παρατίλλομαι must mean “to tear out the hair on one’s head”, a gesture that is obviously a sign of sorrow and despair. The verbs γράφω and λογίζομαι describe Dikaiopolis writing out and assessing his debts sitting in the assembly place. The lines that follow are tightly connected to 30–31 and explain the reason for the protagonist’s despair: Dikaiopolis dreams of the countryside and hates the city, but due to the war cannot return to the country (32–33); his hatred of the city is further explained by the enormous expenses city life entails.