Journal articles on the topic 'Bass trombone music'

The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).

Dennis A. Downs, orchestra instructor at Cedar Falls High School and Peet Junior High School, has taught public school orchestras for 25 years. Past president of the Iowa String Teachers Association and Iowa School Orchestra Association, he is an MENC Certified Music Instructor with a BFAE from Wayne State College, MA from the University of Northern Colorado, and Ed Ad from the University of Nebraska. A cellist in the Waterloo-Cedar Falls Symphony, he also directs the Cedar Falls Municipal Band and performs professionally on guitar, bass, and trombone. Downs is the project facilitator for the distance education program he describes in this article.

Contemporary music ensemble Psappha gave three world premières in a concert at the University of Manchester's Cosmo Rodewald Hall on 8 March 2013. Their programme began with first performances of brief works by two young composers connected with the University. I Lost My Way in Dixieland, by Thomas Jarvis (b.1991), was a deftly realized deconstruction and reinvention of a popular jazz style, with a throwaway ending that made an apt parting gesture for a witty and enjoyable pastiche. And Sempadan, by Sayyid Shafiee (b.1987), made effective use of offstage trumpet and trombone interacting with on-stage clarinet, percussion and double bass, to suggest the concept of two different but complementary cultures.

The study aims at understanding and analyzing (a) understanding of the terminology of the composition and method of cultivation so that the terms of composition and arrangement can be understood contextually, (b) the mustering of Minangkabau musical idioms developed using Western elements and instruments to become a work of music; (c) Adapting Minangkabau karawitan to Western music concepts in a musical work in Karawitan ISI Padangpanjang. This research is field work, field includes observation, interview, and recording. Work in the laboratory includes processing, selecting, and filtering field data. The method used is qualitative method verivikatif begins with data collection both field, interview, and library then looking for theoretical approach to analyze the data that have been obtained. The results of the analysis show (a) The existence of inappropriate perception of the term compositional terms to be confused with the term arrangement. Cultivation works tend to be done collectively, not purely from the creativity of the owner of the work, but the work of the music on behalf of a person alone. (b) There is the use of Western musical elements and instruments in musical works in the form of harmonious harmonies, homophonic textures and polyphony and the use of flute instruments, alto saxophone, tenor saxophone, trumpet, trombone, tuba, guitar, bass guitar, keyboard and drum set. (c) Minangkabau Karawitan adapts to Western music in an academic context, in ISI Padangpanjang on musical forms.

<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>

We propose a supervised method based on robust non-negative matrix factorization (RNMF) for music signal separation with β-divergence called supervised robust non-negative matrix factorization (SRNMF). Although RNMF method is an effective method for separating music signals, its separation performance degrades due to has no prior knowledge. To address this problem, in this paper, we develop SRNMF that unifying the robustness of RNMF and the prior knowledge to improve such separation performance on instrumental sound signals (e.g., piano, oboe and trombone). Application to the observed instrumental sound signals is an effective strategy by extracting the spectral bases of training sequences by using RNMF. In addition, β-divergence based on SRNMF be extended. The results obtained from our experiments on instrumental sound signals are promising for music signal separation. The proposed method achieves better separation performance than the conventional methods.

Abstract Transhumanism advances an ideology promising a positive human advance through the application of new and as yet unrealized technologies. Underlying the whole is a libertarian ethos married to a very Christian eschatology promising a miraculous transformation that will answer human needs and redress human failings. In this paper, the supposedly scientific basis on which transhumanist promises are built is critiqued as futurist imaginings with little likelihood of actualization. Transhumanists themselves are likened to the affable con man Professor Harold Hill who, in The Music Man, describes as dire social problems whose solution is a youth band he seeks to sell but has no intention of building. Even were some of the transhumanist imaginings to be realized, I argue, the result would be a dystopia in which the few received benefits denied to the many. In advancing imaginary technologies as a solution to human needs, transhumanists and their bioethical fellow travelers handily avoid discussion of or advocacy for the kind of pedestrian social actions that demonstrably could achieve many of their purported goals. So their enthusiasms, I conclude, are not merely fanciful but damaging to the humanist goals they pretend to advance.

In the musical creativity of composers of the XXI century, the issue of interaction of various national musical cultures remains relevant. The article discusses the features of the creative style of the Crimean Tatar composer Merzie Khalitova on the example of chamber and instrumental creativity. The analysis of the trio "in the rhythm of pink tones" for violin, trombone and piano, from the point of view of the interaction of national musical traditions and European musical thinking, is presented. The analysis of the work represents the characteristic trends in the development of chamber and instrumental music of the beginning of the XXI century. Means of musical expression aimed at revealing figurative semantics are also indicated. In each of his works, the composer finds an individual solution for the synthesis of folk elements and modern musical intonation means. It is possible to distinguish the ornamental melody and patterned rhythmics, which are variously reproduced by the composer, as the national basis of Merzie Khalitova's works.

AbstractThe full score of Béla Bartók's one-act opera Duke Bluebeard's Castle (1911) reached its final form through many intermediate stages and after many years. The most comprehensive revision had been carried out in 1917 before Bluebeard was finally put on the programme of the Budapest Opera House. Bartók's revisions concerned not only the ending of the opera and the vocal parts but also the instrumentation. On the basis of all available primary sources, the present article examines how the instrumentation changed between 1911 and 1925, when the full score was published by Universal Edition. As a result of experiences gained during rehearsals of The Wooden Prince in 1917, Bartók added two instruments, the celesta and the xylophone, which he had originally not used in Bluebeard. However, the original score included two tenor tuba parts, which he later replaced with trumpets and trombones. In the revised score Bartók applied new instrumental techniques, corrected an unplayable passage, made the orchestral material thinner in favour of the vocal parts, and altered the instrumentation in order to emphasize motivic connections. Most of these alterations, however, do not represent a conceptual change in the opera's instrumentation but rather realize Bartók's original ideas in a more precise and more elaborate way.

Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and vocal performances. O. Nazarenko strived for performing activity, and therefore he chose the direction of creative work as a soloist-accordionist of the Kharkiv Regional Philharmonic (1962–1967), where together with solo performances he began professional concertmaster activity, working in various genres (vocal, dance and original). After graduating from the conservatory, O. Nazarenko paid much attention to the technique of reading from a sheet of works for piano, studied professional accompaniment to soloists, gained experience in concertmaster’s work to learn the new repertoire with artists. At the Department of Folk Instruments, students and teachers competed with each other in better technique of reading from a sheet, transposition into any key, play a tune by ear, improvisation, and skillfully translation the piano texture into accordion. According to the professor’s words, in order not to lose his performance skill during the tour and to maintain the technical level, he tried to practice even on a bus. He played accordion technical exercises with ready-made chords and fragments from masterpiece works (G. Diniku “Romanian round dance”, introduction to the opera “Ruslan” by M. Glinka); always worked on the plastic of his right hand. Most often, the acquaintance with the musical text took place during the move or a short time before the concert. Soloists-vocalists gave piano notes and indicated in what key they were comfortable to sing. Thus, the accordionist had to analyse the texture without an instrument, sing the melody in the required key with his inner ear, and transpose the musical material. O. Nazarenko tried to enrich the instrumental accompaniment with texture (counterpoint, melodic undertones) in order to move away from the primitive form (bass-chord support). The intention to complicate the accordion part made O. Nazarenko to improve his skills constantly in the selection of means of expression, intonation, the search for timbre diversity, all means which create true artistic values. Accompanying the soloists, the artist paid special attention to the thinning of the sound, imitating stringed instruments. While accompanying a group of brass instruments of a symphony orchestra (trumpet, trombone), he tried to convey the effect of “spaciousness”, equalling the techniques of sound production of brass instruments. Thus, performing a popular song of the Great Patriotic War “At Nameless Height”, O. Nazarenko imitated the replicas of the trumpet signal, and in the song “Buchenwald’s alarm” his performance gained maximum tension, sharpening and concentration in the transmission of bells. The world-famous song for the musical of the same name “Hello, Dolly” accompanied by O. Nazarenko gained a swing accent due to the alternation of the first and fourth parts of the bar and bright intonation. The material for accompaniment in the original genres (acrobats, jugglers, tightrope walkers, illusionists) was Latin American tunes (“Malagenya”, rumba “Valencia”), music for movies (“Serenade of the Sunny Valley”), personal improvisations. Between 1967 and 1987, the Union of Composers of Ukraine had author’s concerts-meetings, where among soloists were present the artists from the Philharmonic, the Opera House and teachers from the Institute of Arts. Well-known composers of Kharkiv such as G. Finarovsky, O. Zhuk, T. Kravtsov, F. Bogdanov, I. Kovach, N. Yukhnovska, O. Litvinov, G. Faintukh, V. Zolotukhin selected the soloists and completed the concert program. In general, during the whole period devoted to concertmaster’s activity, O. Nazarenko performed with more than a hundred soloists-vocalists of academic (bass, baritone, soprano, mezzo-soprano) and folk singing, as well as with numerous instrumentalists. Conclusions. Fruitful work on improving his own professionalism made the master a famous concertmaster-accordionist of Kharkiv. Collaboration with talented artists filled the emotional and intellectual state of the young musician, a rich palette of genres allowed the musician to think more widely and go beyond academism. The variety in the choice of means of expression enriched the technique of reading from a sheet, transposing and transition a piano works into an accordion. The expansion of the dramatic functions of the accordion accompaniment, the arsenal of means of expression contributed to the formation of a new type of ensemble based on the cocreation (equality / subordination) of its participants. This determined the active role of the accordionist concertmaster at all stages of the development of the interpretation plan: from the search for a key idea to its implementation on the concert stage. Working as an accompanist influenced not only his performing skills, but also Nazarenko’s work as a composer. Thanks to the personality of O. Nazarenko, the concertmaster activity of a whole generation of accordionists reached a qualitatively new professional level, and the profession of accompanist became popular among the younger generations working in this complex performance format.

ABSTRACT : Intraocular pressure (IOP) is an important measure because corelated with glaucoma that can lead to blindness if not prevented early. Factors affecting the intraocular pressure include gender, age, nationality, race, physiological differences such as high blood pressure and cardiovascular disease. Music is a product of human culture. One kind of music is a bamboo wind instrument that originated from Minahasa, comprised of flute, saxophone, Corno, trombone, tuba, bass, and trumpet. This study was aimed to reveal the IOP of a bamboo wind instrument players from Pinapalangkou village - South Minahasa. This was an observational cross sectional study. The research sample amounted to 31 people who have met the inclusion criteria, ie 15-83 years old, physically and mentally healthy while doing research, had been playing music for more than 1 year, willing to be sampled and signed informed consent. Measurement of IOP using a schiotz tonometer. Based on the results there were 31 male player, and at night inspection was found that there were 3 people (9.7%) had an increase of IOP and 28 people (90.3%) had normal IOP. There are 3 subjects from 31 studied subjects had an elevated intraocular pressure while 28 studied subjects had normal IOP. Keywords: intraocular pressure, Bamboo Music Players ABSTRAK: Tekanan intraokular merupakan ukuran yang penting karena berhubungan penyakit glaukoma yang dapat menyebabkan kebutaan jika tidak dicegah sejak dini. Faktor yang mempengaruhi tekanan intraokular adalah jenis kelamin, usia, bangsa, ras, perbedaaan fisiologis seperti darah tinggi dan kardiovaskular. Musik adalah produk kebudayaan manusia. Salah satunya musik tiup bambu yang berasal dari Minahasa. Terdiri dari seruling, saxophone, corno, trombone, tuba, bass, dan trompet. Penelitian ini bertujuan untuk mengetahui gambaran tekanan intraokular pada pemain musik tiup bambu di desa Pinapalangkou - Minahasa Selatan. Penelitian ini bersifat observasional, dengan rancangan cross sectional study. Sampel penelitian berjumlah 31 orang yang telah memenuhi kriteria inklusi yaitu berumur 15-83 tahun, sehat jasmani dan rohani saat dilakukan penelitian, lebih dari 1 tahun memainkan musik, bersedia dijadikan sampel penelitian dan menandatangani informed consent. Pengukuran tekanan intraokular mengunakan alat tonometer schiotz. Berdasarkan hasil penelitian terdapat 31 pemain pria, pemeriksaan pada malam hari didapatkan bahwa ada 3 orang (9,7%) mengalami peningkatan tekanan intraokular dan 28 orang (90,3%) memiliki tekanan intraokular dalam batas normal. Terdapat 3 subjek dari 31 subjek memiliki peningkatan tekanan intraokular sedangkan 28 subjek memiliki tekanan intraokular dalam batas normal. Kata kunci: Tekanan Intraokular,Pemain Musik Tiup Bambu

In June 1916 Nielsen supplied incidental music for the tercentenary Shakespeare celebrations in Hamlet’s castle of Kronborg, Helsingør (Elsinore). The three choruses and two songs he composed constitute one of his least-known works. But they had a legacy, and not only in the final choral number, which, to other words, subsequently became a candidate for Danish national anthem. Shortly after the event, Nielsen confided that he found Ariel and Caliban (for each of whom he had composed a sharply characterful song) so fascinating that he was considering writing an instrumental work based on their contrasting temperaments. This he never did, at least not overtly. However, ten years later the drastic instrumental contrasts in his Flute Concerto invite a reading based on the Ariel/Caliban duality. The distinctiveness of the concerto’s confrontation between the flute solo and the orchestral bass trombone has long been recognised. However, this duality takes on a more focused and at the same time broader significance when viewed in the light of Nielsen’s life-long, albeit mainly indirect, engagement with Shakespeare. Suggesting how a composer’s occasional character-music may re-emerge in their concert work in the guise of archetypes, our article seeks to contribute to a growing field of investigation into the relationship between ‘applied’ and concert music.

The Artists’ Jazz Band (AJB) was founded in 1962 in Toronto by abstract expressionist painters Graham Coughtry (trombone), Richard Gorman (double bass), Dennis Burton and Nobuo Kubota (alto saxophone), Robert Markle (tenor saxophone), and Gordon Rayner (drums). The AJB’s personnel shifted around this founding core, including pianist/trumpeter Michael Snow, electric bassist Jim Jones, guitarist Gerald McAdam, and saxophonist Bill Smith. They continued to perform into the 1990s. Few ensembles anywhere in the world so strongly foregrounded the relationship between abstract expressionism in the visual arts and jazz improvisation. Because of this, it is instructive to discuss the AJB’s music in terms of twentieth-century modernism, particularly in relation to the musicians’ immediate predecessors on the Toronto scene, Painters Eleven, and in the context of the automatistes in neighbouring Quebec, whose pioneering visual art also had ties to the free jazz of the 1960s and afterwards. The AJB’s introduction of modernist discourse—on the canvas and, by implication, in their music—influenced other improvisers associated with the AJB in the 1970s and 1980s. Modernist influences, stemming from the visual arts, encouraged a generation of musicians in Toronto to depart from more conventional “jazz” practices in order to pursue “free jazz,” free improvisation, and a host of performance possibilities.

In the article the author traces the changes that have taken place with traditional instrumental ensembles of Western Ukraine during the 20th – beginning of the 21st centuries. Through this period the communicative capabilities of the environment increased rapidly, which significantly influenced the evolution of folk culture. The basis of the traditional ensembles of Western Ukrainian was the violin, to which was added, depending on the regions, a drum (tambourine), cymbals, bass, and a pipe instrument. Under the influence of various factors (interaction with representatives of other ethnographic regions or national minorities, writing culture, stage performances, remote communication, etc.), the instruments, repertoire, manner of performing, etc. in folk bands changed. During the 20th century the traditional instruments of ensembles were supplemented by others (clarinet, accordion, button accordion, trumpet, saxophone, trombone, etc.). Also, existing instruments were modified in some places (for example, the Hutsuls replaced small cymbals with large ones), or completely new ensembles were introduced to accompany traditional rituals or entertainments (brass bands or a variety of other popular ensembles). The repertoire of traditional ensembles is nowadays constantly replenished not only by the works of the local area in which musicians have an opportunity to perform, but also by the new-fangled samples of popular music. Under the influence of the written tradition, the manner of performing ensemble music is somewhat simplified. Currently, in most regions of Western Ukraine there is a setback and decline of the folk-instrumental ensemble tradition, with the exception of the Hutsul region (where young musicians still adopt this tradition orally) and partly Pokuttia, Zakarpattia, Podillia, Bukovyna, and Bessarabia, where for some occasions sometimes ―live‖ music of traditional or somewhat modified instruments is invited).