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Journal articles on the topic 'Chamber repertoire'
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1
Iglitzin, Karen, and Ross Harbaugh. "Student Chamber Music Repertoire List." American String Teacher 42, no. 1 (February 1992): 58–59. http://dx.doi.org/10.1177/000313139204200123.
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Slowik, Kenneth. "Chamber Music Forum The Haydn Baryton Trios: Little-Known Repertoire Gems." American String Teacher 62, no. 3 (August 2012): 24–27. http://dx.doi.org/10.1177/000313131206200304.
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Sodonis, Chloë. "Johannes Brahms’s Horn Trio and Its Unique Place in the Chamber Music Repertoire." Musical Offerings 12, no. 1 (2021): 25–37. http://dx.doi.org/10.15385/jmo.2021.12.1.3.
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The purpose of this research is to explore the elements in Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40, that contribute to its unique position in the vast and revered library of chamber music. These include Brahms's use of folksong, five-measure phrases, a variation on sonata form, developing variation, emotional elements, and unique instrumentation. The German folk song, Es soll sich ja keiner mit der Liebe abgeben is almost identical to the opening fourth movement theme of the horn trio. Brahms incorporates portions of this melody throughout all four movements of his horn trio which demonstrates an internal unity and cohesive use of folksong that contribute to his work’s individuality. This is one of many examples of Brahms’s attention to detail and use of surprising elements that allow his horn trio to stand out among thousands of other works. Through studying portions of Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40., analyzing distinctive qualities of this work, and comparing these elements to those of other chamber works of the time, one can conclude that this piece has a unique place in the chamber music repertoire.
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Placilla, Christina. "Chamber Orchestra & Ensemble Repertoire: A Catalog of Modern Music (review)." Notes 69, no. 1 (2012): 68–69. http://dx.doi.org/10.1353/not.2012.0107.
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Taran, Vladimir. "CREATIONS WITH THE PARTICIPATION OF THE BASSOON SIGNED BY VLADIMIR ROTARU." Akademos 60, no. 1 (June 2021): 134–36. http://dx.doi.org/10.52673/18570461.21.1-60.18.
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Vladimir Rotaru is one of the famous composers from the Republic of Moldova, whose compositions include both orchestral and chamber-instrumental works. In this article, the author made a brief analysis of the repertoire for bassoon that includes both solo and chamber compositions, such as Suite for flute, oboe, clarinet, and bassoon; Monothematic metamorphoses; Sonata-dialogue for bassoon and piano; Caprice for bassoon and piano. The aim of the article concerned is reviewing the creations for bassoon signed by Vladimir Rotaru, being in a succinct language features and architectonic creations componentistic concerned.
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Simion, Aurelia. "Jazz Influences in Chamber Musical Works created by Composers from Iaşi at the Beginning of the 21st Century." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 242–55. http://dx.doi.org/10.2478/ajm-2019-0014.
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Abstract Chamber Music has always been a genre predefined to a certain audience. At the merge of the 20th and 21st Centuries, the interest for this genre has grown exponentially, from Romanian and Bessarabia composers alike. Because the concept of Chamber Music has evolved during the ages and has always offered the possibility for experimentation, it has managed to infiltrate into present day Ensembles, by associating timbre and constructive heterogenic instruments. The search for new ways of expressing oneself, new sounds and new stylistic methods and the desire to use new types of sound emission represent a continuous motivation for the composers, whose contribution to the Chamber Ensembles is frequently enrichened. Thus, the Jazz influence has a significant role inside the works of Sabin Pautza, Romeo Cozma (Romania) and Oleg Negruța (Republic of Moldova). The article is focused on Chamber Music compositions with Jazz influences, written by Iași authors. The purpose is to create a general presentation and also a structural-interpretive analysis of some works from my personal repertoire, which was actually one of the main criteria of selection. The objects of the research are: highlighting the particularities of the genre and style of contemporary works; presenting the interpretive aspects of the compositions and proposing some personal suggestions and tips. Although the selected works have been initially composed for different instruments and have been played to live audience, they have not presented themselves, so far, as a research subject, and thus have not been analyzed. Taking into consideration this deduction, the novelty and the personal contribution are visible in the scientific research that deals with the autochthonous compositional patrimony. The aspects presented in this article can be used for pedagogical processes and, at the same time, they can behave as a practical method in managing the chosen repertoire.
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Berezhnoy, V. Yu. "MODERN RUSSIAN MUSIC FOR A BAYAN DUET: NEW TRENDS (last third of the XXth — beginning of the XXIst century)." Arts education and science 1, no. 2 (2021): 15–22. http://dx.doi.org/10.36871/hon.202102002.
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The article analyzes the repertoire for a duet of bayan players, which had been created by Russian arrangers and composers since the second half of the 70s of the XXth century to the beginning of the XXIst century. The article considers the reasons for the later creation of the first original compositions for the modern bayan duet in comparison with the repertoire for solo bayan, and defines the concept of "modern repertoire". Comparisons are drawn between the possibilities of presenting musical fabric in the works created for a mono-timbre bayan with ready-made chords in the left half shell, and a multi-timbre free bass instrument. In modern music for a bayan duet, in contrast to the works of the 1940s – early 1970s, there are other ways of presenting melodic, figurative line, as well as harmonic background in the left half shell of the bayan. The author considers the role of the timbre palette in modern compositions for a bayan duet and reveals the performance capabilities of this ensemble, which caused numerous arrangements of works written for piano, organ, chamber ensemble and orchestra. The figurative sphere laid down by the authors in the works written for a duet of traditional bayan and a duet of modern instruments is compared. The modern repertoire for this instrumental duet is created by both bayan composers and composers writing music for other forms of performance.
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Petrova-Kirkova, Galya. "THE REPERTOIRE IN FOLK SINGING TRAINING AS AN OPPORTUNITY FOR CREATING CREATIVITY IN STUDENTS MINDS - THE FUTURE TEACHERS." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (March 20, 2019): 453–57. http://dx.doi.org/10.35120/kij3002453p.
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Nowadays, the formation of creative attitude is a current issue which is directly related to the goals and missions of todays folk singing training and education; and to the uniqueness and adaptability skills in each and every personality. Through the means of expression (concluding improvisation) found in bulgarian folklore, the repertoire in folk singing training allows the development of a creative attitude. The repertoire in folk singing training among with the means of expression in both authentic and processed folklore songs allows the ability of creative thinking in every student to grow. The repertoire mainly contains folk songs with a piano accompaniment. To develop a creative attitude, the training uses interdisciplinary approaches. The students are pushed into using the knowledge they've received from other classes (Music theory, solfeggio, Musical analysis, Piano class). For example to recognize the type of piano accompaniment; the type of introduction; the purpose of the piano accompaniment in the song itself. An important moment is tracking and understanding the connection between voice and instrument ,between being a solo performer or a part of a chamber ensemble.There is a special part of the repertoire which present non-standard composition tools- aleatoric models, improvisational thinking, compositional interpretation. The practice approaches are: assimilation of the abilities and knowledge (orientation, activities …); detail reading of the songs context; learning how to be, behave and act as a performer; professionally training the students how to become qualified teachers.
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Conway, Paul. "BBC Proms 2013: Diana Burrell, Harrison Birtwistle, Param Vir and Charlotte Seither." Tempo 68, no. 267 (January 2014): 57–59. http://dx.doi.org/10.1017/s0040298213001368.
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As in previous Proms seasons, Cadogan Hall's 2013 chamber concerts series presented some of the most interesting repertoire. On 5 August, Tine Thing Helseth and her all-female brass ensemble tenThing gave the world premiere of a new piece by Diana Burrell. She has already written a substantial work for brass ensemble, Gold, dating from 2001 (which also requires 3 gongs and a piano), and her new BBC commission has a similarly punchy title capturing the bright and burnished qualities of its instrumentation – Blaze. Scored for three trumpets, flugelhorn, horn, three tenor trombones, bass trombone and tuba, this virtuosic, 10-minute showcase grabbed the audience's attention from the start with a striking, fanfare-like idea that recurred in extended form as unison chords during the closing bars, providing an incandescent coda. In a brief pre-performance talk, the composer spoke of the often-untapped technical capabilities of brass instruments, and her demanding piece successfully tapped into this potential, as she gave each performer a chance to shine within its teeming textures. In addition to these challenging solo episodes, the score was memorable for its inventive deployment of various combinations of instruments, denoting a genuinely chamber-oriented work. Blaze provided a strong focal point for a programme that otherwise consisted solely of arrangements, nearly all by guitarist Jarle Storløkken, of repertoire originally conceived for other forces, such as piano pieces by Grieg and excerpts from Carmen and The Threepenny Opera.
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Conway, Paul. "Huddersfield Contemporary Music Festival 2012." Tempo 67, no. 264 (April 2013): 66–69. http://dx.doi.org/10.1017/s0040298213000089.
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As diverse and inquiring as ever, the 35th Huddersfield Contemporary Music Festival provided nine days of unfamiliar and rarely encountered repertoire, sometimes rewarding, sometimes baffling, but always worth sampling. The 2012 late-November celebration of avant-gardism placed an emphasis on Norway and the voice in its many guises, both strands exemplified by the choice of Trondheim-born vocalist Maja S. K. Ratkje as composer-in-residence. Yet despite this spotlight on vocal and choral works, there was no shortage of instrumental and chamber music, most of it new to Britain.
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Golovin, Aleksandr Vladimirovich. "THEY WERE THE FIRST: ON S. A. DEGTYAREV’S SPIRITUAL CONCERTS IN THE REPERTOIRE OF LENINGRAD CHAMBER CHOIR." Manuscript, no. 7 (July 2018): 123–28. http://dx.doi.org/10.30853/manuscript.2018-7.25.
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Wołoch, Paulina. "Chór Kameralny Towarzystwa Muzycznego im. Henryka Wieniawskiego w Lublinie. Beaty Dąbrowskiej dzieło życia." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 14, no. 2 (January 12, 2017): 59. http://dx.doi.org/10.17951/l.2016.14.2.59.
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<p>The Chamber Choir of the Henryk Wieniawski Music Society of Lublin was founded in 1987. Beata Dąbrowska (1960-2016) was its founder and conductor. The article consecutively describes special concerts of the Choir (inter alia on the occasion of national, religious holidays, various anniversaries and jubilees), its participation in cyclic concerts organized in Lublin, its journeys abroad (festivals and competitions, inter alia, in Belgium, Austria, France, Germany, Switzerland, Sweden), participation in diploma concerts of students of the Maria Curie-Skłodowska University’s Institute of Music, as well as its album and TV records. The appendix contains: the register of members of the Chamber Choir (1987-2015), its repertoire, and illustrations documenting the Choir’s activity.</p><p> The accomplishments of the Chamber Choir of the Henryk Wieniawski Music Society have significantly enriched Lublin’s music culture of the last thirty years and become the pride of our town. These achievements must be attributed to Professor Beata Dąbrowska, who worked on the Choir’s artistic development with utter dedication and exceptional consistency. This was Her <em>opus vitae.</em></p>
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Golovan, Ievgeniia. "The latest approaches to piano interpretation in chamber and ensemble creativity of V. Silvestrov (the case of the "Drama" cycle for violin, cello and piano)." Culturology Ideas, no. 20 (2'2021) (2021): 107–14. http://dx.doi.org/10.37627/2311-9489-20-2021-2.107-114.
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The article overviews a set of issues related to the latest interpretation of the piano in the second half of the XXth century, the use of non-specific techniques of playing the instrument and the peculiarities of its use in the chamber ensemble. It describes the main elaboration direction of compositional methods and techniques, their objectification in the ensemble work of Ukrainian artists. V. Silvestrov's "Drama" for violin, cello and piano is analyzed as a unique example of synthesis of traditional and avant-garde tendencies in the music of the XXth century, which combines music making with elements of instrumental theater. The article outlines main parameters, notes the stylistic and timbre diversity of the work. The compositional methods and techniques used in the trio are considered, including sonorism, aleatory, pointillism, happening. The role of the prepared piano at sound color is established, and other sound, noise and stage effects in creation of a sound image of a composition. The significance of the latest sound formation principles laid down in the work, the urgency and influence of the author's innovations on modern chamber music are revealed. The proposed analysis should contribute to a fuller understanding of avant-garde trends and their manifestation in chamber music of the second half of the XXth century and a wider introduction of V. Silvestrov's works to the chamber and ensemble repertoire of modern performers.
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Roennfeldt, Peter. "Music by the Few for the Many: Chamber Music in Colonial Queensland." Queensland Review 19, no. 2 (December 2012): 178–89. http://dx.doi.org/10.1017/qre.2012.21.
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The early development of Queensland's musical culture has only been partly documented. Despite a number of general surveys and a few specialist publications in recent decades, the largest body of research, dating mostly from the 1970s and 1980s in the form of academic dissertations, remains unpublished. As I demonstrated in a recent article for this journal, the narrative of Queensland's music can be traced in various ways, including focusing either on a specific organisation or ‘cause’ – phenomena that in turn interface with the efforts of countless individuals. An alternative strategy is to survey a specific genre of music-making, where likewise a diverse range of performers, repertoire, venues and events are part of the mix. This article endeavours to trace the development of chamber music in colonial Queensland as an important subset of an active concert life that included numerous popular entertainers, touring artists and musical-theatrical troupes. Support of chamber music, a so-called ‘high-class’ genre, was also viewed by some colonists as an emblem or barometer of increasing cultural self-worth, particularly in the two decades leading up to Federation.
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Puusaari, Maria. "“Leading” as a mode of interaction and communication in contemporary music performance-practice." Trio 10, no. 1 (July 10, 2021): 40–64. http://dx.doi.org/10.37453/trio.110125.
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In this paper, I discuss “leading” in the performance-practice of contemporary music. First, I take a brief view on the development of music from the second half of the 20th century until today to highlight some of the challenges of leading the contemporary music repertoire. I survey existing research on interaction, communication and leadership in ensemble playing and use this viewpoint to briefly explore aspects of leadership and other roles in playing in a contemporary chamber ensemble without a conductor. Finally, I describe my own practice of leading as a violinist through three case studies in the contemporary music repertoire. Based on Leman’s theory of expressive alignment and enactment processes (2016), I approach leading as a multimodal, crossmodal and multidirectional interactive process. I divide leading into temporal and expressive leading techniques that are used to communicate different temporal and expressive musical features. I argue that leading techniques must be practiced and embedded in body language as separate, instrument-specific playing techniques. In addition to leading techniques, I provide temporal, sensorimotor, acoustical, instrument-specific and socio-cultural aspects that affect leading practices.
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Bekenova, A. "N.Karimov's viola transcriptions in the pedagogical repertoire (on the example of the transcription of «Kuy» by M.Sagatov)." Pedagogy and Psychology 47, no. 2 (June 30, 2021): 256–64. http://dx.doi.org/10.51889/2021-2.2077-6861.30.
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In the Kazakh educational process today, in addition to the generally recognized arrangements and treatments of world music classics and original works for viola, national music adapted for viola is actively involved. There are several collections of works for viola edited, arranged and processed by such authors as A.Nurbayeva, E.Liberchuk, Ya.Fudimana, N.Sagimbayeva, D.Makhmud. The musical literature presented in these collections is widely used at different levels of education – by students of music schools, colleges and even universities of the republic, which is mainly due to the limited repertoire. The article deals with the transcription of N.Karimov's «Kuy» for violin and chamber orchestra by M. Sagatov as one of the first experiments in interpreting the sound of dombra kuy in viola music.
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Conway, Paul. "Presteigne Festival 2012." Tempo 67, no. 263 (January 2013): 86–89. http://dx.doi.org/10.1017/s0040298212001465.
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For six lively and exhilarating days at the end of August 2012, the Presteigne Festival's thirtieth anniversary was celebrated in 16 concerts featuring no fewer than nine new specially commissioned pieces, most of them from composers already closely associated with this much-anticipated annual event held in and around a modest borders town in Powys. Composer-in-residence Sally Beamish was well represented with a generous selection from her output for instrumental and chamber forces, including the premières of two new arrangements of her earlier works. Each concert was programmed with exemplary care by Artistic Director George Vass, resulting in a rich assortment of contemporary and rarely encountered twentieth-century music together with mainstream repertoire.
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Gansner, John M., Mahboubeh Rahmani, A. Helena Jonsson, Brooke M. Fortin, Idayat Brimah, Martha Ellis, Robin Smeland-Wagman, et al. "Plateletpheresis-associated lymphopenia in frequent platelet donors." Blood 133, no. 6 (February 7, 2019): 605–14. http://dx.doi.org/10.1182/blood-2018-09-873125.
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Abstract More than 1 million apheresis platelet collections are performed annually in the United States. After 2 healthy plateletpheresis donors were incidentally found to have low CD4+ T-lymphocyte counts, we investigated whether plateletpheresis causes lymphopenia. We conducted a cross-sectional single-center study of platelet donors undergoing plateletpheresis with the Trima Accel, which removes leukocytes continuously with its leukoreduction system chamber. We recruited 3 groups of platelet donors based on the total number of plateletpheresis sessions in the prior 365 days: 1 or 2, 3 to 19, or 20 to 24. CD4+ T-lymphocyte counts were <200 cells per microliter in 0/20, 2/20, and 6/20 donors, respectively (P = .019), and CD8+ T-lymphocyte counts were low in 0/20, 4/20, and 11/20 donors, respectively (P < .001). The leukoreduction system chamber’s lymphocyte-extraction efficiency was ∼15% to 20% for all groups. Immunophenotyping showed decreases in naive CD4+ T-lymphocyte and T helper 17 (Th17) cell percentages, increases in CD4+ and CD8+ effector memory, Th1, and regulatory T cell percentages, and stable naive CD8+ and Th2 percentages across groups. T-cell receptor repertoire analyses showed similar clonal diversity in all groups. Donor screening questionnaires supported the good health of the donors, who tested negative at each donation for multiple pathogens, including HIV. Frequent plateletpheresis utilizing a leukoreduction system chamber is associated with CD4+ and CD8+ T-cell lymphopenia in healthy platelet donors. The mechanism may be repeated extraction of these cells during plateletpheresis. The cytopenias do not appear to be harmful.
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Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (January 2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.
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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 1972 and 2009, respectively), are considerably less widely known. It was with keen anticipation and no little curiosity, then, that I attended the first performance of McCabe's latest work for chorus and orchestra on 16 March 2013 at St John's, Smith Square.
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Volkhonskaya, Elena N. "Discussion of Publishing Activities of Libraries at Non/fictioNo 20." Bibliotekovedenie [Library and Information Science (Russia)] 67, no. 6 (December 27, 2018): 707–14. http://dx.doi.org/10.25281/0869-608x-2018-67-6-707-713.
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The article presents an overview of the Round table “Publishing activities of libraries: present and future”, held on November 29, 2018 on the initiative of the Russian state library in the framework of the International fair of intellectual literature Non/fictioNo 20. The purpose of this review is to answer a number of questions on the assessment of the current state and development prospects of the branch, the relevance of the main issues raised for discussion and consideration of them from different points of view. The author considers the statistical data of the Russian book chamber on the number of libraries in the country engaged in publishing activity, on its performance, thematic areas and repertoire. The author presents the opinions and main theses of the participants — representatives of library community, publishing, book distribution structures and government agencies — on the development trends in publishing activities of the libraries of different levels; and describes their publishing products. The article describes the tasks, repertoire, methods and forms of financing of modern professional library publications. At present, many libraries are not the subject of publishing activity, but work in cooperation with other publishing structures; it is not always taken into account by statistics and, therefore, further analysis and comprehension is needed. The author evaluates the experience of partnership between libraries and publishers using the example of specific projects. The raised problems are relevant, and currently there is a high interest in the publishing activities of libraries. There is a need for further discussion and analysis. The round table meeting is considered as the beginning of detailed conversation, which will be continued at further events.
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Jackson, RR. "The Display Behavior of Bavia-Aericeps (Araneae, Salticidae), a Jumping Spider From Queensland." Australian Journal of Zoology 34, no. 3 (1986): 381. http://dx.doi.org/10.1071/zo9860381.
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Bavia aericeps Simon is a large plurident jumping spider that frequents palms and other trees in tropical Queensland, building unusually strong and spacious nests on the undersides of leaves. The display repertoire of this species is large and complex, numerous distinct visual, vibratory, and tactile signals being used. Courtship is versatile, each male using one of three different mating tactics depending on the female's maturity and location. Type 1 courtship, involving specialized movements and postures of the legs, palps, and body, occurs if the female is an adult away from the nest; apparently this type of courtship is vision- dependent. If the male encounters an adult female inside her nest, he uses Type 2 courtship, which consists of movements that cause the silk to vibrate. If the female is a subadult inside her nest, the male initially uses Type 2 courtship, then builds a second chamber on the female's nest and cohabits until she moults and matures. Other displays occur during male-male and female-female interactions. Male-male interactions are particularly ferocious, the spiders often being upended and stunned. However, cannibalism seems to be of minor importance in this species.
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Horne, William. "Beethoven's String Quintet in C major, Op. 29, and Brahms's String Sextets: A Wallflower Blooms." Nineteenth-Century Music Review 18, no. 2 (January 22, 2021): 241–68. http://dx.doi.org/10.1017/s1479409820000269.
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Beethoven's String Quintet, Op. 29, has been described as a ‘wallflower’ work that, without enough suitors, remains on the sidelines of the string chamber music repertoire. But in the nineteenth century it had a prominent champion, Joseph Joachim, whose performances of the quintet must have attracted the attention of his close friend, Johannes Brahms. The opening theme of Brahms's String Sextet, Op. 18, is clearly reminiscent of the beginning of Beethoven's quintet. Evidence from Donald Francis Tovey's recollections of Joachim, Joachim's correspondence with the Brahms biographer Max Kalbeck, and the manuscript of Op. 18 shows that Joachim influenced an important revision that aligns the beginning of Brahms's sextet closely with the opening of Beethoven's Op. 29 also in terms of texture and formal design.The striking tremolo opening and virtuosic scale passages in the finale of Beethoven's quintet prefigure similar elements in the last movement of Brahms's Op. 36 sextet. But the deeper relationship between these movements lies in certain shared formal elements: a common emphasis on sound, texture and sharp contrasts between agitato and pastoral elements as defining features of the overall form – and several distinctive similarities of contrapuntal strategy, form and tonal design between the substantial fugatos that dominate the development sections of both movements.It is often observed that Brahms wrote chamber works in pairs. Scholars have often posited that his two string sextets form such a pair, but the separation of four years in their inceptions and his extensive use of Baroque-style materials composed in the 1850s in the later sextet have made this argument tenuous. It now emerges that an unusual pairing feature of Brahms's string sextets is that both works respond to Beethoven's ‘wallflower’ masterpiece.
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Yan, Haosyuan. "Genre Liederabend in creative practice by J. Kauffmann." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 183–97. http://dx.doi.org/10.34064/khnum1-55.13.
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Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and impeccable technique. Among the outstanding events there are the performances of G. Mahler’s chamber opuses (romances, «Song of the Earth», «Songs of the Dead Children», R. Strauss; Liederabends in Bamberg, Munich and the Metropolitan Opera with F. Liszt’s songs «Three Sonnets of Petrarch», G. Mahler, A. Dupark (including on Heine’s and Goethe’s verses), R. Wagner (Five Songs on Matilda Wesendonk’s verses), B. Britten (Seven Sonnets by Michelangelo). The singer’s attention to the AustrianGerman repertoire is the special trait of such chamber evenings. Analysis of recent publications on the topic. The main material on J. Kaufmann’s creative work is contained in numerous interviews, official site materials, Thomas Voigt’s book called «Meinen die wirklich mich», nonfiction articles and reviews on the performance of, in particular, Liederabends (T. Belova, T. Yelagin, E. Shapinska, Tim Ashley, and Christie Franke). From the studies of chamber and vocal performance (I. Gersamiya, T. Madysheva, T. Lymareva), the classification of dialogue quality (E. Stepanidina) in chamber music is involved. The systematic approach allows (based on G. Tsypin’s research) to identify the phenomenon of J. Kaufmann’s creativity. The purpose of the study is the formulation of the basic parameters of his performing style based on the analysis of J. Kaufmann’s Liederabends. Presentation of the main research material. In «The Winter Way» the singer resorts to such expressive means as a little exaggerated, chanted diction of the initial phrases («Sleep quietly»), radically contrasting dynamics of opera ff and subtle pp («Flood»), extremely slow tempo and filigree breathing («Inn»), «performance on the verge» of sound and silence («Loneliness», «Grey Hair», «Crow», and «Last Hope»). The centre of the performance concept is «Loneliness» (according to the singer himself). K. Frank sees the performance by Kaufmann as a rich spectrum of emotions; many listeners note the introversion of his expression. Concerning the conceptual dimension of J. Kaufmann’s interpretation of “The Winter Way”, the following facts were noted: the integrity and the construction of the performance form; the conscious avoidance of unnecessary expressiveness, monologue quality (the master connects the songs, creating an extended monologue), and artistry. Conclusions of the study. The analysis of Liederabends made it possible to find the components of J. Kaufmann’s performing style that characterize his individuality. 1. Intellectualism, conceptual design and «cyclicality» of the embodiment. For Liederabends the singer always chooses sophisticated programs, dominated by song cycles, or even the evenings devoted to the creative work of one composer. From the point of view of dramaturgy, the singer combines several songs into a kind of a micro-cycle, which enhances the monologue of the expression (dialogue «I-I»); the performance by the singer of any composition or cycle is always integral and intends for the catharsis. 2. The system of vocal expressive means that allow the singer to simulate different facets of images. Liederabends reflect the main features of J. Kaufmann’s style, which can also be noted in terms of opera interpretations: the economy of the performer, the singer’s commitment to conducting the cantilena, the role of the rhythmic component in the vocal score, the ability to tune his voice in different vocal ensembles, brilliant piano and mezzo voce, the brightness of forte, the filigree diminuendo and more. Kaufmann’s outwardly restrained manner of performance allows conveying the shades of poetic and musical text, reaching the heights peculiar to him as the performer of the tragic roles of the opera repertoire. In the chamber performance, some things sound even more pronounced. This applies to timbre (the singer can choose the desired colour of the voice, in particular, a matte or «steel» hue), the dynamic hue of ppp (sometimes a barely audible sound of the voice in the vocal cycle by F. Schubert gave a sense of boundary between the worlds, which is as if crossed by the lyric hero), diction (the singer speaks words clearly, and sometimes even sings in a recitative manner, in particular F. Schubert’s «Warrant»), and rhythm (he has a specific «acuteness» with certain disturbances of a uniform course, which has a powerful influence on the audience). Analysing the method of J. Kaufmann’s work with the author’s musical material, it is noted that he respectfully treats the text of the performed compositions, never exaggerates with “liberties” (agogic deviations, text notes, and fioritures). In terms of behavioural characteristics, J. Kaufmann’s performance always prevails in masculinity; from the point of view of the dialogue of the vocal and piano parties in J. Kaufmann’s Liederabends, the monologue quality is of great importance. All of the above allows us to identify another feature of Kaufmann’s performing style – his artistry. Due to his unstoppable artistic energy, which is felt by the listeners and visitors of Liederabends, the singer creates vivid, conceptual song evenings that are generally distinguished by the thoughtfulness of interpretations and which will surely be included in the collection of the world chamber performance. The prospect of further study of the topic is related to the study of J. Kaufmann’s performing style from the standpoint of interpretology.
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Cetrangolo, Aníbal Enrique. "Aida Times Two: How Italian Veterans of Two Historic Aida Productions Shaped Argentina’s Music History." Cambridge Opera Journal 28, no. 1 (March 2016): 79–105. http://dx.doi.org/10.1017/s0954586716000045.
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AbstractAida famously inaugurated the Teatro Colón in Buenos Aires in 1908, but the musical history of the city is also linked to two earlier productions of the piece: its debut in Cairo in 1871, and another legendary performance, in Rio de Janeiro in 1886. This article retraces the steps of five Italian musicians who played in the orchestras of the Cairo or Rio productions before moving to Buenos Aires, and thereby formed part of the vast Italian emigration to Argentina in the final decades of the nineteenth century. Once there, Pietro Melani, Tomaso Marenco, Giovanni Grazioso Panizza, Italo Casella and Ferruccio Cattelani radically transformed the concert life of the city through their musical activities, not least through their introduction of a wide range of orchestral and chamber music repertoire. By reconstructing their trajectories, I argue for a stronger focus on international networks in thinking about the history of Italian opera at this time and for a greater attention to the contributions of performers who would later fall into obscurity. In addition, I suggest that the insignificant attention given to such figures even in Argentinean narratives would seem to indicate the persistence of a historiography that plays down the contributions of European immigrants in the musical history of the city and the nation.
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Ascenso, Sara, Aaron Williamon, and Rosie Perkins. "Understanding the wellbeing of professional musicians through the lens of Positive Psychology." Psychology of Music 45, no. 1 (July 8, 2016): 65–81. http://dx.doi.org/10.1177/0305735616646864.
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Recognizing the need to include musicians in mainstream wellbeing profiling and to move beyond a focus on debilitating factors of the music profession, this study aimed to understand how professional musicians experience wellbeing in the light of Positive Psychology. Guided by the PERMA model, the goal was to track enhancers and challenges for wellbeing in relation to the model’s five components: positive emotions, engagement, relationships, meaning and accomplishment. Participants included six professional musicians from six activities: solo, orchestral, choral, chamber, conducting and composing. Two interviews were conducted with each participant, separated by two weeks of diary record-keeping. Results point to high wellbeing. A clear sense of self appears as an overarching sustainer of wellbeing and the transition to professional life as the most challenging time regarding musicians’ flourishing. Positive emotions emerged as highly related to musical moments, while varying repertoire and experiencing different ensembles appeared as central sources of engagement. Meaning emerged as linked to the shared nature of music-making, and a sense of accomplishment was built on internal goals and oneness in performance with others. The key processes for positive functioning appeared to involve responses to, and regulation by, relationships. Implications are discussed in relation to the role of holistic training in educational settings.
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Mikhieieva, Nadiia. "The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.
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Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard Mühlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – with a certain amount of recomposition in each case – in two parallel forms: as sonatas for viola and piano, and for violin and piano. The violin versions are rarely heard, but the viola sonatas have become cornerstones of this instrument’s repertoire, just as the original forms have for the repertoire of the clarinet. Brahms was effectively establishing a new genre, since before they appeared there were virtually no important duo sonatas for viola and piano. These sonatas embody his compositional technique in its ultimate taut, essentialized, yet marvelously flexible manner. The purpose of this article is to show the interaction of variable and invariant components of the musical text as a factor influencing performance decisions in the process of working on a piece of music. To achieve this goal, it is necessary to conduct a comparative analysis of the musical text of clarinet and viola parts in the Sonatas of J. Brahms op 120, which are the material of this study. The article relevance is in the importance of comprehension the performing differences for pianists (especially, for those specialized on the sphere of chamber music) working J. Brahms’ Sonatas op. 120 with clarinetists or violists. Every piece could offer its own unique complex of special “challenges”, thus the need of analyzing specifics of performance in every such a piece of music appears. This uniqueness is the basis for the innovativeness of the results of the study of the performance specifics of J. Brahms’ Sonata op. 120 in a selected aspect. Results of the research. Clarinet and viola versions Sonatas by J. Brahms op. 120 occupy a prominent place in the performing repertoire, including training. Because the article provides a comparative analysis of the musical text of clarinet and viola parts with the same piano part; provides a comparative overview of the specifics of the artistic expression of the clarinet and viola to determine the performing strategy of the pianist in the ensemble. The differences found in the viola and clarinet parts are divided into the groups – octave transfers, addition of double notes and melismatics, changes in melodic lines, difference in the strokes (staccato, non legato, tenuto, portamento etc.). There is also a detailed description of clarinet and viola timbres. Due to the different possibilities of the instruments, it is quite obvious that the pianist faces certain creative tasks and in general they can be formulated as follows: when playing the viola, the dynamic range of the piano should be smaller than when performing with the clarinet. In addition, you need to pay attention to other details, such as pedal, texture quality, articulation. Yes, the viola sounds much more confident against the background of a “thick” pedal, while the clarinet in this case loses the volume of its sound. With regard to phrasing, it should be borne in mind that the clarinetist needs to take a breath, and the violist’s ability to lead a bow for a long time does not depend on his physiological characteristics. The question arises: which is more important – tempo or phrasing? In this situation, the specificity is that phrasing should be given more attention. The tempo when performing with the clarinet varies significantly than with the viola, and it is also chosen and changed for practical reasons that follow from the physical data of the performer. The pianist should also pay special attention to the differentiation of voices and the quality of articulation. In terms of sound balance, it is obvious that the clarinet needs more piano support than the viola, because it is dynamically brighter. Nevertheless, this does not mean that piano shades “p” should be avoided, because the contrast of dynamics expands the acoustic range of Sonatas and their expressive potential. Conclusion. The comparative-analytical description contributes to the awareness of the differences in the dynamic balance due to the change of the obligatory instrument. Accurate knowledge of where and how such changes occur not only focuses the musicians’ attention on the relevant details in the performance process, but also encourages them to make more informed decisions about the dynamic balance of performance in general.
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Pavlenok, Galina D., Maxim B. Kozlikin, and Michael V. Shunkov. "SMALL BLADE TECHNOLOGY IN THE EARLY UPPER PALEOLITHIC INDUSTRIES FROM DENISOVA CAVE: DATA FROM ANALYSIS OF A LITHIC REDUCTION SEQUENCE." Ural Historical Journal 70, no. 1 (2021): 123–28. http://dx.doi.org/10.30759/1728-9718-2021-1(70)-123-128.
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The paper discusses the results from an analysis of five cores associated with Layer 11 in the Southern Chamber of Denisova Cave, intended to obtain small elongated blanks such as bladelets and small blades. Analysis of a lithic reduction sequence employed in the research has made it possible to clearly recognize the phases in producing flake scars on lithic artifacts through the preparation of core blanks, and in core reduction, as well as to determine stages at which some of these pieces were used as tools. The analysis provided insights into a general flaking pattern for the cores under study. Such artifacts were predominantly made on large massive flake blanks, had a plain striking platform, and the working edge showing traces of reduction associated with detaching the target flakes. These technological characteristics are fully consistent with the technological repertoire of a hominin group, based on cores from the same assemblage, intended to obtain larger target removals such as flakes and blades. A cross section of the flaking surface shows no evidence for a deliberately created and maintained convex relief, while typologically four of the five artifacts were defined as sub-prismatic. The analysis of a lithic reduction sequence shows that artifacts from the examined collection related to the production of blanks in the form of small flake-blades, without using new techniques and the controlled reduction of a flaking surface.
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Bogunović Hočevar, Katarina. "Beethoven’s Symphonies in the Musical Life of Nineteenth-Century Laibach." Studia Musicologica 61, no. 1-2 (April 13, 2021): 7–31. http://dx.doi.org/10.1556/6.2020.00002.
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Nineteenth-century concert life in Laibach (Ljubljana), capital of the Habsburg Carniola, was shaped and led by the local Philharmonic Society. Until the establishment of the Musical Society in 1872, it was the only musical institution in Carniola. Even after the establishment of the Musical Society, the Philharmonics remained the principal and representative leader of concert life. In the mid-nineteenth century, the main European centers had their own operatic and concert civil orchestras, however, Laibach did not have a concert symphony orchestra. In order to lead and perform regular symphonic concerts, the Philharmonic Society had to hire musicians from the military chapel, which also collaborated with the Opera and, at the end of the nineteenth century, participated in the concerts of the Music Society. The history of the Philharmonics exhibits not only a rich tradition but also illustrates the program endeavors of the artistic leaders, the musical trends of the time and social circumstances, which sometimes encouraged and at other times hindered its work. The first preserved program notes indicate that at that time (1816) challenging symphonic works were already played and in this regard Beethoven’s role was evident. In 1808 the Society already attempted to elect Beethoven as an honorary member of the society, but this happened only in 1819. A year before the local premiere of his Symphony No. 6, and for this opportunity, the composer sent a manuscript with his own corrections. Until then his Symphonies Nos. 1, 2, 7 and probably 4 were already performed there. The program notes of the Society indicate that Beethoven’s works were played at least (but usually more than) once in a season. In the second half of the nineteenth century, the appeal and the interest in the composer’s creative output grew even stronger, alongside the appreciation of the memory of the composer. It is also significant to note that his chamber works became regularly performed in the chamber concerts of the Philharmonics. Even though from the very beginning the composer’s overtures had a stable and regular place within the repertoire, the first full performance of his Symphony No. 9 took place only in 1902 (the first three movements were already performed a decade earlier).
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London, Justin. "Building a Representative Corpus of Classical Music." Music Perception 31, no. 1 (September 1, 2013): 68–90. http://dx.doi.org/10.1525/mp.2013.31.1.68.
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This paper presents an object lesson in the challenges and considerations involved in assembling a musical corpus for empirical research. It develops a model for the construction of a representative corpus of classical music of the “common practice period” (1700-1900), using both specific composers as well as broader historical styles and musical genres (e.g., symphony, chamber music, songs, operas) as its sampling parameters. Five sources were used in the construction of the model: (a) The Oxford History of Western Music by Richard Taruskin (2005), (b) amalgamated Orchestral Repertoire Reports for the years 2000-2007, from the League of American Orchestras, (c) a list of titles from the Naxos.com “Music in the Movies” web-based library, (d) Barlow and Morgenstern’s Dictionary of Musical Themes (1948), and (e) for the composers listed in sources (a)-(d), counts of the number of recordings each has available from Amazon.com. General considerations for these sources are discussed, and specific aspects of each source are then detailed. Intersource agreement is assessed, showing strong consensus among all sources, save for the Taruskin History. Using the Amazon.com data to determine weighting factors for each parameter, a preliminary sampling model is proposed. Including adequate genre representation leads to a corpus of ≈300 pieces, suggestive of the minimum size for an adequately representative corpus of classical music. The approaches detailed here may be applied to more specialized contexts, such as the music of a particular geographic region, historical era, or genre.
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Nakayama, Takuro, Mami Nomura, Yoshihito Takano, Goro Tanifuji, Kogiku Shiba, Kazuo Inaba, Yuji Inagaki, and Masakado Kawata. "Single-cell genomics unveiled a cryptic cyanobacterial lineage with a worldwide distribution hidden by a dinoflagellate host." Proceedings of the National Academy of Sciences 116, no. 32 (June 24, 2019): 15973–78. http://dx.doi.org/10.1073/pnas.1902538116.
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Cyanobacteria are one of the most important contributors to oceanic primary production and survive in a wide range of marine habitats. Much effort has been made to understand their ecological features, diversity, and evolution, based mainly on data from free-living cyanobacterial species. In addition, symbiosis has emerged as an important lifestyle of oceanic microbes and increasing knowledge of cyanobacteria in symbiotic relationships with unicellular eukaryotes suggests their significance in understanding the global oceanic ecosystem. However, detailed characteristics of these cyanobacteria remain poorly described. To gain better insight into marine cyanobacteria in symbiosis, we sequenced the genome of cyanobacteria collected from a cell of a pelagic dinoflagellate that is known to host cyanobacterial symbionts within a specialized chamber. Phylogenetic analyses using the genome sequence revealed that the cyanobacterium represents an underdescribed lineage within an extensively studied, ecologically important group of marine cyanobacteria. Metagenomic analyses demonstrated that this cyanobacterial lineage is globally distributed and strictly coexists with its host dinoflagellates, suggesting that the intimate symbiotic association allowed the cyanobacteria to escape from previous metagenomic studies. Furthermore, a comparative analysis of the protein repertoire with related species indicated that the lineage has independently undergone reductive genome evolution to a similar extent as Prochlorococcus, which has the most reduced genomes among free-living cyanobacteria. Discovery of this cyanobacterial lineage, hidden by its symbiotic lifestyle, provides crucial insights into the diversity, ecology, and evolution of marine cyanobacteria and suggests the existence of other undiscovered cryptic cyanobacterial lineages.
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Poston, Lawrence. "The Pursuit of High Culture: John Ella and Chamber Music in Victorian London, by Christina BashfordThe Piano in Nineteenth-Century British Culture: Instruments, Performances, and Repertoire, edited by Therese Ellsworth and Susan Wollenberg." Victorian Studies 51, no. 2 (January 2009): 371–73. http://dx.doi.org/10.2979/vic.2009.51.2.371.
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Mikolon, Anna. "Composition trends in polish vocal lyric. Musical language features in polish songs after the mid-20th century based on selected examples." Notes Muzyczny 2, no. 12 (December 13, 2019): 175–98. http://dx.doi.org/10.5604/01.3001.0013.7176.
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The subject for analysis were works for voice and piano by selected Polish composers of the 20th and 21st centuries, e.g. Grażyna Bacewicz, Tadeusz Baird, Henryk Czyż, Henryk Mikołaj Górecki, Henryk Hubertus Jabłoński, Wojciech Kilar, Zygmunt Krauze, Szymon Laks, Witold Lutosławski, Juliusz Mieczysław Łuciuk, Wojciech Łukaszewski, Paweł Łukaszewski, Maciej Małecki, Paweł Mykietyn, Edward Pałłasz, Konrad Pałubicki, Krzysztof Penderecki, Witold Rudziński, Marian Sawa, Kazimierz Serocki, Tadeusz Szeligowski and Romuald Twardowski. An important matter for the author was to determine whether there are common features for this creative genre. She also attempted to find an answer to the question if the trends from the second half of the 20th century were reflected in songs. The scope of analysis covered the repertoire the author knew from her performance practice from the standpoint of a pianist. To the general characteristics of selected songs she added a review of famous trends, techniques and styles of composition, such as impressionism, neoromanticism, expressionism, dodecaphony, serialism, punctualism, minimalism, sonorism, spectralism, neoclassicism, vitalism, postmodernism, aleatoricism, bruitism, microtonality, electronic music, musique concrète, stochastic music, references to previous periods, to folklore and to popular music. She compared musical notation of the analysed works. She also confronted forms of songs with contemporary composition techniques. Interesting was the approach of composers to chamber relations in a duo and the way they made texts musical. Most composers distanced themselves from the avant-garde in works for voice and piano which had a specific poetic text because of the clarity of narration. Matching composers unequivocally to just one trend turned out impossible. Various techniques and phenomena may co-exist in one piece and in the same way one creator may search for different means of expression.
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Anfi, lovaS G. "In the shade of “beautiful style”: talking about the chamber vocal music pieces by G. Donizetti." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 99–118. http://dx.doi.org/10.34064/khnum2-15.05.
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Background. In 2018, the 170th anniversary of the death of Gaetano Donizetti (1797–1848) was commemorated. G. Donizetti created 74 operas of various genres and themes. He was the head of the Italian opera school in the second half of the 1830s, picking up the baton from G. Rossini and V. Bellini and anticipating G. Verdi’s searching. Having an apparent melodic gift, excellent skills of composing, knowledge of musical theatre, he created his works extremely quickly and easily – up to 3–4 operas per year, which caused repeated critical attacks. Opera works by G. Donizetti got a hard futurity. This music laid hold of audience in the 1830s–40s, but practically got out of the repertoire by the end of the 19th century, giving way to the masterpieces by G. Verdi and R. Wagner. Its revival began in the 50s of the 20th century, thanks to remarkable interpretations of great performers, in particular Maria Callas, Joan Alston Sutherland, Montserrat Caballé (since 1965), and others. A new success of opera masterpieces arose due to the fact that performing concepts restored the original author’s conception. Among the researchers and listeners, G. Donizetti’s operatic works eclipsed other spheres of his creativity, such as instrumental and chamber vocal music. But at the same time, G. Donizetti lived in the times of the widespread distribution of the romance, and the rapid growth of its popularity in the amateur and professional performing environment. He was an outstanding expert of vocal music and could not ignore this genre. Naturally there is a need for a more attentive approach to such a little-studied topic, as the composer’s chamber vocal music. Objectives. Gaetano Donizetti’s chamber-vocal creativity is the object of this study. The subject is the song cycle “Summer Nights in Posillipo” (“Nuits d’été à Pausilippe”) in terms of individual composer style. The objectives of offered article are not so much fi ll existing gaps on this issue, as taking a closer look at the romance genre, which is eclipsed by the composer’s opera compositions. The author of this work uses classical methods of analysis of historical and theoretical musicology. Results. Studies on the composer style of G. Donizetti in the Russian and Ukrainian languages are very limited in both quantitative and thematic terms. Most sources, including in other languages, consider opera works by the composer. The exact number of Donizetti’s romances is still unknown (from 250 to 270). The song cycle “Nuits d’été à Pausilippe” / “Summer Nights in Posillipo” (1836), consisting of 12 songs, is also not considered in the scientifi c literature. Typical for the fi rst third of the 19th century is the chronotope of this cycle, in which the poetics of the geographical toponym and the symbolism of the night are combined. Posillipo is a distinctive place in the northern part of the Gulf of Naples, with its unusually picturesque landscape and artifacts of ancient culture. The name of the song collection by G. Donizetti corresponds to the popular literature formula of the 1830s – “Florentine Nights” (1833) by H. Heine, “Egyptian Nights” (1835) by A. S. Pushkin, and others, in which the genre of the “night” novelistic cycle embodied. The musical implementations are “Night Pieces” op. 23 (1839) by R. Schumann, song cycle “Summer Nights” op. 7 (1841) by G. Berlioz, which were created in the period of composition writing (1836) by G. Donizetti. The novella-like character of “Summer Nights in Posillipo” is represented by incompleteness of lyric utterance, free alternation of fragments within the boundaries of a given topic, the variability of timbre solutions, varied choice of authors of poetic texts. Six solo numbers (Nos. 1–6) are supplemented by six duets for various timbre sets (Nos. 7–12, for 2 sopranos, soprano and mezzo-soprano, soprano and tenor, tenor and bass). The poems by four poets of Romanticism are involved: Leopoldo Tarantini (Nos. 1, 8, 10, 12), Carlo Guaita (No. 2), Michele Palazzolo (Nos. 7, 11), Francesco Puoti (No. 9), Victor Hugo (No. 6). Also the poems of the anonymous poet (No. 3) and the folklore text (No. 5) are used here. The cycle is “multilingual”, the Italian language coexists with the Neapolitan and French. The love theme prevails. We can talk about creation of a poetic-collective image entitled Homo amore. Solo songs (Nos. 1–6) form conditional self-contained cycle, which is distinguished by genre diversity. This is evidenced by both the designations of the composer himself (Barcarolle – No. 1, Romance – No. 2, Arietta – No. 3, Ballade – No. 4, Neapolitan song – No. 5), and signs of other genres (opera monologue – No. 1, Chivalric romance – No. 2, Serenade – No. 3, Alba – No. 6). The second little cycle is formed by the duets Nos. 7–12. The composer designates Nos. 7–11 as nocturne, while Nos. 12 as brindisi, or drinking song. G. Donizetti’s nocturnes are glad and lyrical, motile, virtuosic, theatrically spectacular. Life and earthly pleasures are glorifi ed in sounding. The atmosphere of a brilliant ball evening is felt here. The unifying factor in duets are the principles of the texture organization of vocal parts. The fi rst one is associated with the interaction of voices-parts with each other according to the principle of anti-phoning singing (Nos. 7, 9, 11). The second principle is associated with the simultaneous sounding of two voices (Nos. 8, 10, 12). The role of intonation relatedness at the songs is signifi cant. The thematism of twelve songs can be divided by the type of melodic core. As a result, there are three groups: I – themes Nos. 1, 2, 5, 8, 10; II – Nos. 3, 6; III – duets Nos. 7, 9. Conclusions. The applying of the “intonation vocabulary” of the epoch is refl ected in numerous allusions between the melodies of the romances by G. Donizetti and the works of his contemporaries (M. Glinka, F. Schubert) and successors (R. Hahn). The biggest interest is the composer work with the form. Acting within the framework of the repeatability (melodic and structural) and stanza form, G. Donizetti seeks to overcome this necessity in every possible way by various means. The structure of his romances “lives”, naturally unfolds in time, obeying the laws of vocal music. The results of “Summer Nights in Posillipo” analysis allow us to conclude about the originality of G. Donizetti’s creative decisions in the genre of romance.
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Klebanova, S. V. "Keys to mastery: from the experience of the concertmaster’s work in the class of the concert-chamber singing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 8–20. http://dx.doi.org/10.34064/khnum1-53.01.
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The basis for the topic. The present article is devoted to the coverage of pedagogical functions of the concertmaster activity in the class of the concert and chamber singing. Taking into account that the functions of a teacher-concertmaster are quite extensive, and the scope of the performed repertoire in genre and style account is extremely broad, the topic of works on concertmaster studies is a special section of music science. The utmost goal of the concertmaster in the class of concert and chamber singing is to develop the artistic thinking and musical taste of the young singer, to increase his/her erudition and, as a result, to create a creative personality. The object of the study is the pedagogical activity of the concertmaster as a form of creativity; the subject is the experience of understanding the activity of the concertmaster in the class of concert-chamber singing. The purpose of the article is to substantiate the pedagogical factor of the concertmaster work in the class of concert and chamber singing as the basis of the professional activity of the future singer. The analysis of the recent publications on the topic. In the last decade, the Kharkiv performing school has greatly increased the attention of the researchers from practicing concertmasters to their professional self-identification. Thus, N. Inyutochkina poses the problems of concertmaster activity in the light of the general tenets of "ensemble co-creation", according to which the concertmaster is a sensitive ensemble-member and interpreter who has thoroughly studied the specifics of the vocal art and aligns all the means of his/her expressing instrument with the personal-psychological complex of the singer (2010). The dissertation for a Candidate degree written by G. Zub (2012) substantiates the specificity of this kind of performing creativity in historical, genetic, typological, and stylistic planes. The concertmaster’s work has been studied in the most encyclopaedic way in numerous scientific works by T. Molchanova (2015). The presentation of the main material. The presentation of the main material. The concert-chamber singing is regarded as a kind of co-creation of the vocalist and pianist, in which the former learns from the latter. The latter, on the basis of the professional service to the vocal art and its bearers, must create from his/her under warder a master who is capable in conditions of a concert performance for an artistic act-event. The main qualities of the concertmaster who wants to master the pedagogy of the vocal art are attention, memory, productive (creative) thinking and constant expansion of the consciousness and emotional sphere. A concertmaster must possess a complete set of musical talents: the advanced musical hearing, the imaginative thinking, the sense of rhythm, artistry, fantasy, mobility, activity and the specific ability “to pick up” a soloist in time and finish the composition. To do this, he/she cultivates an analytical mind, an intonation erudition, curiosity, perseverance and even tolerance, pedagogical endurance, and psychological drive to this field of music making. The way to master the whole complex of properties and qualities of the concertmaster’s training is a long and complicated one. The directions of applying the concertmaster mastery in the pedagogic job with young vocalists have been outlined: the preparatory work (the introduction to the composer’s text; the work on the poetic text; the processing of the poetic text); the performance as a psychological process (artistic influence, suggestion, performing means) and the concert performance. A concertmaster is a highly sought after profession of an exceptionally creative, intellectual prowess that requires something more than “playing of the notes”! Accompanists are the equal participants in a ensemble whole – the co-creation of a singer and a pianist, which creates for the listener an artefact “on behalf of the author”. Being a rhythmic and harmonious support of a singing performance, the concertmaster should be especially attentive. His/her attention distributes not only between his/her own hands, but concerns primarily a soloist. A concertmaster’s “circle of attention” contains such components as the pedal, the sound balance, the sound accompanying of the singer, the embodiment of a holistic artistic image, which requires a great strain of spiritual and physical forces. The conclusions identify the “keys to mastery” – the rules for young concertmasters. They are: to be able to listen to the soloist, to mentally sing and breathe with him/her; to constantly train to play music at sight; to always see 3 lines (the vocal one with the piano one); be with the singer “on one wave”: to empathize, support and lead, if necessary, his/her melodic line; not to distract the audience with unnecessary movements behind the instrument; to study the singer’s capabilities, his/her potential, taking into account the hall acoustics and the quality of the instrument; to find time for self-observation and rehearsals to improve the co-creation with the vocalist. Mastery and art are one: without one of these components, the vocalist will not reach the requisite professional height! Inspiration and artistry are the main components of an artistic personality, both of the singer and of his/her teacher-concertmaster. Maintaining the immediacy of feelings, openness to the Other-in-oneself is a pledge for the co-creation of the vocalist-soloist and concertmaster.
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Vandagriff, Rachel S. "An Old Story in a New World." Journal of Musicology 35, no. 4 (2018): 535–66. http://dx.doi.org/10.1525/jm.2018.35.4.535.
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During the Cold War, American private foundations subsidized American modernist composers, supporting their work through commissions, underwriting recordings and concerts, and promoting their ideas in radio programs and periodicals circulated at home and abroad. From its establishment in 1952, the Fromm Music Foundation (FMF) acted as an important player in this field. Using archival material and interviews with people who worked with the founder Paul Fromm, I show how Fromm’s involvement in his foundation, and his reliance on professional advice, constituted a unique patronage model that enabled select composers to participate actively in the promotion of their music. Fromm’s relationship with Elliott Carter provides an especially complex example of a mutually beneficial and successful partnership. Fromm’s goal was to integrate contemporary music into American musical life by supporting the production and dissemination of new compositions. Fromm sought to play the role of patron, fostering close relationships with composers who received funds and acted as his artistic advisers. Fromm’s partnership, and consequent friendship with, Carter illustrates the many ways the FMF served composers. In 1955 Fromm commissioned what became Carter’s Double Concerto for piano, harpsichord, and two chamber orchestras (1961). Fromm’s subsequent help, administered through his Foundation and personal connections, enabled Carter to secure high-quality premieres of this piece and other difficult-to-perform repertoire, helped facilitate repeat performances and recordings of these compositions, and allowed Carter, together with his wife Helen, to establish a system to fund musicians who performed his music—and also reap tax benefits. Among the recipients who benefited from Fromm’s largesse were Charles Rosen, Paul Jacobs, and Jacob Lateiner. Fromm’s actions spawned a familiar fable. Carter’s career and the way he talked about it reinforced many persistent falsehoods about an artist’s relationship, or lack thereof, to potential listeners and audiences—a source of financial support for artists since the advent of public concert life. Fromm’s financial support and Carter’s ability to supplement it helped buttress the late-Romantic myth of creative autonomy. The details of this partnership—the words exchanged, the other figures involved, and its variegated benefits—harbor broad implications for the study of Cold War-era patronage networks and for our view of Carter’s career.
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Sirash, A. "Becoming of the chamber choir "Kyiv"`s repertoir concept ( on archive materials)." Ukrainian musicology 44 (December 19, 2018): 76–86. http://dx.doi.org/10.31318/0130-5298.2018.44.0.152878.
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Roguska, Agnieszka. "Piano in the land of unsaid love – musical contexts of emotional lives of married female characters in Thomas Mann’s Buddenbrooks and Sándor Márai’s Embers." Notes Muzyczny 1, no. 15 (June 21, 2021): 125–39. http://dx.doi.org/10.5604/01.3001.0014.9693.
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In The Sorrows of Young Werther, an epistolary novel by J.W. Goethe, we can find a literary portrait of a beloved woman playing a keyboard instrument. This is the motif Adam Mickiewicz referred to in his Dziady, Part 4. Both texts describe unrequited love to a woman belonging to another man. Belles-lettres reflect repertoire issues – at the turn of the 19th century girls from a proper home performed simple pieces, often dances. Subsequent decades of the 19th century came with the development of piano methodics, and composers wrote pieces which today constitute part of concert canon, whereas the piano became the perfect musical tool. The plot of Thomas Mann’s Buddenbrooks is set in the second half of the 19th century. Music plays an important role in that novel. Mann depicts the problem of clashing views in the marriage of Thomas, who was fond of “pretty melodies”, and Gerda, a magnificent violin and piano player who performed ambitious compositions and showed no mercy in criticising her husband’s musical taste. An important motif is the appearance of a young officer who visits Gerda in order to perform chamber works together. Thomas fears the mysterious bond between his wife and the lieutenant on the one hand and people’s opinions on the other. The motif of music as a platform for communication between a man and a woman can also be found in the novel Embers by Sándor Márai. Here as well it is a connection unavailable to the husband of the main heroine. At the end of his life, Henri, Christine’s husband, refers to music as the “melodious and obscure language” which allows “certain people” to communicate. Both novels include the motif of the end of an era and death of the characters for whom music was extremely significant and who performed compositions of the highest artistic value. Texts by Mann and Márai reflect a decline of a certain stage in the history of culture. It is also the end of the typical ways how burgesses and aristocrats spent their leisure time, how they treated the sphere of emotions and communed with the widely understood art. The result of these changes is the dethronement of the piano, which no longer was one of the most important pieces of furniture in a drawing room nor the most important instrument – as it used to be in the 19th century culture.
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Shubina, L. I. "«Actual intoning» in the vocalperforming practice of Tetiana Vierkina (based on the romance repertory)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 9–33. http://dx.doi.org/10.34064/khnum2-17.01.
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Background. Objectives and methodology of the research. An attempt is made to consider the vocal-performing work of the People’s Artist of Ukraine Tetiana Vierkina in the aspect of the “actual intoning” concept, which was developed in her PhD thesis. “Actual intoning” is interpreted by the researcher not only as the performer’s work, who turned the author’s text into the sound reality, into a living speech utterance, but also as the desire to fill her interpretation with relevant meanings that are significant for the modern era. The scientific work by T. Vierkina, devoted to the problems of intoning, grew out from a generalization of her many years of experience – artistic and pedagogical. However, in the field of view of the musicologists studying the performing art of T. Vierkina, mainly, her pianistic mastery proves to be. However, in Ukraine, as in the cities of Russia, Armenia, Georgia, Belarus, T. Vierkina is also known as a chamber singer, the owner of a very beautiful soprano, a performer with a peculiar manner of singing. Being not as powerful and dense as opera voices, the singer’s voice nevertheless sounds good in large concert halls with the accompaniment of symphony orchestras thanks to her technique of bright, sonorous sound. Having a recognizable, unique timbre, Tetiana Vierkina subordinates it to the tasks of expressively meaningful singing, finds her place among the intellectual type of singers. Two main directions in her vocal repertoire are defined – domestic, classical romance, pop songs of the 19th–20th centuries, on the one hand, and chambervocal music by Kharkiv composers, on the other. The purpose of this article is to consider only one direction in the vocal performing creativity by T. Vierkina related to her romances singing repertoire. The research is based on five romances representing the Pushkin-Glinka era –“You’ll never understand my sadness” by A. Gurilev to the poem of V. Beshentsov, “Don’t wake her at the dawn” by A. Varlamov to the poem of A. Fet, “When minute of the life is hard” to the poem of M. Lermontov – and the “Silver Age” of Russian poetry:“No, he didn’t love” by A. Guercia to the poem of E. Del Preite, in the Russian translation of M. Medvedev and “The Lord’s Ball” by A. Vertinsky to the poem of the author. An analysis of the interpretations of these works is included in the historical context, referring to some other interpretations of their musical text, to reveal the originality of the images and meanings created by T. Vierkina. The features of the artist’s creative formation and the circumstances of her life, which influenced her performing style, are taken into account. Thus, the general scientific methods of historical retrospection, comparison, generalization are used in this work, as well as the complex methodology of analytical musical-theoretical researches that correlated with B. Asafiev’s theory of intonation. Research results. The paper describes main features of the singing art of T. Vierkina, the artist with a beautiful timbre of her voice, which has a wide range capable of covering both soprano and mezzo-soprano. A brief overview of the vocal performance of T. Vierkina as a chamber singer is presented. The role of the Petersburg vocal teacher Raisa Christie, under whose guidance T. Vierkina perfected her singing technique and was supported in her search for an intonationally meaningful manner of singing, is shown. Turning to the analytical material, the author emphasizes means of expressiveness, with the help of which the singer creates completely different images on the basis of five romances. High, penetrating elegiac character of the Glinka type in the work of A. Gurilev is combined with the subtle understanding of the dialogical nature of the romance genre – the singer interprets each verse as an increasingly tense “phase” in her communication with an invisible interlocutor. In the song-romance of A. Varlamov, the singer goes by the parallelism of images of nature and a young beauty. The singer organizes the couplet-stanza form in a three-part composition, where the first and last sections (the nature waking up at sunrise plays with morning colors on the cheeks of a sleeping girl) contrast with the central one, in which the image of the night, the time of love anxieties and longings, dominates. At first, the singer’s voice is distinguished by its primary “instrumentality”, ease and purity of sound, while in the “night scene” it acquires greater density, verbal expressiveness. In the Bulakhov’s elegy, subtle penetration into the composer’s concept, which comes in a certain contradiction with Lermontov’s intent, makes it attractive. The poet reveals the effect of prayer as a process that begins “when minute of the life is hard”, and ends with the liberation of the hero from the burden of doubt. Bulakhov, on the contrary, choosing for the romance a gloomy, mournful tonality in B minor keeps it unchanged throughout the entire work, with the exception of episodic deviation to the parallel major, emphasizing the static contemplation of the image of the hero, who thinks suffering itself as grace, as effort of the soul aspiring to God. When considering the last two romances (“No, he didn’t love” and “The Lord’s Ball”), references were made to the interpretations of other performers, who each in their own time and in their own way updated these works (V. Komissarzhevskaya, N. Alisova, A. Vertinsky, V. Vysotsky and others). T. Vierkina’s versions of the two romances are analyzed. The first one attracts with light associations with the free gypsy style of singing (improvisation, use of the larynx-nasal timbre, changing of the metro-rhythm, compression-stretching, free transitions from tempo slowdowns to accelerated movement, transitions from singing to chanting words, etc.). In the song-arietta by A. Vertinsky, the emphasis is on elegance, intonation of sympathy for the heroine, whose life flew in ghostly dreams. The singer narrates, distancing herself from the heroine, then, seems to transform into her, then comments, rising above the “action”. Conclusions. Works created almost two centuries ago, performed by T. Vierkina, become significant and relevant for her contemporaries. In the romance she emphasizes the richness and depth of emotional experiences, which turns it into a kind of “encyclopedia” and, at the same time, “school of feelings”. This school, according to the singer, is called upon to resist the ever-increasing impoverishment of the emotional life of people in the era of technological progress and the increasing popularity of communications in the virtual space of the Internet. T. Vierkina believes that with the classic romance the art of representing ordinary human feelings in the light of a high ideal, reflecting them openly, sincerely, and confidentially, is a part of our life. Evenings of T. Vyerkina’s romances have always been significant events in the musical life of Kharkiv, which drew the attention of the public. The singer’s desire to “actualize” the genre, make it a “barometer” of the moods of her contemporaries, always find support among admirers of her artistic talent – all the singer’s concert performances end with “mass singing” – performance of some popular romance by all the listeners in the hall.
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XANKIŞIYEVA, İlhame. "A LOOK AT AZER DADASHOV’S PIANO WORK." IEDSR Association 6, no. 15 (September 20, 2021): 1–10. http://dx.doi.org/10.46872/pj.302.
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The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts to small preludes. Thus, the composer's piano music offers a wide choice for pianists of different ages. Azer Dadashov's piano works include three concerts written for piano and camera orchestra, as well as a series of small miniatures and independent plays. The composer composed three concerts for piano and orchestra. The first concert took place in 2004, the second in 2009 and the third in 2010. Miniature genres dominate Azer Dadashov's piano music. The series for young pianists is particularly noteworthy here. A.Dadashov’s “Six Preludes”, “Six Miniatures”, “For the Flower” consisting of seven dances, as well as four sonatinas, pastoral, etc. There are piano works. Taking into account the technical abilities of the young pianist, who has mastered the art of performance, the composer tried to portray the children's colorful dance power, the world of bright images and create interesting musical panels. The composer's piano series “Six Preludes” (1966), “Six miniatures” (1968), “Six melancholy miniatures” (1985), “For Flowers” (1986), and “Atmacalar” (2001) are included in the children's music teaching repertoire. These miniatures are widely included in the concert program of school and young pianists. As the name suggests, most of these sequences are programmed. In sequences of a particular genre, each instance has its own image-emotional content and is ordered within the sequence according to a certain linking principle. Azer Dadashov's piano music is also characteristic of independent plays of different volume and content. These include “Poema” (2012), “Space song” (2015), “Bagatel” (2010), “Praise”, “Funny dance” (2009), four sonatas, “Three almonds and a walnut” for piano and chamber orchestra. ”, “Sacrifice of God”, “My Flag”, “Trial”, “Grace” and others. Although the use of modern means of expression and the writing techniques of the composer are observed in A.Dadashov's piano music, the composer prefers classical traditions to embody the form. In the composer's music, each motif serves to embody the main idea down to the smallest detail, depending on its general content.
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Hilfiger, John Jay, and William Scott. "A Conductor's Repertory of Chamber Music: Compositions for Nine to Fifteen Solo Instruments." Notes 51, no. 4 (June 1995): 1304. http://dx.doi.org/10.2307/899111.
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Clarizio, A. V., H. J. Galipeau, J. Jury, L. Rondeau, J. Godbout, L. Williams, B. Anderson, and E. Verdu. "A19 NOVEL HLA-DQ2 TRANSGENIC MICE DEVELOP GLUTEN-IMMUNOPATHOLOGY FOLLOWING GLUTEN SENSITIZATION." Journal of the Canadian Association of Gastroenterology 3, Supplement_1 (February 2020): 22–23. http://dx.doi.org/10.1093/jcag/gwz047.018.
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Abstract Background Celiac disease (CeD), an autoimmune and chronic inflammatory enteropathy triggered by the ingestion of gluten, is associated with HLA-DQ2 (~90%) and, to a lesser extent, HLA-DQ8. We previously characterized a humanized mouse model of gluten sensitivity that expresses the HLA-DQ8 allele, and that develops mild innate and adaptive immune pathways related to DQ8+ CeD patients. Gluten peptides recognized in the context of DQ2 differ from those bound to DQ8 molecules and homozygous carriage of HLA-DQ2 provides higher risk for CeD development. Thus, characterization of a transgenic HLA-DQ2 model would allow for the investigation of disease pathways that affect the majority of celiac patients. Aims Our aim was to determine gluten-immune responses and small intestinal pathology in C57BL/6 mice humanized with the HLA DR3-DQ2 gene. Methods To break oral tolerance to gluten, DR3-DQ2 mice were orally sensitized with gliadin (5mg/mL) and cholera toxin (CT; 2.5mg/mL) before being challenged with gluten (10mg/mL) for three weeks. Non-sensitized DR3-DQ2 controls mice received CT and a sham challenge. To determine the effects of long-term exposure to gluten, gliadin sensitized DR3-DQ2 mice were placed on a gluten-containing diet for twelve weeks. Controls were given CT and remained on a gluten-free diet. Pathology was evaluated by CD3+ intraepithelial lymphocytes (IELs) counts; villus-crypt (V/C) ratios. Gluten-induced immune responses were evaluated by anti-tissue transglutaminase-2 (tTG) and anti-gliadin antibodies, inflammatory gene expression by Nanostring Technology, and CD4+ T cell proliferation using flow cytometry. Intestinal permeability was measured in vitro by Ussing Chamber. Results DR3-DQ2 mice that were sensitized and challenged with gluten for three weeks had higher IEL counts, lower V/C ratios, higher anti-gliadin and tTG antibodies, which are used in the serological diagnosis of the disease. Gluten sensitized mice also has higher expression of pro-inflammatory genes, and an induction of gluten specific T cells, but no changes in permeability compared to control mice. DR3-DQ2 mice given a gluten-containing diet for 12 weeks also had higher IEL counts, lower V/C ratios, and higher anti-gliadin and tTG antibodies, but had no changes in permeability compared to controls. Conclusions These results indicate that mice humanized with the HLA DR3-DQ2 gene show innate and gluten-specific immune responses following sensitization. Thus, mice expressing HLA-DQ2 represents a novel model of gluten sensitivity that can be used to investigate celiac disease pathways related to gluten peptide repertoire that binds to DQ2 MHC class II, encoded by the HLA gene expressed by the majority of celiac patients. Supported by CIHR to EFV and OGS to AVC Funding Agencies CIHROGS
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Christensen, Thomas. "Four-Hand Piano Transcription and Geographies of Nineteenth-Century Musical Reception." Journal of the American Musicological Society 52, no. 2 (1999): 255–98. http://dx.doi.org/10.2307/831999.
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Throughout the nineteenth century, massive quantities of four-hand piano transcriptions were published of virtually every musical genre. Indeed, no other medium before the advent of the radio and phonograph was arguably so important for the dissemination and iterability of concert and chamber repertories. Yet such transcriptions proved to be anything but innocent vehicles of translation. Not only did these four-hand arrangements offer simplified facsimiles of most orchestral works blanched of their instrumental timbres (a result that was often compared to the many reproductive engravings and black-and-white lithographs of artworks that were churned out by publishers at the same time); such arrangements also destabilized traditional musical divisions between symphonic and chamber genres, professional and amateur music cultures, and even repertories gendered as masculine and feminine. By bringing music intended for the public sphere of the concert hall, opera house, and salon into the domestic space of the bourgeois home parlor, the four-hand transcription profoundly altered the generic identity and consequent reception of musical works.
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Linfield, Eva. "North and South European influences on Buxtehude's chamber music : despite influences, a unique repertory." Schütz-Jahrbuch 10 (August 21, 2017): 104–25. http://dx.doi.org/10.13141/sjb.v1988722.
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Die Studie untersucht (1) den englischen Einfluß auf die Kammersonaten Buxtehudes, der sich speziell in der Klangstruktur mit Melodieinstrumenten in Sopran- und Alt-/Baß-Lage und in der Besetzung mit Viola da gamba auswirkt, (2) das italienische Vorbild von Sonaten und Opernsinfonien als formgebendes und expressives Element in den Sonaten Buxtehudes, und sie versucht, (3) das individuelle Gepräge des Repertoires zu beleuchten. Der Begriff des „Stylus phantasticus“ dient als Ausgangspunkt für die Diskussion der revidierten Sonate in B (BuxWV 255). Buxtehudes Transformation von Einflüssen zu einem höchst persönlichen Kompositionskonzept läßt sich anhand der Revisionen exemplarisch darstellen. (Vorlage)
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Yan, Haosyuan. "The phenomenon of the singing style of J. Kaufmann: theoretical aspect." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 260–78. http://dx.doi.org/10.34064/khnum2-21.17.
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Background. In recent years, there has been an increasing interest in the performing style issues in modern musicology. However, creative work of each musician provides new and new grounds for further reflection, in particular, the creativity of the outstanding contemporary singer Jonas Kaufmann. He is now at the height of his career and his works include opera roles and chamber programs based on the compositions by R. Wagner, J. Verdi, J. Massenet, J. Puccini, R. Strauss, F. Schubert, J. Bizet, and J. Paisiello. The urgency of this study exists owing to the lack of a scientific description of the creative work of J. Kaufmann. The objective of this study is to determine the main features of Kaufmann’s singing style from the point of view of the phenomenological approach. Methods. The complex research methodology is based on the theoretical substantiation of the analysis of a performer style through the positions of the phenomenology of creativity (research by E. Husserl, A. Losev, M. Arkadyev, G. Tsypin). The application of a systematic approach led also to the involvement of the theory of the performing style (research by V. Medushevsky, V. Moskalenko, and Yu. Nikolaievska). Results. The results of the research support the idea that J. Kaufmann’s singing style is a system of interrelated parameters. There are three components of the singing style. The first is related to the general phenomenon of style, the second – to the process of performance and the third – to the specifics of vocal performance. Thus, the musical style (component 1) is an expression of the peculiarities of musical thinking, and musical compositions are the product of dialogue and communication between the performer and the composer (according to V. Medushevsky). In this sense, the status of the performer, who, in fact, is the creator of the interpretation, is strengthened. For the theory of the performing style (component 2) the definition of V. Kholopova is relevant, that style is a «category-introvert» and the concept of «style of creative personality» (S.Shyp), «style of musical creativity» (V. Moskalenko), «type of creative personality» (E. Liberman),»archetype of a musician» (O. Katrych), which focus on individual characteristics, but in the perspective of the formation of universal features. The thinking of the performer-vocalist (component 3) is focused on the vocal-acting embodiment and reincarnation with the help of the voice as an instrument of what is laid down by the composer in the text of the composition, based on his own creative thinking and personality type. Thus, the definition is proposed: The performing vocal (singing) style is the integrity of the highest order, which manifests itself as a type of music-making, based on the characteristics of the timbre colouring of the sound and formed vocal techniques (orientation on language phonetics, rigor or improvisational freedom, expression, etc.). The noted theoretical provisions allow revealing more fully the specifics of J. Kaufmann’s performing style. In addition, basing on journalistic research, interviews and biographical materials, the periods of J. Kaufmann’s creative work has been proposed. Based on the guidelines of the phenomenology of creativity (G. Tsypin) and various interpretative versions of J. Kaufmann, the following components of his singing style have been formulated. 1. Intellectualism, conceptuality of the idea and «cyclicality» of the embodiment – the parameter that is manifested in the singer’s interpretation of the image of Faust in different interpretations (1999 – opera by F. Busoni, 2002, 2005, 2011, 2012, 2015 – dramatic legend by H. Berlioz and opera by S. Gounod, 2011 – symphony by F. Liszt). Moreover, the basis of the singer’s interpretations in the compositions by Ch. Gounod, F. Busoni, H. Berlioz is the German tradition of interpreting the image of Faust and, in particular, Goethe’s poem), which forms the integrity of the singer’s interpretative concept. It has been pointed out that J. Kaufmann always chooses complex programs (chamber cycles by R. Wagner, R. Strauss, G. Mahler) for the formation of liberabends, and the programs are dominated by song cycles «Five Songs on Matilda Wesendonk’s Poems» by R. Wagner, «Three Sonnets of Petrarch» by F. Liszt, «Seven Sonnets of Michelangelo» by B. Britten, «Winter Road» by F. Schubert, «Songs about the Dead Children» by G. Mahler), or evenings are even dedicated to the creative work of one composer (R. Wagner, R. Strauss, G. Mahler), which is reinterpreted by the singer and presented in a new emotional and intellectual key. 2. Commitment to director’s theatre. J. Kaufmann shares the views on the dominance of director’s theatre in the modern world, which he repeatedly noted in the interviews. And although, in particular, the interpretation of Faust as a character of the concepts of different directors is centred by the artist”s personal understanding of the depths of this image, still in different performances one can see its different shades (which depend on the director’s interpretations). 3. Composite system of vocal expression means that allow the singer to model different facets of images. It is noted that J. Kaufmann’s interpretations are characterized by: economy of performing means, commitment of the singer to the cantilena, the role of the rhythmic component in the vocal score, the ability to adjust his voice in different vocal ensembles, brilliant piano and mezzo voce, brightness of forte, filigree of diminuendo and more. J. Kaufmann treats the text (score) with respect, always knows the libretto, he never allows himself to exaggerate in terms of agogics, dynamics, etc.). In Kaufmann’s performance, masculinity always prevails. Conclusions. The essence of the phenomenon of J. Kaufmann’s work is the desire not to stand still, to move forward, to open new pages of music or to rethink already known ones, i. e. the tendency to constant self-development, in terms of phenomenology This applies to the interpretations of the works by F. Schubert, G. Mahler, R. Strauss, the mentioned interpretation of the image of Faust in the works of various composers, which demonstrates his constant rethinking. J. Kaufmann’s chamber performing is of great interest for the study of his style. The complexity and diversity of images, texts of works, the unity of style, the ability to distribute the power of the voice, to subordinate its capabilities to the artistic idea – these are the features that characterize a true master. In addition, in his control is to almost the entire tenor repertoire – opera, concert, and chamber. Overall, we regard him a singer of universal type.
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Vasic, Aleksandar. "Music critic Gustav Michel." Muzikologija, no. 4 (2004): 167–95. http://dx.doi.org/10.2298/muz0404167v.
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The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a private pharmacy in Belgrade all his life. But he was a musician as well. He played the viola in the second (in chronological order of foundation) Serbian String Quartet. The ensemble mostly consisted of amateurs, and it performed standard pieces of chamber music (W. A. Mozart L. v. Beethoven, F. Schubert, F. Mendelsohn-Bartholdy, A. Dvo?zak). These musicians had performed public concerts in Belgrade since 1900 up until Michel?s death. Belgrade music critics prised the performances of this string ensemble highly. Gustav Michel was also a music critic. Until now only seven articles, published by this author between 1894 and 1903, in Order (Red), Folk Newspaper (Narodne novine) and Serbian Literary Magazine (Srpski knjizevni glasnik) have been found. Michel?s preserved articles unambiguously prove that their author had a solid knowledge of music theory and history, the knowledge that exceeded amateurism. Nevertheless, Michel did not burden his first critics with expert language of musicology. Later on, in Serbian Literary Magazine, the magazine which left enough room for music, Michel penetrated more into musical terminology, thus educating slowly forming Serbian concert-going public. The analysis of Michel?s texts showed that he was not, in contrast to the majority of professional music critics, an opponent of virtuosity. Gentle and liberal, he did not oppose the National Theatre administrations when they decided to add operettas to its repertoire. Here he also differs from expert critics, for example Miloje Milojevic or Petar Krstic - who led a real crusade against operetta. Michel paid scrupulous attention to correct diction, as an important part of the vocal technique. As a critic, Gustav Michel was inclined to relatively modern music. He was not strict in his judgments of Serbian performers? and composers? achievements; he always took account of very difficult conditions under which the Serbian people, after many centuries of the Turkish occupation, started its cultural and musical emancipation in the 19th century. (He was especially considerate towards novice musicians) However his critical assessment of the genre status of the overture to the first Serbian opera, "Na uranku" ("At Dawn") by Stanislav Binicki, revealed an incisive critic. The weak side of his critic lies in too general language not exact enough for characteristics of musical interpretations. However Gustav Michel was a witty and ironic writer, and his few articles marked the beginning of an expert and modern music critic in Serbia.
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Metlushko, V. O. "The peculiarities of the instrumental parts interpretation in “Four Pieces for Clarinet and Piano” op. 5 by A. Berg." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 43–60. http://dx.doi.org/10.34064/khnum2-15.02.
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Background. Chamber instrumental music written for a clarinet follows the fate оf so-called small genres in the XXth century. The researches in a varying degree connected with problems of the music written for a clarinet or with its participation are very various. However, features of use of a clarinet in chamber genres are researched, as a rule, in aspect of wider perspective. Owing to this fact information on many compositions which entered the repertoire of modern performers in scientifi c and methodical literature either is absent, or does not exhaust all complex of the questions arising in connection with updating of musical language at preservation of the developed receptions of the instrumental and ensemble composing. Objectives. The purpose of the article is to reveal the features of chamber and instrumental ensemble in Four Pieces for Clarinet and Piano by A. Berg in terms of interpretation of technical and expressive opportunities of a clarinet and role functions of parts. Methods. Structurally functional, compose-dramaturgic and comparative methods of research are used. Results. As the presented literature testifi es, the performer, fi rst of all, should get acquainted with the scientifi c researches in order to facilitate the subsequent interpretation process. This is important for understanding not only the fi guratively emotional and meaningful side of music, but also the novelty of the ensemble ratio of instrumental voices. From this point of view, the clarinetist should be aware of his part both in its individual features, and as an integral part of a single thematic process. It is advisable to recall that the previous musical practice has formed different types of the ratio of parts. Аtonality of the Four Pieces op. 5, associated with the avoidance of tonal landmarks and based on the expressiveness of interval clutches, predetermined the emergence of a new quality of ensemble technique, which declares itself in leveling the concept of solo timbre, accompaniment techniques, and open interchange of thematic material. Outwardly, all these signs are present in the musical text, but the writing technique itself directs the musical process towards the creation of a single intoning space in which the participating timbre-register «individualities» appear to be components of a polyphonic texture. Despite this, the idea of ensemble in a broad sense is preserved, which allows us to consider the clarinet part as a relatively independent phenomenon. So, the plays collected in an opus assume possession of a various palette of articulation and dynamic means, capable to transfer thin change of lyrical moods. Their contrast is exhibited already in the fi rst play, which aims the performer to quickly switch to a different emotional mood in the absence of large-scale thematic structures. Against the background of the multievent fi rst play, the two middle ones are distinguished by their consistency of the fi gurative plan. Hence a more modest palette of strokes, articulation, tempo, dynamic changes. This kind of composer’s installation is largely due to the fact that they are enlarging the semantic ideas that were outlined at the beginning of the opus. Due to this, there is a bright contrast, a sharp change of emotional state. Details of this kind raise the requirements for the quality of performance and reveal the truly virtuosic nature of miniatures in the absence of traditional concert techniques. Final op. 5 is similar to the fi rst play by the presence of contrasting elements. Its complexity is indicated both by the rich texture of the piano part, distinguished by a complex rhythmic pattern, and the heterogeneity of the techniques in the clarinet part, where the expressive solo cantilena is adjacent to the background tremolo, angular non-legato motifs, written out by a group of thirty-second in a 9:1 ratio, register spread, sharp dynamic gradations from p to ff. The composer here remains true to himself, prescribing all tempo, dynamic, expressive techniques. Recall that the requirement of long pauses between plays, on the one hand, helps to switch to a different emotional state, on the other hand, complicates the act of performance due to the fact that ensemble artists must fi nd that measure of restraint of silence, which, while retaining the impression of the preceding, does not destroy the immediate contact with the audience. It is impossible to ignore the fact that in the absence of extraordinary innovations in the fi eld of performing techniques, the composer opens the way for further discoveries in this area. Conclusions. The results of the research summarizing analytical observations, including those in the literature we know about, and evaluating the creative discoveries of A. Berg in Four Pieces for Clarinet and Piano op. 5 taking into account the subsequent compositional practice, let us highlight a few fundamental, in our opinion, moments. First, op. 5 is distinguished by a radical renewal of the musical language, predicting the expansion of the boundaries of an established tradition; secondly, he became the ancestor of a new type of ensemble; thirdly, it allowed to treat the pause as an important component of the artistic intent, as an image of meaningful silence; fourthly, demonstrated a new understanding of software based on the symbolism of sounds and numbers; fi fthly, he revealed a deep connection with the tradition of changing musical patterns. In this context, from the cycle by A. Berg stretched a lot of threads to the works of composers belonging to different generations and national cultures. This allows us to speak about the weighty signifi cance of this opus in the history of the development of clarinet – not only ensemble, but also solo music. We conclude that at the same time, the real compositional practice of the subsequent time refl ected the multi-vector nature of creative interests, characteristic of the music of the twentieth century, where, along with the search for renewing principles, the established methods of instrumental.
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Melnyk, A. O. "Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 102–15. http://dx.doi.org/10.34064/khnum2-17.07.
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Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors ‒ V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.
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Niculescu, Adelina-Gabriela, Cristina Chircov, Alexandra Cătălina Bîrcă, and Alexandru Mihai Grumezescu. "Fabrication and Applications of Microfluidic Devices: A Review." International Journal of Molecular Sciences 22, no. 4 (February 18, 2021): 2011. http://dx.doi.org/10.3390/ijms22042011.
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Microfluidics is a relatively newly emerged field based on the combined principles of physics, chemistry, biology, fluid dynamics, microelectronics, and material science. Various materials can be processed into miniaturized chips containing channels and chambers in the microscale range. A diverse repertoire of methods can be chosen to manufacture such platforms of desired size, shape, and geometry. Whether they are used alone or in combination with other devices, microfluidic chips can be employed in nanoparticle preparation, drug encapsulation, delivery, and targeting, cell analysis, diagnosis, and cell culture. This paper presents microfluidic technology in terms of the available platform materials and fabrication techniques, also focusing on the biomedical applications of these remarkable devices.
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Weber, William. "Redefining the Status of Opera: London and Leipzig, 1800–1848." Journal of Interdisciplinary History 36, no. 3 (January 2006): 507–32. http://dx.doi.org/10.1162/002219506774929764.
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Between about 1750 and 1800, concerts of any significance usually included several numbers from opera, within strictly patterned “miscellaneous” programs. Around 1800, when the political condition of European society was particularly unstable, idealists began to challenge this old order of musical life, calling for a new, “higher” order of programming and musical taste. Distinct musical worlds evolved from this movement. Some concerts focused almost entirely on opera, or on excerpts from old operas, and others abandoned opera altogether. Chamber music and orchestral concerts tended to draw exclusively from repertories comprised of works from the classical era.
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Moore-Morris, Thomas, Annie Varrault, Matteo E. Mangoni, Anne Le Digarcher, Vincent Negre, Christelle Dantec, Laurent Journot, Joel Nargeot, and Brigitte Couette. "Identification of Potential Pharmacological Targets by Analysis of the Comprehensive G Protein-Coupled Receptor Repertoire in the Four Cardiac Chambers." Molecular Pharmacology 75, no. 5 (February 19, 2009): 1108–16. http://dx.doi.org/10.1124/mol.108.054155.
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