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1
Lucas, Keitha V. "Contextual Condition and Sightsinging Achievement of Middle School Choral Students." Journal of Research in Music Education 42, no. 3 (October 1994): 203–16. http://dx.doi.org/10.2307/3345700.
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The purpose of this study was to investigate the influence of harmonic context on the sightsinging skill of middle school choral music students. A nonrandomized control-group pretest-posttest design with one between-group (treatment method) and two within-group (trial and test context) factors was used. The treatment method used three harmonic contexts: (a) melody only, (b) piano harmony, and (c) vocal harmony. The trial condition had two levels (pretest and posttest), and the test context condition had four levels: (a) melody-only, (b) piano-harmony, (c) vocal harmony/upper with the melody in the higher of two voices, and (d) vocal harmony/lower with the melody in the lower of two voices. A repeated measures ANOVA revealed significant differences for the test context and trial main effects and for the trial by treatment group interaction; subjects obtained the highest sightsinging scores when tested in a melody-only context. Because of the significant interaction between trial and treatment group, one-way ANOVAs were used to test for simple main effects in both trial conditions (pretest and posttest). Although no significant differences were detected in the pretest ANOVA, the posttest ANOVA revealed significant differences among treatment groups. Post hoc analysis indicated that subjects in the melody-only treatment group showed more improvement in sightsinging skill than did subjects in the vocal-harmony treatment group. No difference was revealed, however, between the melody-only treatment group and the piano-harmony treatment group.
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Fartushka, O. "Semantic function of the choral counterpoint in Canticum sacrum by Igor Stravinsky." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 188–97. http://dx.doi.org/10.34064/khnum2-49.13.
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Background. The substantiation of the logic of stylistic synthesis in the light of the choral component of the dramaturgy of this composition opens up the prospect of studying choral counterpoint of the twentieth century as universals and also helps to identify patterns of artistic thinking. Objectives. The article is devoted to the identification of semantic function of the choral counterpoint in the context of the overall dramaturgy in Canticum Sacrum ad honorem Sancti Marci Nominis by Stravinsky. Methods. The author used hermeneutic, structural-functional, semantic research methods. The performing approach to the studying fragments of Stravinsky’s compositions reflects the specificity of choral art. Results. Choral counterpoint in the context of the overall dramaturgy Canticum sacrum develops into a separate layer, which is more than others, depends on strict norms of counterpoint. Stravinsky, relying on the traditions of the cantata genre, distinguishes the choral component into a peculiar counterpoint, which contrasts with others layers of the dramaturgy (orchestra, organ, soloists). It has been found that the solo parts of the score have a more subjective embodiment, in which there are both an expressive recitation of lyric lines (Song of Solomon 4:16, 5:1) and an emotional appeal to the God (Mark 9:23-24) while the choral layer of dramaturgy represents the main tenets of the Faith: Preaching the Gospel and Three Christian Virtues – Love, Faith and Hope. The counterpoint as a reflection of the idea of “absolute harmony” in the context of the composition is the Divine Word and the main precept with which there is sacrificial Love, Faith and Hope for the salvation. Features of the pitch organization are the result of the composer’s reference to the serialism. The combination of the principles of the classical 12-tone technique with the elements of serialism determines the specific interpretation of melodic material, intervallic structure and voice leading. Conclusions. Analysis of the fragments of Canticum sacrum score set that the choral counterpoint performs the function of objectification to express basic postulate ideas. That is why the norms of poetics of the strict counterpoint are the dominant stylistic components in the choral writing of Stravinsky. They appear in the symmetry or proportionality of the forms, the partial usage of the textural features of the samples of this stylistic direction, as well as the whole apparatus of canonic techniques.
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Dniprovska, N. S. "Rachmaninov. “Six choirs for children’s or women’s voices”: specific of interpretation of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 105–21. http://dx.doi.org/10.34064/khnum1-55.08.
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Introduction. In the article the cycle of children’s choruses of S.Rachmaninov is considered, his characteristic features in subjects, figurative disclosure, the special role of lofty spiritualized lyric poetry; for the first time the appearance in the choral works of the composer of the themes “Dies irae”, “katabasis”; the spiritually-aesthetic value of Rachmaninov “Six Choruses” for secular children’s choral singing and performance is revealed. “Six choirs for children’s or women’s voices” op. 15 were written by S. Rachmaninov in 1895, the date of which he indicated in a letter to B. Asafiev on April 13, 1917. By the time the cycle was created, S. Rachmaninov was already the author of a considerable number of works. In the fall of 1894, he was employed by the Mariinsky Women’s School as a teacher of music theory and an accompanist of the choir. Specially for the choir of students, “Six choirs for children’s or women’s voices” were written: 1) “Glory!”, Words by N. Nekrasov; 2) ”Night”, words by V. Ladyzhensky; 3) “Pine”, words by M. Lermontov (from G. Heine); 4) “The waves dozed off”, words by K. Romanov, 5) “Captivity”, words by N. Tsyganov; 6) “Angel”, words by M. Lermontov. The features of S. Rachmaninov’s musical and artistic thinking, which researchers usually note in his romances – the significant role of accompaniment and a simple 3-part form, having their own historical archetype in the baroque three-part aria da capo (Antipov, 2014: 9) – can be found in “Six choirs”. The enormous artistic role of the piano accompaniment, its developed texture and organic unity with the score should be especially paid attention to. The vivid imagery of the cycle owes much to the instrumental part, which the composer not only went far beyond the accompaniment, but often has independent significance too. At first glance, the choral score of the cycle is uncomplicated – mainly with diatonic two-voice. But behind seeming simplicity, inexhaustible performing tasks for the choir and piano part are in favor. The extreme choral plays frame the cycle with themes of deep ethical and spiritual content that had not previously been encountered in children’s choral music. The middle rooms are dominated by bright lyrics, youthfully light sadness, and harmony between the pictures of nature and the states of the human soul reigns. No. 1 “Glory!” – the character of the work conveys pathetic, prayer (appeal to the Almighty for blessing) and lyrical-patriotic feelings. In the 3rd section of the miniatures, the accompaniment fills the music with fanfare intonations, in the last 6 beats, the dynamic tension within the framework of one tonic harmony is steadily increasing, and in the bass of the piano the bell ringing and ceremonial drum beat are imitated, completing the picture of the celebration. In No. 2 “Night”, the author embodies a dreamy-contemplative mood with the help of the choral cantilena. Frettonal ambiguity of the extreme parts (major-minor), functions languidly lasting for several measures, delicate harmonic colors, flexible ligature of figures, masterful techniques of sound-visualization contribute to a special refinement of moods and miniature images and are associated with impressionist music. No. 3 “Pine” – S. Rachmaninov chose M. Lermontov’s translation as the theme of loneliness and dreams of happiness, giving contrast to the musical images of northern Pine and southern Palma. No. 4 “The waves dosed off” – to convey the state of spiritual harmony and dreamy peace S. Rachmaninov found a set of expressive compositional techniques. Here we emphasize the special independence of the piano part, which does not contain a choral theme, but plays an important soundvisual role, enriching the narration of the choir. No. 5 “Captivity” – the image of a gentle bird, imprisoned in a golden cage, is widespread in fairy tales and poetry of the peoples of the world, as well as in choral music. In N. Tsyganov’s verses, the denouement is optimistic – the nightingale is set free. S. Rachmaninov relies intonationally on the Russian peasant cry-lamentation. The melody has a touching colour, the miniature is distinguished by a bright national color. No. 6 “Angel”. The poem tells of the great sacrament of conception in the spiritual world of a new person’s life. The Angel carries this person’s soul from heaven to earth to connect it with the body of the unborn child. In flight, an Angel sings a song about celestial gardens to this yet unincarnated Soul. The composer weaves a fragment of the motive-symbol “Dies irae” into Angel’s theme, entrusting it to a part of the alto and veiling from above the unrecognizabl third major second part of the soprano. The smoothly descending theme of the Soul can be described in this context as “katabasis”. This symbolism gives the miniature a deep philosophical meaning. S. Rachmaninov was the first Russian composer to create an example of concert purpose in The “Six choirs”. He raised to a new level the theme of children’s works, characteristic of the genre of that time. And that is education of a spiritually rich personality. The author revealed the extraordinary rhythmic and intonational richness of musical speech, the mastery of texture, harmony, the sophistication of technical techniques, and the tonal color scheme were rare for children’s choral music of that time. The richness of colors and the layering of the piano part bring it closer to the orchestra. In The “Six choirs for children’s or women’s voices” S. Rachmaninov revealed a new example of children’s choral music for concert purposes, which has high artistic merits, a deep substantive theme, and an aesthetic and educational orientation. The composer first attracted high poetry, revealed a spiritual and moral subtext. The theme of Faith, reflected in the first and last miniatures, “rings” the cycle, like Alpha and Omega, giving special semantics and significance to its figurative content. The essay reflected important artistic principles and writing techniques, characteristic of his subsequent opuses, but new to the children’s genre. Like the First Symphony (1895), created in the same year as the cycle, the “Six choirs” for the first time include the theme “Dies irae” symbolic for S. Rachmaninoff’s art, which further permeates his work up to “Symphonic dances”, as well as the theme “katabasis” revealing the spiritual and philosophical meaning of the work. This cycle was S. Rachmaninov’s only experience in children’s choral music, in which first for the genre he embodied high spiritual and ethical ideas of a romantic artist, his Christian picture of the world, the eternal themes of love for the Fatherland, life and death, good and evil, also actual for modern society and children of the XXI century. Prior to S. Rachmaninov, children’s choral music did not know such a depth of content, mastery of embodiment, aesthetic pleasure. The unsurpassed beauty of “Six choirs for children’s or women’s voices” made them a phenomenon of perfection in musical art for children, which is timeless, of course.
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Vasiliu, Alex. "15. Antonin Ciolan – The Teacher, The Founder of Orchestras, The Master Conductor." Review of Artistic Education 11, no. 1 (March 1, 2016): 126–32. http://dx.doi.org/10.1515/rae-2016-0015.
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Abstract The founder of a conducting style, who organised orchestras in two important musical centres in Romania (Iaşi and Cluj), “the partriarch of conductors”, respected and praised by George Enescu, Sergiu Celibidache or Erich Bergel, was a multilateral personality of exceptional merits as a teacher of orchestra, orchestra conducting, harmony and counterpoint; having founded several prestigious religious choral ensembles, organised and led musical teaching and concert institutes, Antonin Ciolan deserves to be brought to the awareness of more recent generations of researchers and audiences, as his historic achievements indicate.
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Shim, In Hwa, and In Ok Sim. "A Study of the Experience of Working Adults on Regular Choral Activities: Applying Focus Groups." International Journal of Environmental Research and Public Health 17, no. 23 (November 28, 2020): 8860. http://dx.doi.org/10.3390/ijerph17238860.
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Maintaining a high quality of work and life can be a challenge for working adults. Most working adults do not have the opportunity to participate in activities that promote physical and emotional health. Working adults need to improve their potential to maintain life satisfaction and prevent a variety of stresses and physical illnesses. Recent research has suggested the effective value of art participation through choral activities for many people. However, little is known about what working adults experience through choir activities. In particular, research focusing on effects of choir participation on healthy people is lacking, and there is insufficient fundamental evidence about how to develop choral programs to improve the quality of healthy people’s lives. The purpose of this study was to explore the experience of working adults in the process of regularly participating in choral activities. Our research question is “What experiences did the participants gain from the choir activities?”. Data was collected in three focus group interviews and additional individual interviews with 15 participants. Four themes emerged from this study: “self-improvement and sense of accomplishment”, “interaction and harmony”, “discovery of positive self-identity”, and “healing and happiness”. These findings could encourage choir activity in working adults and suggest that they can be applied as lifelong activities that can improve their quality of life with social interaction.
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IOSIF, Ioan Liviu. "Elements of modal harmony in Romanian choral works of some representatives of the genre." " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), no. 2 Special (February 4, 2020): 137–44. http://dx.doi.org/10.31926/but.pa.2019.12.61.37.
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RIVERA, GINA. "COLLOQUE INTERNATIONAL ET INTERDISCIPLINAIRE: RAMEAU, ENTRE ART ET SCIENCE INSTITUT DE RECHERCHE SUR LE PATRIMOINE MUSICAL EN FRANCE, BIBLIOTHÈQUE NATIONALE DE FRANCE, FONDATION ROYAUMONT AND OPÉRA-COMIQUE, PARIS, 20–22 MARCH 2014." Eighteenth Century Music 12, no. 2 (August 24, 2015): 260–62. http://dx.doi.org/10.1017/s1478570615000172.
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People heard the surname Rameau with some frequency in 2014, which marked the two hundred and fiftieth anniversary of the death of the composer and theorist Jean-Philippe Rameau (1683–1764). In classrooms and on radio broadcasts, a circumscribed set of associations comes to mind with each utterance of the name. Musicologists think of Rameau's discourses on triadic harmony and his theory of the fundamental bass (basse fondamentale). Keyboardists think of music composed by a literate organist and violinist from Dijon. Singers and dancers might also think of the many forays into choral music, ballet and opera that cemented Rameau's rise to artistic prominence during the French Enlightenment.
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Тарасова, Н. Ю., and П. В. Камуз. "CHRISTIAN DUALISM OF CONFESSION AND GLORIFICATION AS THE BASIS OF MUSICAL DRAMATURGY AND STYLISTIC FEATURES OF LITURGY OF ST. JOANNA ZLATOUST BY M. SKORYK." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 16–31. http://dx.doi.org/10.33287/22192.
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The aim of the article is detenction of dramaturgic role inherent toOrthodox liturgical canonical texts and motets of dualism of christianconfession and glorification on dramaturgic and stylistic levels of Liturgyof St. I. Zlatoust by M. Skoryk. The canonical structure of Liturgy ofSt. I. Zlatoust at the level of liturgical texts and motets is investigated; thefeatures of composer's interpretation of characteristic structuralcompositional, harmony mode, texture, thematic methods of transmissionof sense of liturgical texts and canonical motets are examined. Themethods of the research are based on the use of musically-culturological,comparatively-historical, theoretical-analytical, textological methods.Scientific novelty. For the first time the system analysis of LiturgySt. Joanna Zlatoust 1) in the context of authorial choral style of M. Skorik;2) in unity of neobargee, neoromantic and neofolklore stylistic principlesof composer’s thinking; 3) in the aspect of cooperation of harmonic, tonemode, form-building means of expression of music of the ХХ century;4) at symbolically-semantic level of work is carried out. Conclusions.Sacred choral music became a major landmark in creative heritage ofМ. Skoryk. Embodiment by the composer of sacral senses of Liturgy differs free character sent to opening of typical for Orthodox of dualismconfession and glorification, through experiencing of such fundamentalreligious states, as 1) is personality-dramatic confession, 2) is transcendentcontemplativeness, 3) is catharsis state, 4) is subjectively-lyric acceptanceof Divine will, 5) is glad glorification. Thus, in the process of analysis theoriginality of authorial interpretation of genre of Liturgy was educed at thelevel of composition, in correlation with the canonical following of textsand motets, at the level of musical style; connection of musical languageof Liturgy by М. Skoryk is argued with neofolklore principles, tone modeand harmonic receptions of music of the ХХ century.
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Kulikova, Svitlana. "USE OF INTERACTIVE TECHNOLOGIES IN THE PROCESS OF DEVELOPING THE PROFESSIONAL COMPETENCE OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 81–86. http://dx.doi.org/10.36550/2415-7988-2021-1-195-81-86.
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In the context of increasing attention to the training of future professionals outlines the special urgency of the problem of professional competence of future music teachers, which includes the ability of individuals to acquire knowledge and skills in art education institutions, to form personal qualities and values and value orientations required for professional activity. social requirements. The level of professional competence of a music art teacher reflects the degree of his readiness for music-educational work in a secondary school, is a prerequisite for the effectiveness of pedagogical activities, a kind of link to improve intellectual and practical experience, finding effective ways to improve pedagogical skills. in the conditions of an educational institution of artistic direction the development of professional competence occurs during the study of both general and special (for example, block of disciplines: history of foreign music, history of Ukrainian music, solfeggio, harmony, polyphony, analysis of musical forms, basic musical instrument, choral studies and choral arrangement, choral class and practical work with the choir, choral conducting and reading of choral scores, solo singing) disciplines. The formation of knowledge and skills is a prerequisite for the formation of professional competence of the future teacher and involves mastering a set of special knowledge in theoretical and performing (instrumental, vocal and conducting and choral) disciplines. Thus, the basis of professional competence of the future teacher of music art is special (general pedagogical, conducting, instrumental, vocal, performing, musicological, research), social and personal training. One of the effective and relevant ways to develop the professional competence of a music teacher is interactive technologies. In accordance with the Law of Ukraine «On Education» and the requirements of the competence approach, mastering interactive technologies has become one of the main conditions for teaching art subjects by teachers of secondary schools. A number of authors note that as a result of the use of interactive technologies there is an actualization of intellectual reserves and capabilities of students, replenishment of knowledge of theoretical and generalizing nature, deepening and expanding the individual semantic context in working with educational material. Thus, in the article the author defines the role of the use of interactive technologies in the process of forming the professional competence of the future music teacher. The author argues that interactive technologies are based on the principles of interaction, student activity, reliance on group experience, mandatory feedback, which have a wide range of developmental, educational and reflective functions. The use of interactive technologies in the training of future teachers of music allows to stimulate creative, cognitive activity of the teacher-musician, to focus the teacher on self-development and self-affirmation, thereby developing his professional competence.
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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.
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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.
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Angelovskaya, S. "The originality of the modern Ukrainian church oeuvre: on an example of the chants «All-night Vigil» Olena Yunek. Formulation of the problem." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 85–99. http://dx.doi.org/10.34064/khnum2-49.06.
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The revival of spiritual culture on the verge of centuries, interest and respect for the traditions and ceremonies of the Orthodox Church, the rapid spread among the regents of the works of spiritual themes - all this led to the emergence of the style direction called nova musica sacra (by N. Gulianitskaya). Complex processes taking place in the field of contemporary composer creativity on the verge of the XX - XXI, cannot but show the affect on the church singing repertoire. Religious themes are increasingly appearing in the works of well-known Ukrainian artists (L. Dichko, E. Stankovich, M. Skoryk, V. Stepurko, G. Havrylets) and new authors of church chants - Volodymyr Feiner and Olena Yunek. Olena Yunek’s creativity is an example of liturgical as a secular concert application of the church repertoire. The education of a mistress’s personality took place on the basis of the Orthodox worldview. Her preferences of Ukrainian choral music from childhood were combined with participation in church-singing practice. The vast majority of works - spiritual content in the composer’s work refinement of the O. Yunek. The purpose of the article is to detect the identity of modern church music of young Ukrainian composers, whose works are becoming more popular in the choral performance of secular and spiritual collectives. The object of research – the work of Ukrainian church composers at the present stage; the subject – features of the individual composing style of O. Yunek, that been found on the material of the chants of the cycle "All-night vigil" (2007-2015). Research methodology. The presented material is the result of the interaction of musicological approaches to composing text (genre, composition, style, functional) and liturgical-theological discourse. Analysis of recent publications on research topic. A problem of author’s reading of canonical text by Ukrainian composers at the end of the XX - XXI centuries finds a solution in the thesis of O. Tyshchenko in terms of the correlation of the rite and genre [6]. The measure of the preservation of canonical features in the works of Ukrainian and Russian composers is determined in the work of N. Sereda on the material of the cycles of the Liturgy [4]. However, the cycle of "All-night vigil" in the works of contemporary Ukrainian composers has not yet become the subject of scientific interest on the part of musicology. The author of the article considered the problem of forming an individual style on the example of the All- Nightly V. Feiner, in which the original stylistic features of the polyphony of the Renaissance and the Ukrainian choral concert were originally combined [1]; The study of the work of O. Yunek in the master’s thesis was initiated. Presenting main material. When compiling their own church compositions Olena Yunek relied on the history of such outstanding artists as O. Yunek Georgy Sviridov, Sergei Rachmaninov, Arvo Pyart, Valery Kalistratov, Oleksiy Larin, Moris Duryuflie, Lesya Dichko. «All-night Vigil» is written for mixed choir. It consists of 19 chants, each of which is a separate independent composition, which can be performed independently of others. In the sequence of chants there are no traceable patterns associated with the dramatic organization of the whole. According to the author, she did not plan to create a separate cycle at the beginning, but in the process of composer’s searches, as well as through participation in the church choir at different times, a number of major chants of this cycle were created. Written at different times, the works do not have a common tonality. In general, mineral complexes predominate. The leitmotif system in the loop is absent, however, a number of composer techniques and means of expressiveness, combining works, can be traced. The article provides a holistic analysis of three chants from the cycle: Psalm 103, «O gladsome light», «From my youth». By their example, the presence of the melo-formula – singing, and constantly repeating rhythmic groups is clearly demonstrated. A detailed analysis of the harmonic sequences, the change of texture and the course of melodic lines made it possible to identify certain features of the composer’s individual style and the methods of writing that he uses to create church compositions. A comparative analysis of the canonical text and its interpretation in compositions by O. Yunek is presented. Conclusions. O. Yunek’s personal style is characterized by a high level of possession of the technique of choral writing: the variety of harmonious, timbralregister and textural means while preserving the canonical liturgical text, a careful attitude towards it. The choral style of sounding differs by the ease, the availability of perception. In her compositions, the words of the chants are completely audible - without bills, overlays; no sharp contrasts in the dynamics. The primary role among means of expressiveness is given to harmony. It is at its level that certain elements of the Eastern Slavic singing are found (plagiarism, the use of medial chords, the linear nature of the formation of the accordion), the West European classical type of harmony (chords of the main functions in typical relations) and modern musical language (the presence of dissonant consonants, not the classical sequence in the middle construction, accordion of the nontheric structure). The role of melodies is very important. Often harmonic changes occur due to the linear motion of the melody in separate voices. Layout intonations and rhythmic figures common to compositions contribute to the integrity of the cycle and allow it to be perceived as such. In particular, it is observed in conducting the main melody frequent use of singing, gradual mirror-symmetric movement of voices, passage and auxiliary non-chord sounds. These melodic cells have the same features with the sounds of a significant singing, which confirms the composer’s tendency to the ancient chants. Similar rhythmic patterns (dashed rhythm, two sixteenth and eighth, eighth and two sixteenth, fourteenth and sixteenth), osintato also contributes to the integration of the cycle. The choral texture is characterized by flexibility and richness of presentation. Often there is a chord composition with elements of singing in separate voices, as well as contrasting fragments of unison («Blessed man»), chanting (two voices) («Virgin Mary, rejoice», «Praise the Name of the Lord», «Blessed art Thou, O Lord»). Changing the invoice occurs organically and appropriately to the performance requirements, which indicates the professional approach and knowledge of the composer’s choral writing. Consequently, all the inventions and means of expressiveness that were invented during the analysis show that the work of the contemporary composer of Kharkov, Olena Yunek, is an example of an original author’s reading of the canon in the field of church music. Together with the embodiment of the church canon, the principles of individual thinking operate and a modern link of church-composing creativity is formed.
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Campbell, Laura. "Harmonic Landscaping Applied to the Study of Written Harmony." British Journal of Music Education 5, no. 3 (November 1988): 241–53. http://dx.doi.org/10.1017/s0265051700006653.
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Music examinations frequently require students to harmonise chorale melodies ‘in the style of J. S. Bach’, but the manner in which the skill is taught generally emphasises the adding of chords below the melody note by note ‘arithmetically’, and may thus fail to develop inner hearing and a sense of overall harmonic direction. Using the system of ‘harmonic sketching’ which she developed originally as an approach to keyboard harmony and described in detail in her book Sketching at the Keyboard, Laura Campbell extended the technique to the harmonisation of chorale melodies, in the process comparing her students' choices of outline harmony with those employed by Bach in four settings of the same chorale. In this article she describes the experiment and comments upon its results, showing how the ‘sketching’ method, which reveals the fundamental ‘harmonic landscape’ of a melody, is an especially valuable tool in the acquisition of written harmony skills.
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Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.
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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra, vocal and choral cycles, chamber compositions (the last group includes 5 string quartets, 3 piano trios, sonatas for string instruments both solo and with piano), 10 piano sonatas, piano solo works (two sets of preludes and fugues – 24 and 34 total, Dies Irae – 39 variations). The composer was born in Kharkiv. In 1966 he completed studies at Kharkiv Conservatory, where he attended the composition class of D. Klebanov. Since 1994, he had been living in St.-Petersburg, and since 1998, in Israel where he died in 2003. Bibik’s formative period coincided with a substantive modernization of Ukrainian culture in the 1960s. During those years, members of the “Kyiv avantgarde” group (L. Hrabovsky, V. Sylvestrov, V. Godziatsky, et al.) sought to utilize modernistic idioms and techniques, such as free atonality, dodecaphony, sonoristic and aleatoric textures, cluster harmony, etc. Unlike the others, Bibik started with a more conservative style, which bore the influences of Shostakovich, Prokofiev, and Bartók. Bibik’s mature period started several years later in the early 1970s with Piano Trio No. 1 (1972) and the composition Watercolors for soprano and piano (1973). Together with his next piano work 34 Preludes and Fugues, these compositions show extremely individual features of Bibik’s style, such as: 1. Special treatment of the sound, which is considered not just a material for building certain musical structures but a self-valuable substance (Bibik has an original manner of organizing sound). Hence, timbral and textural aspects draw special attention to the composer. 2. The pitch and rhythmic structure of the themes is quite simple. A combination of several simple motives becomes the starting point of long and sophisticated development. These motives are derived from folk music, however, due to rhythmic transformation, they have lost their direct connection with the folk source. 3. Rhythmic structures areal so very simple. They often include sequences of equal rhythmic values (usually crotchets or eights). However, the composer avoids monotony dueto due to variable time signatures and permanent rubato, as well as significant flexibility in phrasing. 4. The development relies mostly on melodic and polyphonic elaboration of initial simple motives. The composer utilizes various kinds of polyphony, such as canonic imitations, various combinations of the main and supportive voices, heterophony, hyper-polyphony. In fugues he employs both traditional and new methods of thematic and tonal distribution. 5. The harmony in Bibik’s works is mostly modal, as well as a combination of modality with free atonality and extended tonality. The structure of the dense chords is close to clusters, while more transparent chords include mostly seconds and fourths (as well as their inversions). He almost never used traditional tonal harmony and chords built up from thirds, and was interested in their color aspect rather than their tonal functionalism. 6. The sonoristic texture is very important. It does not diminish the importance of the melody but gets into special collaboration with it (“singing sonority”). A special “mist” around a clear melodic line is one of Bibik’s most typical devices. Due to special “pedal” orchestration, both the line and the “surrounding” sounds become equally important. 7. Elements of limited aleatoric music may be found in his rhythm and agogics, and sometimes inpitch structures (passages and figurations with free choice of the pitches). His favorite technique is a superposition of two rhythmically and temporally independent textural layers (for instance, a combination of the viola solo and the sonoristic orchestral background in the third movement of the Fourth Symphony). 8. Sonata for mand the fugue were significantly reinterpreted within free atonality and modal harmony. These provisions are the scientific novelty of the study.
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Kobryn, Nataliia. "The activity of the singing society «Lutna» (based on the publications of the daily «Dilo» in the 1880s)." Proceedings of Research and Scientific Institute for Periodicals, no. 9(27) (2019): 181–97. http://dx.doi.org/10.37222/2524-0331-2019-9(27)-10.
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The paper seeks to develop new avenues for the study of the singing society «Lutna» (based in Lviv, late 19th century). There were several music associations with differing objectives in musical activities in the 80s of the 19th century in Lviv. Specifically, they were the Galician Musical Society, the Association «Harmony» and the Choir «Lutna». None of them was specifically the Ukrainian institution, but many Ukrainians were the members of the «Lutna». Therefore, the «Lutna» had the repertoire of the Ukrainian musical works and took part in the nationwide musical life of Ukrainians (specifically, in Lviv). The paper aims to study the participation of the «Lutna» in the Ukrainian concerts at the 1880s in Lviv as well as to outline the works of Ukrainian composers and its repertoire. Our research is based on the daily newspaper «Dilo». We used chronological, historiography, comparative and analytical methods to explore the content of publications concerning the «Lutna» and to form the concert chronicle of the choir among the Ukrainian residents of Lviv. Our findings show that the choral society «Lutna» was founded as the «Men Choir of Lviv» to be based on the multinational principles in 1881. The first concert of the renewed society as the mixed choir «Lutna» was held in 1883. The critics of «Dilo» followed the Choir at Ukrainian concerts, analyzed their performing of the Ukrainian music and observed every change of its repertoire. About 20 Ukrainians were indicated in the «Lutna» registry documents spanning 1880s, specifically, A. Vakhnianyn, M. Vitoshynsky, S. Fedak, V. Shukhevych and others. Traditionally, the «Lutna» with S. Cetvinsky’s con ducting participated at the Shevchenko concerts as well as the other national cultural events during the 1880s. The society was the most active in Ukrainian music life at its early years. The musical works by A. Vakhnianyn, M. Verbytskyi, S. Vorobkevych, M. Lysenko, P. Nishchyn skyi and others were in the repertoire of the «Lutna». The «Lutna»’s performing of M. Lysenko’s choral poem «Zapovit» and his cantata «Biut Porohy» and P. Nishchynskyi’s «Zakuvala ta syva zozulia» were the most significant art events of that time. We conclude that the annual concerts of the «Lutna» along with other Ukrainian organizations and the large Ukrainian repertoire of the choir had a significant influence on the revival of the Ukrainian musical life in Galicia at the end of the 19th century. Keywords: Ukrainian concert life, choir society «Lutna», Ukrainian musical critics, the newspaper «Dilo» («Work»), Lviv.
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Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music." ICONI, no. 1 (2021): 61–67. http://dx.doi.org/10.33779/2658-4824.2021.1.061-067.
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Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral works has made it possible to disclose the characteristic features of the composer’s polyphonic style. The latter include the multi-choral presentation with its bright spatial effects, the antiphonic juxtapositions of large choral masses, the principles of concertizing based on the succession of solo voices and tutti, on the juxtaposition of the chordal-harmonic and the polyphonic exposition, as well as the skillful mastery of imitational counterpoint, up to polyphonic variation. Features of national originality reveal themselves most vividly in the musical thematicism of the compositions, where along with the ornamental design of the intertwining melodic lines and turns of an instrumental type, use is made of intonations of folk songs, cants and church chants. In his musical oeuvres Vassily Titov revised and reevaluated the basic characteristic traits and forms of Western European Baroque music in correspondence with the particularities of Russian musical culture, thereby preserving and enriching the traditions of the Russian national style.
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McGowan, James. "Psychoacoustic Foundations of Contextual Harmonic Stability in Jazz Piano Voicings." Journal of Jazz Studies 7, no. 2 (November 16, 2011): 156. http://dx.doi.org/10.14713/jjs.v7i2.13.
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While many written sources on tonal jazz harmony are implicitly aware of the fundamental differences between "stable" and "unstable" chords, little significant work has examined an improvising jazz pianist's harmonic options in terms of stability, or "consonance." For this article the author focuses on the vertical dimensions of this issue, providing a "harmonic dialects" model that accounts for variants in chordal membership of stable sonorities, and an outline of psychoacoustic phenomena that affect how various piano voicings are interpreted as stable or unstable in different contexts.
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Cherkashina, O. V., N. M. Utesheva, and O. M. Yakymchuk. "Spiritual chants for the female choir a cappella by IrynaAleksiichuk: features of the interpretation of canonical text." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 60–73. http://dx.doi.org/10.34064/khnum2-17.04.
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Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The holistic musical-theoretical analysis is applied to determine the figurative content of the work, to identify the peculiarities of form-building and the use of compositional ways of expressiveness (the intonational structure of the basic elements of the form, the tonal-harmonic plan, the methods of development of the thematic material). In the analysis of music the method of comparison was used (to identify correspondence between the means of musical expressiveness and the features of the canonical text). Results. The material of the analysis are four chants (“The King of Heaven”, “Glory to the Father, and the Son, and the Holy Spirit”, “My voice to the Lord”, “Holy, holy, Lord of Sabaoth”), which are united in the cycle “Spiritual chants for female choir a cappella”. In the process of researching the algorithm of sequence of the chants in the cycle is revealed, as well as the correspondence of musical means of expressiveness to canonical text. It is concluded that all chants expressly convey the meaning and the features of the canonical text. Musical structures clearly correlate to verbal. The greatest number of repetitions in the chants the stable formulations of the canonical text acquires: “Lord have mercy”, “Hallelujah”, “Glory to the Father, and to the Son, and to the Holy Spirit”, “Holy Lord”. The semantic significance of the canonical text is reproduced through the rich harmony and inventional polyphony, through the changes of time signatures, text repetitions, the wide choir range, dramatic development and contrasts of all means of expressiveness. Four abovementioned spiritual chants for the female choir a cappella on the canonical texts were written by I. Aleksiichuk in different times during 2002–2011. The order of the canonical text and the logic of the deployment of the musical material allowed the composer to combine them into a fourpart concert for a female choir. The cycle begins with the evening prayer “The King of the Heaven” (prayer to the Holy Spirit). This prayer is а part of the early and evening Church rules. Anumber of services that are performed during the day in the Orthodox Church opens by the evening Divine service, since the day, according to the Church’s Charter, begins in the evening. That is why in first the evening service is, which included the repentant prayers for everyday sins and gratitude to God for this day. The chanting begins and ends with the sound of the bells that by and by go silent. The similarity of the finale to the introduction, the repetition of the musical and verbal texts contributes to the roundness of the musical form and helps to its holistic perception. The music of the incantation “Glory to the Father, and the Son, and the Holy Spirit” reproduces his exalted character. Applied by the author the ways of expressiveness correspond to the canonical text, which glorifies the God in his three hypostases. The definitive feature of the musical work is the presence of a genre sign characterizing of Orthodox worship, the bells. This feature is reproduced in the homophonic-harmonic texture of the composition relying on the main harmonic functions, singing the repeated sounds, etc. In this chant, I. Aleksiichuk is working on three small parts of the canonical text: “Glory to the Father, and to the Son, and to the Holy Spirit”, “now and always and forever” and “Hallelujah”, giving each of them the certain musical themes. The complete formula of prayer sounds in the work three times gaining dynamic development. In the third chorus, “My voice to the Lord”, verses from Psalm 141 are used. This Psalm is the prayer of David to the Lord in the cave in time of his persecution by Saul. Of the seven verses of David’s Psalm, I. Aleksiychuk used four – 1, 2, 4, 5, in which the main content of the work is concentrated. The last part of the cycle is the hymn “Holy, holy, Lord of Sabaoth” performing finale function. This prayer is a part of the Eucharistic canon and it sounds in the most important section of the Divine Liturgy – the Liturgy of the Faithful. The chant begins immediately with the glorification of the God. Conclusions. An analysis of spiritual chants with canonical texts for the female choir a cappella by I. Aleksiichuk illustrates the following. All the songs very clearly express the meaning and features of the canonical text. I.Aleksiichuk choses three-part forms with reprise, in which clearly, according to the text, the musical structures built; the stable formulations of the canonical text “Lord have mercy”, “Hallelujah”, “Glory to the Father, and the Son, and the Holy Spirit”, “Holy Lord” are most often repeated; at the end of the three chants (except «My voice to the Lord»), the final confirming formula of the prayers “Amen” sounds; means of expressiveness (changing of meter signatures, repetitions of the sounds, a wide range of the choir, singing of the main sounds of melody) are designed to create the illusion of chime that is the genre sign of the Orthodox worship; the semantic meaning of the canonical text is passing through the rich harmony, in which dissonances and chromaticism aggravate the expressiveness of the spoken words, through the dramatic development of the words of praise (“Hallelujah”, “Glory to the Father, and Son”), poly-timbre sounds, contrasting of all means of expressiveness, etc.
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Thompson, William F., and Lola L. Cuddy. "Perceived Key Movement in Four-Voice Harmony and Single Voices." Music Perception 9, no. 4 (1992): 427–38. http://dx.doi.org/10.2307/40285563.
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Listeners with a moderate amount of musical training rated the distance between the first and final key of short chorale excerpts under one of four presentation conditions. The distance between keys, or modulation distance, was either zero, one, or two steps in either the clockwise or counterclockwise direction on the cycle of fifths. Presentation conditions were four-voice harmonic sequences excerpted from the complete set of Bach chorales, single voices of the latter sequences, four-voice harmonic sequences simplified to block chords, and single voices of the latter sequences. Consistent with earlier findings (Thompson & Cuddy, 1989), judgments for both four- voice harmonic presentations and single-voice presentations revealed a close correspondence between modulation distance and judged distance. Ratings for harmonic sequences within a given key distance, however, showed influences of direction of modulation and of harmonic progression that were not reflected in ratings for single voices. The findings suggest that harmony and melody follow somewhat different principles in the process of identifying key change.
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Marini, Stephen A. "American Harmony: Inspired Choral Miniatures from New England, Appalachia, the Mid-Atlantic, the South, and the Midwest. 2 volumes. Compiled, edited, and introduced by Nym Cooke. (Boston: David R. Godine, 2017. Pp. xxi, 439. $100.00.)." New England Quarterly 92, no. 1 (March 2019): 143–46. http://dx.doi.org/10.1162/tneq_r_00723.
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Shields, Rob. "Harmony in Thirds: Chora for Lefebvre." Annals of the Association of American Geographers 89, no. 2 (June 1999): 340–42. http://dx.doi.org/10.1111/0004-5608.00149.
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Петренко, Марина. "НОВІ ВИМІРИ ІНТЕРПРЕТАЦІЇ ВОКАЛЬНО-ІНСТРУМЕНТАЛЬНИХ ТВОРІВ ШКІЛЬНОЇ ПРОГРАМИ." Педагогічні науки: теорія, історія, інноваційні технології, no. 5-6(99-100) (August 31, 2020): 269–80. http://dx.doi.org/10.24139/2312-5993/2020.05-06/269-280.
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The article actualizes the problem of interpreting vocal-instrumental works of the school program. On the basis of analysis, synthesis, systematization and generalization of conceptual provisions presented in the scientific literature on the studied problems the peculiarities and theoretical bases of interpretation of school song repertoire (with an emphasis on instrumental component) are revealed, in particular: taking into account the specificity of the structure of the specified works as a “mono-synthesis” of the textures of the vocal-choral part and piano accompaniment, the need to decode the coordinates of the author’s text of the studied musical works, designing special pedagogically oriented performing-ensemble solutions for the production of the accompaniment part. It is found that vocal-instrumental works are specific in their structure, they represent a combination of heterogeneous textures into a single whole. It is an organic fusion of different “components” that create a single and multifaceted musical-artistic text. The basis of knowledge of their artistic and figurative content is the “author’s text”. Its uncertainty, schematism necessitates further decoding and “predetermination” due to the recognition and differentiation of coordinate groups. The coordinate scheme of the author’s text of vocal-instrumental works is created. The include: marked coordinates (author’s text level), inaccurately marked coordinates (author-performer’s text level) and unmarked coordinates (performer-ensemble’s text level). The content components of each of the selected text levels are defined. The content of the author’s level of the text consists of the following components: literary text, musical text (metrorhythm, pitch, harmony, pitch-tone, form-composition) and the type of textured presentation of the accompaniment. The content of the author-performer’s text level includes: tempo, agogics, dynamics, articulation, phrasing, fingering, author’s remarks, pedaling. The content of the performer-ensemble’s level of the text consists of the following components: functional and role characteristics of the accompaniment, dynamic balance; dynamic, articulatory, agogic, metrorhythmic, tempo coherence; intonation unity. A number of components of the author’s text of vocal-instrumental works of the school program are carefully analyzed, namely: type of textural presentation of accompaniment, features of ratio of literary and musical texts, functional and role characteristic of accompaniment. On the basis of the selected theoretical positions a number of effective artistic methods of realization of the investigated interpretive process is offered.
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CHAPIN, KEITH. "STRICT AND FREE REVERSED: THE LAW OF COUNTERPOINT IN KOCH’S MUSIKALISCHES LEXIKON AND MOZART’S ZAUBERFLÖTE." Eighteenth Century Music 3, no. 1 (March 2006): 91–107. http://dx.doi.org/10.1017/s1478570606000509.
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In his article ‘Contrapunkt’ in the Musikalisches Lexikon (1802) Heinrich Christoph Koch described the intense, suspension-filled and motivically saturated style that he and his contemporaries knew from the music of J. S. Bach in a distinctly odd manner. To show how a composer might write such music, he took a relatively consonant passage in the ‘free’ style, as he called it, and then ornamented it to create a ‘strict’ appearance. By generating the strict from the free style, Koch unconsciously registered the eighteenth-century shift from intervallic counterpoint towards chordal harmony. But as he described the strict style in this and other articles in the dictionary, Koch also intimated that the ‘strict’ style meant something quite different to him than it had to theorists of preceding generations. No longer an icon of immutable law and harmony, it seemed bizarre and dissonant, knocked from its theoretical, pedagogical and symbolic pride of place. This article first examines the theoretical issues of pedagogy and style that Koch wrestled with as he sought to make the traditional terminology of the strict style fit the compositional environment of his time, then analyses the symbolic implications of Koch’s notion of the strict style. Finally, it suggests how the symbolism of the strict style, as implied by Koch, might be manifested in the chorale fantasy sung by Two Armed Men in Schikaneder and Mozart’s Die Zauberflöte. The law of the Temple of Wisdom is not immutable, but rather represents the law of the old order, commanding respect but admitting change.
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Kopeliuk, O. O. "First Piano Concerto by Ivan Karabyts in terms of the renewal of concertо genre in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 8–29. http://dx.doi.org/10.34064/khnum1-56.01.
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Background. The political and cultural movement of the “Sixtiers” in XX century opened wide horizons for Ukrainian composers to search for a new artistic and imaginative sphere, for new means of expressiveness, stylistics, form etc. The aspirations of young Ukrainian composers for concert genre renewal are realized through a rethinking of reality, intellectual and philosophical searching and psychologism in creativity. One of the brightest creative assets of this time is the First Piano Concerto by Ivan Karabyts, the talented Ukrainian composer, the outstanding representative of Ukrainian musical art of the last third of the 20th century. Among the studies of the last five years, and also of all the scientific research of the 21st century, we, unfortunately, cannot find any scientific study devoted to one of the largest conceptual works of the early period of creativity by I. Karabyts, which is the First Piano Concerto, and, therefore, this research can be called a unique one in modern musicology. In 1983, H. Yermakova provided only the general description of the Concerto in her small monograph. The author says about emotional tension and explosiveness that are the main features of the Concerto. The objectives of this article is to identify the model of the First Piano Concerto as a typological structure in terms of the renewal of the concert genre in Ukraine in the 1960s, through the analysis of embodiment of stylistic patterns and intonational dramaturgy of the work. Research methodology is focused on the interrelation of specific ways of analysis: functional, structural, intonational, genre, stylistic. Results. The First Piano Concerto was created by the 23-year-old composer in 1968 and was dedicated to B.Liatoshynskyi, reflecting the Teacher’s professional pedagogical credo. The First Piano Concerto based on emotional and imaginative contrasts and becomes a clear expression of dramaturgy development. The work’s concept carries the traces of experiments used by the young composer, which is reflected on the use of serial writing, cinematic editing (kaleidoscopic change of the thematic material “on the dramatic circles” of the two-part cycle), dissonance harmony. One of the basic principle of thinking is polyphonic development: imitations, canons, counterpoints, fugato, the principle of “countermovements” of voices, chorals are widely used. The two-part Concerto vividly presents the early work of I. Karabyts, highlights his distinctly individual style. The monumental purpose of this cyclical composition and its conceptualism strikes with its depth reflecting the collision of good and evil, sublime and earthly The First Movement exposition represents the main themes alternation, which extends from the theme-epigraph and the main soloist part in the beginning; bridge and its episode of fugato, second theme and closing area are highlighted also. The compositional features analysis of developing part shows the composer’s desire for a certain emotional quality of the thematic material, the main figurative lines are revealed from the very beginning. Each of themes gets the development of its material and its progressive dynamization, which process being often interrupted at its peak. Meaningful is the Coda of the First Movement, which fully implements the idea of “black-and-white palette” of the cluster chords, which can be interpreted as the idea of dualism of the world picture, embodying, for example, in Eastern philosophy as the sacred symbol of “Yin-Yang”. It can be said that the main meaning of the Code is to identify and understand the fundamental model of being, which is constantly changing and complementary. The Interlude, as a link between the first and second movements of the Concerto is fully consistent with the idea of continuation of the process and justifies smooth transition from one state to another. The Finale of the Concerto after the impromptu Interlude perceives as a vivid sketch in folk spirit connected with the traditions of folk genre principles reproduction and emerges as proof of life extension. The texture of the basic material is presented in a toccata manner, due to the alternation of weak and strong micro- and macrobeats in both parts of pianist’s hands. The middle part of the Finale is created in three-part format. The main section sets a certain rhythmic pulse. The introduction of quintuple (5/8) is innovative. The middle section of the middle part represents the choral is bringing us back to medieval music origins. Conclusions. The composer’s style of early I. Karabyts is distinguished by the scale and integrity of the artistic concepts of works that is typical of the entire Ukrainian national school, the use of variant and polyphonic techniques for the development of thematism, the timbre-orchestral and texture diversity. The First Piano Concerto of the composer is endowed with rich thematicism and vivid contrast of images, marked by the activity of the dramatic process based on dialogicity, due to the general philosophical concept of the work – the confrontation of the spiritual and anti-spiritual. Along with the conflict line, the Concerto presents the sphere of contemplatively dreamy, sensual lyrics. The First Movement in the dramaturgy of the cycle reveals the philosophy of life, its deep spirituality in coexistence with the forces of evil that bring destruction, accompanying the hero’s life path from birth to death, with all its collisions and intentions. The Finale is the continuation of being, movement (it represents the toccata material). The composer creates a concertо of a conflict-dramatic type, the dramaturgy of which is realized as an interaction of dramatic, lyrical and epic-dramatic principles. Conceptuality is revealed through the interaction of objective and subjective plans, where genre allusions acquire a certain semantic meaning (the introduction of a waltz and choral episodes, the toccata manner in “perpetuum mobile” image). The impulsive rhythmic development, the richness of harmonious sound, the wide timbre palette of the piano and orchestra make the Concert emotionally intense, romantic. The Concert uses a full register spectrum of pianos and a wide arsenal of its techniques, which allows the soloist to embody his performing abilities and recreate the concept of composer’s concept. The First Concerto embodies the philosophical theme, which is revealed through the procedural model of the endless circle “life-death-life”, continuing the line of the symphonic instrumental concerto, vividly presented in Ukrainian music of the 20 century by B. Liatoshinskyi, with allusions to Baroque genres (toccata, chorale) and with active use of polyphonic methods of development (in particular, the introduction of the episode of fugato).
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Rupprecht, Philip. "ABOVE AND BEYOND THE BASS: HARMONY AND TEXTURE IN GEORGE BENJAMIN'S ‘VIOLA, VIOLA’." Tempo 59, no. 232 (April 2005): 28–38. http://dx.doi.org/10.1017/s0040298205000136.
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George Benjamin's rich harmonic imagination was apparent from his earliest published works. A distinctive chordal sensibility is already evident in the 1978 Piano Sonata, with its glittering streams of five- or six-pitch clusters; in the hollow bell-chords punctuating the 1979 orchestral score, Ringed by the Flat Horizon; and in the supreme stasis of the A-minor pedal chord (a six-three triad) unveiled by the icy glissandi lines opening A Mind of Winter (1981). All three pieces share a fascination with degrees of chordal resonance – the interplay of upper partials above a fundamental – and a sensitivity to chords as sound objects. True, Benjamin's style, beginning at least with Antara (1987), has shown signs of a more linear-contrapuntal orientation, and less reliance on what one critic terms ‘purely coloristic phenomena’. Yet one could equally claim some continuity between the refined harmonic world of the early scores and the surprising richness of chordal sonority to be heard in a far more recent arrival, the 1997 duo Viola, Viola.
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Kuznetsova, Svetlana V. "Ancient Russian Musical Figurativeness in Georgy Sviridov’s cantata “The Bright Guest”." Observatory of Culture, no. 2 (April 28, 2014): 78–85. http://dx.doi.org/10.25281/2072-3156-2014-0-2-78-85.
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Analyses interrelation of literary and musical texts and reveals Ancient Russian musical figurativeness of music. The author studies melodic, harmonic, stylistic, genre and compositional treats of cantata and argues that all these treats were aimed at implementation of the Ancient Russian choral tradition.
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Варакута, М. І., and Ю. О. Черненко. "To the problem of interpreting the genre of choral miniatures in the work of the Ukrainian composers (on the example of choral miniatures V. Stetsenko)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 5–15. http://dx.doi.org/10.33287/22191.
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The purpose of the article is to focus on the features of theUkrainian choral miniature genre and to identify the main aspects of theirimplementation in choral works by V. Stetsenko. The article deals with thestyle of writing of choral miniatures of the composer, influenced by thetraditions coming from M. Lysenko, K. Stetsenko, M. Leontovich. Themethods of the research are based on historical-typological, genre,stylistic and functional methods of analysis. The structurally analytical investigative method have had weighty significance into process theregularization of scientific material and improvement of the conclusions.The comparative method was applied by author for profound formation ofthe results concerning the scientific studying of series compositions inreference to the choir miniature genre. The performing analysis of choralmasterpieces is also employed by writer in the process of the researchwork. The scientific novelty of the article is the circulation and analysis ofchoral works by V. Stetsenko, which are first studied in musicology; inrevealing the specifics of linguistic means, compositional features and theformation of choral miniatures. Conclusions. Proceeding from thepeculiarities of the figurative content of texts used in miniatures as theprimary source, V. Stetsenko uses a whole complex of intonations thatreproduce the musical-intonational populist basis. One of the ways ofconstructing works is a combination of harmonic and polyphonic tools inthe choral text. The verse is complemented by the introduction and thecode. The analysis of choral miniatures of folk type by V. Stetsenkoshowed their interconnection with the traditions of Ukrainian folk-danceculture.In this case, the composer does not seek to use genuine folkmelodies, but uses the method of stylization of song folklore, taking as itsbasis the basic intonational, fashion, texture features.
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Teng, Kehan. "The aesthetic connection between chorus voice and "form"." Journal of Contemporary Educational Research 3, no. 1 (February 26, 2019): 24–30. http://dx.doi.org/10.26689/jcer.v3i1.563.
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Abstract: Music is the art of sound, while chorus is the art of group vocal music. Choral art takes human voice as the carrier to express thoughts, emotions and artistic images through sound. Harmonious, unified, balanced sound gives people the enjoyment of beauty, and brings people related pictorial association. As a unique form of vocal music art, chorus is also a comprehensive stage art belonging to the category of performance, which is a sister art belonging to the same and different families, such as dance and drama. In the visual arts such as dance and drama, the melody, timbre and harmony of music match the figures appearing on the stage or screen. So much so that when we hear some kind of music we have feelings and associations of being beautiful, strong, magnificent, lively and leaping, dark and melancholy. From ancient to modern times, in daily life, people sang and danced scenes were also their immediate reflection of music aesthetic feelings. Some of these aesthetic experiences are vague and some are specific. For example: we will think some music is witty or sad, when people heard the music, such as "the devil into the village", is associated with the world war ii German offensive of Leningrad, the Anti-Japanese War of the Chinese people will be associated with the scenario, inner emotional ups and downs also involuntarily immersed in that special period and in the scene. In chorus, "form" performance influence on good auditory perceptual styles, or, in turn, is a good style of auditory perceptual experience of "form" synesthesia reaction performance, relationship to the singing breath, resonance, position and the effect of auditory perceptual style performance status and change, through sound "form" to build a good performance of auditory perceptual styles, so that the sound stimulus directly cause synesthesia activity, directly or indirectly affect the chorus sound auditory aesthetic feeling, at the same time, it can enhance the tension of the chorus performance, shape the artistic image that is consistent with the expression of the work, and properly express the music artistic conception. The audience can feel the chorus's expression of aesthetic emotion directly from their hearing, and then have a significant influence on the music sound and singing effect. This article through the "form" to the good style of auditory perceptual and aesthetic relation, the effect of using some tightening inward intuitive posture, dance to the chorus of constructing "the vertical and the inner" auditory perceptual inspired style, from the identity of the visual sense and sound, from the aesthetic perspective of reverse thinking, deeper understanding and grasp of our chorus.To maintain the breath required by the extremely aesthetic chorus sound, control the state, establish the harmonious, unified and balanced sound perceptual style, as well as the overall sound effect aesthetic expression, has made a different Angle of interpretation.
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Thompson, William F., and Lola L. Cuddy. "Sensitivity to Key Change in Chorale Sequences: A Comparison of Single Voices and Four-Voice Harmony." Music Perception 7, no. 2 (1989): 151–68. http://dx.doi.org/10.2307/40285455.
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Two experiments examined sensitivity to key change in short sequences adapted from Bach chorales. In Experiment 1, musically trained listeners identified key changes in single-voice (i.e., soprano, alto, tenor, bass) and in four-voice presentations of the sequences. There were two main findings. First, listeners judged the distance and direction of key change in single voices and in four-voice harmony with approximately equal ease. Second, for four-voice harmony but not for single voices, the direction of key change on the cycle of fifths influenced perceived distance. For an equivalent number of steps on the cycle, greater distance was associated with modulations moving in the counterclockwise, rather than in the clockwise, direction. These findings were replicated in Experiment 2, in which musically untrained listeners rated perceived distance of key change. In addition, the directional asymmetry found for four-voice harmony also was found for individual bass voices. The evidence suggests that harmony and melody operate somewhat independently in the implication of key structure. Difficulties for a strictly hierarchical model of perceived musical pitch structure are discussed and a partially hierarchical model is considered.
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Kharakoz, Hаnna. "On the genre and performance peculiarities of J. S. Bach’s choral fugue (on the example of comparative analysis of BWV 131 and BWV 131a)." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 164–79. http://dx.doi.org/10.34064/khnum2-21.11.
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Background. Despite the vast musical material associated with the embodiment in the choral texture of the highest polyphonic form – the fugue, there is lack of the literature that would outline the specificity of this arrangement, its fundamental principles. Many researchers have addressed choral polyphony on the material of the works of various composers. However, the problem of identifying the specificity of the choral fugue hasn’t been highlighted yet as a major issue in domestic musicology. Among the most recent works, which include the consideration of the issue of choral fugue, we should mention the capital study by N. Simakova (2007). The author offers a classification of choral fugue, depending on the accompaniment presence or absence. N. Simakova points out the importance of the timbre content of the theme for emphasizing the figurative content of the words, since the most striking in the process of the deployment of the fugue is the register-timbre modus, and the timbre coloring of soprano, alto, tenor and bass gives a relief figurative representation. Objectives. The article’s subject is to reveal genre and performance peculiarities of the choral fugue “Und er wird Israel” from the cantata BWV 131 by Johann Sebastian Bach. The comparative analysis of two editions of the cantata – choral and instrumental (organ fugue BWV 131a) – reveals the determinants of the choral fugue connected with the peculiarities of its performance. Methods. The study is based on systematic-analytical, comparative and semantic musicological approaches. Results. Two factors play a particularly important role in a choral fugue – the verbal text and the timbre coloring of the voices. This way, both themes of the fugue sound vivid and recognizable even to the unaccustomed listener, since they have different text assigned to the theme and each theme is placed in the voice that corresponds to it tonally. The first theme – light and full of hope – is assigned to the timbral voice that corresponds to it, such as the soprano, while the second theme is assigned to the timbral rich, “heavy” bass part. In any section of the cantata fugue, unlike in the organ version, the themes will be well recognizable thanks to the verbal text and the timbre coloring of the various voices, whereas the timbre of the organ, in comparison with the sound of the choral parts, is monolithic, and the sound “attack” is viscous, leading to a lack of separation in the melodic line. Thus, the presence of a verbal text, fixed to a particular theme (or part of it) and the timbral dramaturgy determine particularly the specificity of the choral fugue. However, the potential of the human voice is known to be limited by its tessitura depending the physical capabilities , which in turn affects the structure of the theme and the form in general. For the two-voice fugue theme, in which the author seeks to emphasize contrast, the timbre and tessitura peculiarities is the most convenient solution. It is important to compare the musical material of the two versions, to search for the differences and their causes, which are connected with the possibilities of the instrumental presentation of the fugue. So, in order to adapt it for twohand performance, in the organ work we occasionally observe simplification, “removal”, of the texture, as well as the addition of the musical text in order to “outplay” with the different functions using the manual keyboards and the pedal on the organ. An important feature of the choral fugue is the orchestra presence, its peculiar instrumental double, which gives it a special stability. As a rule, this or that instrument is attached to a particular timbre that is associated with specific parts of the chorus. In most cases, the orchestral part in a given cantata duplicates all of the theme material in the chorus. The orchestra also provides a solid harmonic foundation for the choral parts, especially where tonality could be interpreted in two ways. The alto part plays a passive role throughout the entire fugue, and a thematic lead is assigned to it only twice, and this is not accidental, since the alto part is “hidden” within the texture, and for a varied two-theme fugue, the comparison of different themes and their registers becomes important in the first place. In the cantata, the fugue is the culmination, the emotional climax of the entire cycle, it sounds rich and dense, and the bright timbre richness of the orchestra complements the general majestic character of the sound. In the organ fugue, however, it is vice versa: here one can sense the borders of the sections of the generally accepted fugue form much more clearly, and simplicity and elegance predominate. The presence of episodic moments of the redistribution of the thematic material in one part between two different voices (belonging to one voice in the original choral source) testifies to the secondary nature of the timbre factor in the instrumental fugue; the main thing here is the presence of the thematic voice-conducting itself. Therefore, in the clavier (organ) arrangement, one theme can be observed in different voices. All these examples make it possible to consider the choral fugue as a unique, independent form enriched with its own specific features. Conclusions. Despite the abundance of literature devoted to the fugue theory in general, the phenomenon of the choral fugue has so far received insufficient research attention. In order to understand the nature of the choral fugue, it is necessary to consider the influence that such specifically “choral” factors as timbre, register, tessitura, verbal text, ensemble, and others have on its structure. The comparative analysis of the musical scores of “Und er wird Israel” from Bach’s cantata BWV 131 and the organ fugue BWV 131a revealed differences between the choral primary source and its organ version, which makes it possible to consider them as factors contributing to a better understanding of the choral fugue peculiarities.
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GREAVU, Elena-Laura, and Roxana PEPELEA. "Stylistic aspects reflected in the musical choral volume Cântece pentru copii/Songs for children, signed by Dan Voiculescu." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 85–92. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.9.
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In Dan Voiculescu's choral compositions, music and poetry are particularly intertwined, the syncretism of the arts being a fundamental feature in the composer's approach to this type of repertoire. The more detailed analysis, with examples of excerpts from works from the volume Songs for Children, are convincing proof of the compositional mastery that is necessary for the succesful creation of a deep connection between musical construction and text. Even the choice of certain elements related to the mode of musical composition (subordinated to the melodic, harmonic, polyphonic, rhythmic, metrical, dynamic, formal structure, etc.) demonstrates the intrinsic nature of the connection between music and the message of poetic lyrics. At the same time, the capitalization of the Romanian folklore resources, the incorporation in certain works of some underlying influence from baroque music and the preoccupation of introducing innovations related to the singing technique of the choral repertoire on equal voices represent some of the multiple stylistic features reflected in this volume.
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Steiner, Deborah. "Harmonic Divergence: Pindar's Fr. 140B and Early Fifth-Century Choral Polemics." Journal of Hellenic Studies 136 (2016): 132–51. http://dx.doi.org/10.1017/s0075426916000100.
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Abstract:This article offers a close reading of Pindar's lacunose fr. 140b S.-M. and explores the evidence it includes for Pindar's contributions to contemporary debates and polemics in late sixth- and early fifth-century musical culture concerning, among other things, harmonics, tonal ranges, instrumentation and the boundaries between different genres. By reading the contents of the fragment against the backdrop of other works from the period that similarly engage in these issues and the later revisionary accounts of the questions first raised by the author-musicians of the early classical age, I show how the diction, imagery and structure of the work are designed to position Pindar as one among the current choral innovators. In the discussion's final part, I address the question of the genre to which the piece belongs and propose some fresh ways of addressing this still outstanding matter. At several points, the article also considers some relevant visual evidence.
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Kurke, Leslie. "Pindar's Pythian 11 and the Oresteia." Classical Antiquity 32, no. 1 (April 1, 2013): 101–75. http://dx.doi.org/10.1525/ca.2013.32.1.101.
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The scholiasts offer two different dates for the Pythian victory of the Theban Thrasydaios celebrated in Pindar's eleventh Pythian ode: 474 or 454 bce. Following several older scholars, I accept the latter date, mainly because Pindar's myth in this poem is a mini-Oresteia, teeming with what seem to be echoes of the language, plotting, and sequencing of Aischylos' trilogy of 458 bce, as well as allusions to the genre of tragedy in general. Yet even those scholars who have argued for such a dialogue between these two works are at something of a loss to explain it, except as Pindar's admiring homage to the genius of Aischylos. Such accounts reveal the inadequacy of a reading that assumes a narrowly literary system of intertextuality. In order to account for this intertextual, intergeneric dialogue, we need instead to recognize the embeddedness of choral lyric and tragedy within their social and cultural contexts, and their differential relations with “neighboring systems” such as cult ritual. I will argue that Pindar implicitly challenges the tendency of Attic tragedy to displace and appropriate for its own purposes cults that properly belong to other Greek cities. Pindar, in contrast, in Pythian 11 emphasizes the locality and specificity of different communities' relations to the heroes of myth and cult as an important part of traditional choral and civic harmonia. Thus I will argue that these two texts are engaged in a contestatory ritual poetics about the locality and propriety of cult and its relation to the community as mediated through different choral forms.
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Phyland, Debra Jean. "Choral Singing and Vocal Health—Young Choristers Are Not Harming by Harmonizing." JAMA Otolaryngology–Head & Neck Surgery 145, no. 5 (May 1, 2019): 451. http://dx.doi.org/10.1001/jamaoto.2019.0063.
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VAN DER BLIEK, ROB. "The Hendrix chord: blues, flexible pitch relationships, and self-standing harmony." Popular Music 26, no. 2 (May 2007): 343–64. http://dx.doi.org/10.1017/s0261143007001304.
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AbstractJimi Hendrix was often characterised by his exotic appearance and extravagant performance, but underneath these trappings was an extraordinary guitarist who managed to transform some of the key elements of blues and rhythm-and-blues traditions. An important feature of Hendrix’s music is his characteristic use of the seventh chord with a sharp ninth, or the augmented ninth chord, now often referred to as the ‘Hendrix chord’. This paper examines some ways in which Hendrix used this chord by surveying and drawing comparisons between various instances. It is not necessarily the fully voiced version of the chord that Hendrix used, but interval combinations drawn from or related to it, with particular timbres and articulations. Together these define what might be called a ‘sharp ninth sound’. Through register placement, timbre, articulation, and chordal function, it is intimately tied to the blues idiom, adding a blues tonal element. This is one aspect of Hendrix’s music, then, that shows his deep roots in the blues.
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Berberyan, S. L. "Chordal and Angular Limits of Subordinate Subharmonic and Harmonic Functions." Lobachevskii Journal of Mathematics 40, no. 8 (August 2019): 1034–38. http://dx.doi.org/10.1134/s1995080219080055.
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Pennanen, Risto Pekka. "The development of chordal harmony in Greek rebetika and laika music, 1930s to 1960s." British Journal of Ethnomusicology 6, no. 1 (January 1997): 65–116. http://dx.doi.org/10.1080/09681229708567262.
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Yanushkevich, Maryia. "Preparatory work on a piece as a form of developing student’s artistic autonomy." Konteksty Kształcenia Muzycznego 4, no. 1 (October 19, 2017): 81–88. http://dx.doi.org/10.5604/01.3001.0010.5353.
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The development of a student’s artistic autonomy is one of the most important tasks in the educational process at higher education level. One of the methods of accomplishing this task is to teach students to work autonomously on the score. This is the first step towards helping a young conductor to get acquainted with a composition, to define one’s own vision of an artwork, to get prepared for cooperation with an ensemble and later for performing the piece on stage. Therefore, when reaching for a new score, a student should learn how to analyze it in terms of: form (taking into account the composition’s structure, harmonic layout, general knowledge regarding authors of lyrics and music, style), vocal-choral aspects (type and kind of a choir, vocal range, breathing, problems concerning voice production, diction, dynamics, agogics, articulation) and performance (manners of conveying one’s artistic vision, role of a conductor’s gesture, vocal-choral means of expression). A detailed analysis of the musical material advances performers towards proper interpretation, as close to the composer’s intentions as possible. Understanding the content and artistic idea behind the piece significantly eliminates ‘arbitrariness’ of performance. Getting acquainted with common influence of artistic means of expression, understanding the occurrence of particular elements of a musical language, comprehending the principles of a musical form, distinguishing characteristic qualities of a chosen composer’s style. These skills, developed over the course of analysis, help students respond to music more briskly, broaden their intellectual horizons, foster unassisted orientation in the musical form and language of a piece, develop perceptiveness and better memorization of a musical material.
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Wassermann, Gilbert, and Mark Glickman. "Automated Harmonization of Bass Lines from Bach Chorales: A Hybrid Approach." Computer Music Journal 43, no. 2-3 (June 2020): 142–57. http://dx.doi.org/10.1162/comj_a_00523.
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In this article, a combination of two novel approaches to the harmonization of chorales in the style of J. S. Bach is proposed, implemented, and profiled. The first is the use of the bass line, as opposed to the melody, as the primary input into a chorale-harmonization algorithm. The second is a compromise between methods guided by music knowledge and by machine-learning techniques, designed to mimic the way a music student learns. Specifically, our approach involves learning harmonic structure through a hidden Markov model, and determining individual voice lines by optimizing a Boltzmann pseudolikelihood function incorporating musical constraints through a weighted linear combination of constraint indicators. Although previous generative models have focused only on codifying musical rules or on machine learning without any rule specification, by using a combination of musicologically sound constraints with weights estimated from chorales composed by Bach, we were able to produce musical output in a style that closely resembles Bach's chorale harmonizations. A group of test subjects was able to distinguish which chorales were computer generated only 51.3% of the time, a rate not significantly different from guessing.
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Jones, Harold. "Letters." British Journal of Music Education 6, no. 3 (November 1989): 307–8. http://dx.doi.org/10.1017/s0265051700007269.
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Laura Campbell's article (Vol. 5, No. 3, November 1988) seems a little ambivalent. On the one hand she proposes a ‘method’ for harmonising chorales in the style of J. S. Bach; on the other she seems to suggest that this is not in any case an appropriate task for the student.By implication this raises once again the whole question of the value of ‘imitative’ work as an agent of musical education. Does it teach anything other than knowledge of the particular style involved and if not, does it matter? To take a style even more remote from everyday musical experience, that of Palestrina, I am sure that those of us who devoted a good deal of time to it as students did gain much useful practice in the writing of smooth vocal lines applicable in fields as distant from the idiom of Palestrina as the arrangement of modern light music. In the same way the budding composer can learn from Bach-style chorale harmonisation something of the way in which harmonic considerations interact with the writing of interesting vocal lines, and the compromises that have to be made in the process of fusing the two together. It is true that the principal benefit of this activity is knowledge of Bach's methods in chorale harmonisation, but the same is true of what is now known as ‘pastiche’ work in any idiom; the idea that one can learn a sort of all-purpose abstract harmonic language which can be applied mutatis mutandis to all tonal music from the Baroque to the late Romantic era has now fallen into disrepute. It is worth noting that Haydn, Mozart, Beethoven and Bruckner all considered it worth their while to work at Fux's Gradus ad Parnassum, a sort of archetypal ‘pastiche’ method. Figured bass, incidentally, is not primarily a method of teaching, but a shorthand performing notation.
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SMITH, KENNETH M. "Skryabin's Revolving Harmonies, Lacanian Desire, and Riemannian Funktionstheorie." Twentieth-Century Music 7, no. 2 (September 2010): 167–94. http://dx.doi.org/10.1017/s1478572211000156.
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AbstractThat Skryabin's harmonic language is rooted in dominant functionality is commonly acknowledged. However, the flow of his tensile dominant-based sonorities has not been adequately explored. This article seeks to correlate his harmonic processes with his erotically charged philosophy. It sketches ways in which our understanding of Skryabin's harmonic ‘flow’ can be reinforced by analytical thinking in both psychoanalysis and music theory, bringing Jacques Lacan's semiotic model of the circuit of human desire into dialogue with Hugo Riemann's Funktionstheorie. Two of Skryabin's harmonic proclivities direct the chosen analytical approach: 1) sequential chains of fifths and 2) transposition by multiples of the minor third. The interchange of these two characteristics is explored, with Riemann's categories of chordal function (T, S, and D) grafted onto a model of tonal pitch space derived (via Fred Lerdahl) from Gottfried Weber. The way in which Skryabin ‘rotates’ tonal functions sequentially (i.e., T→S→D→T) in a potentially infinite cycle of fifths, rerouted occasionally through minor-third transposition, is correlated with Lacanian drive theory. The article's concluding analysis of Skryabin's late octatonic Sonata no. 6, Op. 62, takes this ‘rotation’ of tonal function to a deeper structural level. The labelling system of Funktionstheorie, which is stretched at this point, is reconceptualized through Lacan's extension of his theory of desire into semiotics.
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Vuvan, Dominique T., Jon B. Prince, and Mark A. Schmuckler. "Probing the Minor Tonal Hierarchy." Music Perception 28, no. 5 (June 1, 2011): 461–72. http://dx.doi.org/10.1525/mp.2011.28.5.461.
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one facet of tonality perception that has been fairly understudied in the years since Krumhansl and colleagues' groundbreaking work on tonality (Krumhansl & Kessler, 1982; Krumhansl & Shepard, 1979) is the music theoretical notion that the minor scale can have one of three distinct forms: natural, harmonic, or melodic. The experiment reported here fills this gap by testing if listeners form distinct mental representations of the minor tonal hierarchy based on the three forms of the minor scale. Listeners heard a musical context (a scale or a sequence of chords) consisting of one of the three minor types (natural, harmonic, or melodic) and rated a probe tone according to how well it belonged with the preceding context. Listeners' probe tone ratings corresponded well to the minor type that had been heard in the preceding context, regardless of whether the context was scalar or chordal. These data expand psychological research on the perception of tonality, and provide a convenient reference point for researchers investigating the mental representation of Western musical structure.
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Juszyńska, Krystyna. "Didactic qualities of piano pieces for children by Miłosz Magin (1929-1999)." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (June 30, 2020): 27–44. http://dx.doi.org/10.5604/01.3001.0014.2314.
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Miłosz Magin was a renowned Polish pianist and composer. He was born in Łódź, studied in Warsaw, was a prizewinner of several international piano competitions, successfully concerted all over the world and in 1960 he finally settled down in Paris. His compositional output covers numerous piano pieces, orchestral, chamber and vocal works, as well as a ballet. Pieces for children constitute an important and relatively large part of his oeuvre. The article discusses five cycles of miniatures (38 pieces in total), dedicated to pupils at the elementary level of piano learning: Obrazki z Polski (1982), Miniatury polskie (1982), Kółko graniaste (1987), Karnawał lalek for four hands (1990) and Zaczarowane zabawki (1996). The pieces have didactic qualities and play the two roles: they gradually introduce a pupil into the world of music and they help to master the piano technique. They develop, in particular, fingers’ dexterity, chordal and arpeggio technique, precision while realization various rhythmic structures, mastery of large leaps on the keyboard. Performing Magin’s music sensitizes to the timbre of pitches in different registers, to changeable dynamics, original harmony, bitonality, phrasing, articulation, agogic and proper interpretation. His compositions develop children’s imagination and familiarize them with diverse timbres of the piano. They are little masterpieces, put into a terse form of a miniature.
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Knapp, Alexander. "Ashkenazi Pentateuchal Chant: A Sixteenth-Century German-Christian Interpretation." European Journal of Jewish Studies 6, no. 1 (2012): 23–69. http://dx.doi.org/10.1163/187247112x637551.
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Abstract Much attention has been given to the pioneering achievements of the Christian Hebraists of the sixteenth century in transcribing the essential elements of traditional Torah chant into Western musical notation. One of these transcriptions, however, is unique. Johannes Reuchlin’s De Accentibus et Orthographia Linguae Hebraicae of 1518 contains not only the ‘accents of biblical recitation’ themselves, but also a complete four-part harmonization of these tropes by one of Reuchlin’s students, Christoph Schilling, in the German choral style of the period. Although Schilling’s arrangement of the individual accents has been mentioned in passing by numerous scholars, it has never been published in a modern edition, nor applied to the actual practice of chanting biblical texts. In this article, I discuss some of the general background to cantillation, accentuation, and the role of the German Humanists in preserving this oral tradition in written form. Comparisons between sixteenth-century and twentieth-century biblical chant are made in relation to the melodic and harmonic characteristics of Schilling’s notation, and this leads to an assessment of some of the problems concerning the realization of these raw materials for ‘live’ performance. Three short extracts from the Pentateuch are then presented as working examples based upon Schilling’s arrangement. In conclusion, the possible motives and intentions behind this intercultural phenomenon will be considered, as will its significance in the long history of Judeo-Christian syncretism in music.
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Kalinina, A. S. "Principles of interpreting P. Tychyna’s poetry in the vocal cycle “Enharmonic” by L. Dychko." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 80–98. http://dx.doi.org/10.34064/khnum2-15.04.
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Background. Lesia Dychko (born in 1939) is one of the innovators in Ukrainian music of the second half of the 20th century. Among many composers, she is distinguished by the attraction to the music associated with the word. Despite the prevalence of the choral genre in her oeuvre, she pays a lot of attention also to opuses for the solo voice with the instrumental accompaniment. In the fi eld of chamber vocal music, there are characteristic signs of the composer’s style, the richness of the harmonic language, and the author’s fi ligree work with the poetic word. Such features of the L. Dychko’s creative personality are refl ected in the works of many researchers. However, currently there are no studies that addresses the principles of the embodiment of the poetic text. This reveals the relevance of the proposed topic. The purpose of the article is to identify the way in which the semantic and structural properties of P. Tychyna’s poems are refl ected in the song cycle “Enharmonic” by L. Dychko. The following methods have been used to solve the research tasks: historical, genrestyle, structural-functional and comparative. Results. Most of L. Dychko’s chamber vocal cycles for the voice and piano show the composer’s attraction to the heritage of Ukrainian poets, such as P. Grabowsky, V. Kolomiets, I. Franko, and P. Tychyna. The appeal to Tychyna’s poems is indicative of the composer’s aesthetic preference. The reason for the choice was the innovative nature of the poet’s works, which are inherent in poly-rhythm, poly-meter of the poetical lines, musicality of the content and structure, a combination of folklore samples and advanced techniques, and the rich world of images. All these signs already appeared in the fi rst book of P. Tychyna – “The Sun Clarinets” (1918). Its pages are fi lled with sophisticated landscapes, made with bright colours, radiating goodness and humanism. The poems of the collection are endowed with special musicality, numerous sound images, which resulted in the name of many compositions. In particular, the name of the poetic cycle selected by L. Dychko – “Enharmonic” – causes some musical association. It consists of four compositions. Their names describe the state of nature and target the perception of poems – “The Fog”, “The Sun”, “The Wind”, and “The Rain”. The fi gurative and semantic series of each of them is constructed so that their textual basis is a kind of “semantic enharmony” to the title. “Semantic enharmony” means the difference between the text and its name (or other text) by the meaning, but their similarity according to the meaning. To refl ect the rich fi gurative content of the works by P. Tychyna, L. Dychko uses the mixed technique. The synthesis of distant stylistic devices is inherent in all the semantic-structural levels of the romance “Enharmonic”. The proof of this is that the composer gives each composition of the cycle an additional genre designation that has a purely instrumental nature: “The Fantasy” (No. 1), “The Prelude” (No. 2), “The Pastoral” (No. 3), and “The Scherzo” (No. 4). In view of this, in the opus by L. Dychko two kinds of a cyclical composition are combined – vocal and instrumental. When joining poetic and musical rhythms, the composer usually relies on two different principles of the poetic text vocalization, which allows a subtle reproduction of all moods and emotional changes in the verses. In “The Fog” there is the recitation and counter-rhythm, in “The Wind” and “The Rain” the metric and accent increase. Only in “The Sun” metric scheme of the poetic source is retained almost completely. In the domain of the vocal melody, the author combines both the diatonic nature of the short songs with a specifi c modal colouration and chromatic feature and sharp tonal transitions. For example, in “The Fog” there is a gradual complication of melodies: from the Phrygian and Dorian modes with a limited interval to freely interpreted 12-tone space. In “The Wind”, the voice part can be divided into two types according to intonation features which are instrumental and recitativerecitational with song traits. A large mix of different techniques is also announced in the piano part. There is a harmony of classical-romantic type here, impressionistic linearity, and modern sonorous means. Such a variety of different types of the composition and principles of organization of the vertical helps L. Dych ko to convey the range of feelings of Tychyna’s poetry as accurately as possible. Such synthesis of the means of musical expression does not deprive the vocal cycle of integrity, which manifests itself both on the intonation level and on larger levels such as in the structure and principles of the approach to the embodiment of verses. In most cases, the composer limits the interval composition of the vocal melodies of romances, selecting those moves that would refl ect the semantics of the poetic primary sources most clearly. The basis consists of second, third, fourth, and fi fth intonations, and other moves are less common and serve to enhance the expression of the phrase. The unifying factor for all the works of the “Enharmonic” appears to be also the functional purpose of the piano part. It acts as an equal member of the vocal-piano duo and contributes to the implementation of the multilayer semantics of Tychyna’s poetry and its symbolic content. Some regularity also appears in the structure of romances, since “The Fog”, “The Wind” and “The Rain” have similar principles of construction. They are characterized by an improvisational character, a free expansion of the form with a change in the musical content of the sections, the variety of textual types and the culmination at the point of the golden section. “The Sun” is the exception. Its form has features of the couplet-variation structure, since the musical elements from the fi rst stanza are repeated at the beginning of the second, although their elevation is changing. Conclusions. In the embodiment of the symbolic poetry by P. Tychyna, L. Dychko shows an active author’s position, refl ects her vision of its content, emphasizing the important fi gurative and semantic-image units. An important role in this is played by the piano part, which serves as a vivid underline for the main images of the original sources, a kind of “enharmony” of their names. The foregoing confi rms that at the early stage of creativity L. Dychko had already proved herself as an initiative inventor; by combining various stylistic and style techniques, she found the musical equivalent of the content of the poems, revealed their subtext and embodied her own impressions of the perception of P. Tychyna’s poetry.
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Kuzmina, O. A. "“The House That Jack Built” by Jessie L. Gaynor as an example of an English language operetta for children." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 231–49. http://dx.doi.org/10.34064/khnum2-15.12.
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Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. However, if the information about this genre is contained in the scientifi c literature, research on opera for children-performers analogue, children’s operetta which was formed and used by considerable demand in the late 19th – in the fi rst half of the 20th century in the English-speaking countries, is practically absent. This determines the relevance of the chosen subject. Objectives. The objective of this study is to consider the features of the libretto, the compositional and dramaturgical properties of the children’s operetta by J. L. Gaynor The House that Jack Built as one of the English-language samples of the genre. Methods. So far these methods were been applied: historical, structural and functional, comparative. Results. It is diffi cult to indicate the exact date of the children’s operetta emergence. It is known from available literature that it became widespread in the 1880s. In the following decades, the popularity of children’s operettas does not fade, rather, it only grows. The school authorities even were worried about such an intensity of extracurricular work. However, this fact did not affect the number of performances. There are books containing instructions and guidance, tips on probable diffi culties that could be faced by fi rst-time directors. In particular, it was recommended to divide responsibilities between school departments and draw up a general plan of action. Attention was paid to organizing an advertising campaign to attract as many viewers as possible. With such performance enthusiasm, there was a certain lack of repertoire written specifi cally for children and adolescents. Not surprisingly, the music teachers sought to replenish it. Among them was an American piano and harmony teacher Jessie Lovel Smith Gaynor (1863–1921) who composed The House that Jack Built (1902). This is not the only sample of children’s operetta in the heritage of J. L. Gaynor, she wrote a few more works, mostly after fairy tales: The Lost Princess Bo-Peep (its plot matches Jack’s one), The Toy Shop, Snow White, The Magic Wheel, Three Wishes, The Return of Proserpina, and On Plymouth Rock. The libretto of The House that Jack Built, written by A. G. D. Riley, is compiled on the basis of nursery rhymes, which are an integral part of the English-speaking countries culture. The operetta includes 24 folklore texts (full or fragmented): poems, two counters, and a ballad. To organize the plot, the librettist used the «stringing» method, or the cumulative principle, joining each subsequent element to the previous one with the help of the Mother Goose’s recitative lines. She is the key character, who greets and introduces new guests at her party. This principle is refl ected in the organization of the whole operetta. Mother Gooses’ cues are a refrain similar to the poem The House that Jack Built. Each character is not related to the previous one or the next, they are united only by belonging to the images of folk poetry. Since the libretto is mainly based on miniatures (with one or two verses), there are many participants of the performance: 43 characters, 21 thrushes, and collective characters, the number of which is not specifi ed precisely. There is no plot in common sense – as a series of related events built in accordance with certain principles – in The House that Jack Built. Rather, it reminds the carnival procession, in which characters are appearing one by one. They have bright, sometimes extravagant costumes, which vary with the speed of the pattern in the kaleidoscope. The structure of the operetta is simple and clear. It consists of two acts, divided into 19 big numbers (9 in the fi rst action, 10 in the second), which are often built in the form of a suite. The balance among solo-ensemble and choral numbers in The House that Jack Built is unequal. The choruses prevail in the operetta (there are about 20 of them). It is diffi cult to name the exact number because the author does not always clarify the exact cast. Solo and ensemble numbers are 4 times fewer; in addition, there are 2 numbers in the 2d act, in which the soloist and choir sing together. To achieve compositional and dramatic unity, there was a need to involve additional means in addition to the cross-cutting image of Mother Goose, since the Jack’s plot is deprived of the consistent development of events. This function is performed by several themes: «fairy tale» (in the future it is associated with the appearance of fairies and elves), «pastoral» (its emergence is marked by the remark Andante Pastorale), the theme of Jack, the dance motive, and the theme of King Cole. They are exhibited in the overture for the fi rst time. When the act begins, they are joined by the themes of Mother Goose and Thrushes. For the fi rst time, most of the themes are conducted in the overture. This determines the suite character of its structure: 6 episodes that contrast with each other by tempo. The piano part plays an important role in the operetta. It presents the leading themes, the main image-bearing and poetic motives, and supports the performers in the vocal appearances. The revealed signs give grounds to consider the English-language children’s operetta a national model of opera for children-performers. Conclusions. In the English-speaking countries, particularly in the USA, at the end of the 19th – in the fi rst half of the 20th century the tradition to perform operettas at schools was formed. This works from their form and contents were similar to compositions which were called children’s operas (operas for children-performers) in Europe. An analysis of The House that Jack Built by J. L. Gaynor allows us to interpret the author’s genre name in its original linguistic meaning – «small opera». A signifi cant number of such works still remain beyond the attention of scholars and require a thorough study both in historical and in theoretical directions.
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GINGRAS, BRUNO. "PARTIMENTO FUGUE IN EIGHTEENTH-CENTURY GERMANY: A BRIDGE BETWEEN THOROUGHBASS LESSONS AND FUGAL COMPOSITION." Eighteenth Century Music 5, no. 1 (March 2008): 51–74. http://dx.doi.org/10.1017/s1478570608001188.
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ABSTRACTThe pervasiveness of thoroughbass in eighteenth-century German musical pedagogy is illustrated by the way that it extends from continuo realization exercises and chorale harmonizations to complete fugues. This article seeks to demonstrate how partimento fugue can be construed as the missing link between thoroughbass exercises and fully fledged keyboard fugues, by expanding on ideas first advanced by William Renwick. Through an examination of partimento fugues from J. S. Bach’s Precepts and Principles, Handel’s Lessons for Princess Anne, the Langloz manuscript and Heinichen’s Der General-Bass in der Composition, this study outlines a progression from basic realization exercises, in which the emphasis lies on the recognition and execution of continuo figures, to advanced recomposition assignments in which the performer is expected to project a rich contrapuntal texture from a simple figured-bass line, a task which is crucially dependent on the ability to memorize and reuse thematic material. The pedagogical value of partimento fugues also hinges on the acquisition of commonplace patterns such as the scalar descent and the harmonization of a chromatic line in alternating thirds and sixths. Although these patterns are often merely implied, they are found repeatedly in specific musical contexts, suggesting that they may function as generative melodic lines from which the composer derived both the harmonic progression and the underlying bass line, in a striking reversal of the standard compositional paradigm proposed by eighteenth-century theorists such as Niedt. Finally, the occurrence of these formulas in thoroughbass exercises, as well as in masterpieces such as J. S. Bach’s Well-Tempered Clavier, points to their ubiquitous character and demonstrates that they were part of a common language shared by many German composers of the period, thus emphasizing the need for an increased familiarity with the German partimento repertory and its conventions.
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Aleksandrova, Oksana. "Spiritual and semantic approach to studying a musical composition." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 4–18. http://dx.doi.org/10.34064/khnum2-49.01.
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Background. Under the new conditions in Ukraine, a new wave of interest in the work of the classic of the music culture of the 20th century Georgiy Sviridov is being observed, and it actualizes the search for the methods of scientific cognition corresponding to the spiritual depth of creativity. The artistic and aesthetic content of his vocal and choral compositions reveals the biblical image of the “inner man” and through it awareness of culture as a universe, where the man and God coexist in synergy. In the post-secular period, the world of music created by the outstanding artist was marked by the document of the individual and artistic experience of overcoming the crisis phenomena in society. The urgency of the present article is due to the need to find analysis methods appropriate for the style of vocal and choral compositions by G. Sviridov and for the upgrade process of methodology knowledge of the philosophical principles of composing activities of the 20th century as a whole. Objectives. The object of research is a musical composition; its subject is presented by the principles of the spiritual-semantic approach, determined by the worldview and style of the composer’s thinking. The purpose of the article is to substantiate the spiritual-semantic approach as a cognitive model of cognition of musical compositions on the material of vocalchoral genres by G. Sviridov. Methodology. The basis of the spiritual-semantic analysis is the concept of spiritual analysis of music by V. Medushevsky. A. Belonenko was the first to express the opinion that religious themes penetrated the entire creative work of the composer. L. Shapovalova offered methods of cognition of the spiritual reality of a musical composition and defined the liturgy as an “archetype” of the creativity of the believing man (homo credens). N. Varavkina-Tarasova highlighted the issues of the symbolic meaning of the spiritual content of G. Sviridov’s creative work on the example of “Three Choirs to the Tragedy by O. Tolstoy "Tsar Fodor Ioannovich"”. O. Tevosyan revealed a numerical symbolism of certain compositions by the composer. The development of the predecessors’ ideas is the author’s definition: the spiritual-semantic approach is a way of scientific cognition of the ontology of creativity. The “style of thinking” is evident through the system connections of the composer’s text with ideological traditions and the cultural environment. Presenting the main material. One of the criteria of the spiritual-semantic approach is the adequacy of thinking and language: the semantic function of the sign, multiplied by its presence in the material and spiritual plane of the composition, becomes a meaning-creating factor. The first level of the spiritual-semantic analysis of a musical composition is the first-element signs as an expression of the manifestation of the Being: preintonation, rhythm-intonation, harmonic tunes, timbre-complexes, in which the generalized archetypes of culture are contained in the concentrated (“curtailed”) form. The second level reveals a compositionally-designed meaningful image that originates from the first element (motive, theme). Since the symbol is a dynamic phenomenon, its further “germination” in the musical form is connected not only with the immanent-musical syntax. The symbolization of the sound-image is most clearly manifested in the third level of the spiritual-semantic analysis, which characterizes the type of musical dramaturgy (taking into account the world attitude of homo animus – the lyrical universe, according to M. Arkadyev). The fourth, metaphysical, level characterizes the complete meaningful image. The immanent-musical quality of the sound of a composition does not simply create a holistic gestalt, but with its help point to the invisible world (the Bible, the Life of the Saints, the Liturgy). At the highest fifth level, there is the outcome of consciousness, that perceives a musical composition, into the broad context of the existence: music creates spiritual values of a universal human meaning, "bridges" its meaning with the civilizational processes of the mankind (hence it gets the definition of “culture creating one”). We indicated the methodological role of the philosophical category of “the picture of the world”, the content of which synthesizes the deep ideas about the Universe. In the national picture of the world, the most significant laws of the existence of culture are recorded. Results. The category of the “composer’s style” contains such components as the creator’s worldview and the system of principles of his artistic thinking, expressed in the semiotic structure, the laws of composition and dramaturgy of compositions. The phenomenon of G. Sviridov is that from the sphere of the secular interpretation of the poetry by A. Pushkin, S. Yesenin, A. Blok, which corresponded to anthropocentrism of musical and poetic thinking, he implemented “modulation” to the Orthodox spirituality. The spiritual-semantic approach has a general methodological value, since it broadens the theoretical concepts of the cognitive science of stylistic phenomena in music. Its content, constituents, and objectives provide the perspective of the further substantiation of ideological positions; serve as tools for improving the methodology for analysing liturgical compositions (through signs and symbols of the spiritual time space). Conclusion. The three groups of semantic signs of the vocal-choral style by G. Svyrydov have been distinguished: anthropocentric, sound-imaging (nature, native land) associated with them, metaphysical (time, eternity, way of spiritual ascension), liturgical (Christ, Gate of the Lord, pure Thursday, bell-sound, prayer songs).
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Rozmus, Rafał. "Kolęda jako źródło inspiracji w twórczości kompozytorów polskich w latach 1945-2005." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 16, no. 1/2 (June 14, 2019): 101. http://dx.doi.org/10.17951/l.2018.16.1/2.101-181.
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<p>Repertuar muzyki bożonarodzeniowej z lat 1945-2005 ugruntowanej na rodzimej tradycji kolędowej przedstawia się jako dość obszerna część twórczości polskich kompozytorów. Jest to zjawisko zróżnicowane, obejmujące różne sposoby traktowania materiału kolędowego, rozmaite rozwiązania z zakresu formy, techniki kompozytorskiej, wielorakie rodzaje składów wykonawczych i różnorodne odcienie ekspresji dźwiękowej. Znajdujemy tu m.in.: częste nawiązania do polskiej muzyki ludowej, stylizacje historyzujące, język romantyczny i neoromantyczny, archaizacje, emanacje nowego języka dźwiękowego (sonorystyka, punktualizm, aleatoryzm, nowoczesna harmonika, technika repetytywna, klastery). W grupie opracowań kolęd (część I: <em>Opracowania kolęd</em>) kompozytorzy najczęściej wykorzystują powszechnie znane kolędy i pastorałki. W wypadku opracowań na chór <em>a cappella</em> i opracowań wokalno-instrumentalnych inspiracja płynie zarówno z tekstu słownego, jak i z melodii opracowanej kolędy (np. przez eksponowanie jej motywów w strukturze głosów kontrapunktujących). Wśród stosowanych technik kompozytorskich dominują środki konwencjonalne, nawiązujące stylistycznie do muzyki epoki romantyzmu lub wcześniejszych epok. Sporadycznie tylko tradycyjnej melodii kolędowej towarzyszą współczesny język harmoniczny i nowe środki wyrazu. W opracowaniach pastorałek często dochodzi do głosu stylizacja polskiego folkloru muzycznego – w melodyce (np. użycie skal charakterystycznych dla muzyki niektórych regionów Polski), rytmice (wykorzystywanie rytmów tanecznych), harmonice i fakturze (puste kwinty, dźwięki burdonowe). Szczególnie często twórcy nawiązują do muzyki Podhala. Instrumentalne opracowania mają natomiast z reguły charakter użytkowy – służą do gry w kościele, celom dydaktycznym, muzykowaniu domowemu. Grupa kompozycji (część II: <em>Kompozycje</em>), które odwołują się do rodzimej tradycji kolędowo-pastorałkowej, dystansując się jednocześnie od praktyki opracowań, aranżacji itp., jest dużo bardziej zróżnicowana, zarówno pod względem tekstowym, jak i muzycznym. W utworach wokalnych i wokalno-instrumentalnych uderza rozległość warstwy literackiej, obejmującej teksty z dawnych epok, XIX w., poezję współczesną, twórczość ludową, teksty łacińskie. W ślad za tym idzie daleko posunięta różnorodność środków i technik kompozytorskich, konwencji stylistycznych i typów ekspresji. Z jednej strony pojawiają się archaizacje – nawiązania do organum, chorału gregoriańskiego, rytmiki i harmoniki modalnej, dawnych form, z drugiej – ludowe stylizacje, neobarok, kompozycje romantyzujące, dzieła oparte na współczesnym języku dźwiękowym. Równie wielką rozmaitość zauważamy w sposobach traktowania tradycyjnego materiału kolędowego, począwszy od nasycenia nim struktury motywicznej kompozycji (materiał tematyczny, imitacje, snucie motywiczne), po okazjonalne cytaty, a nawet takie sytuacje, gdzie nowo skomponowana muzyka unika cytatu, a mimo to – w różny sposób – przywołuje kolędowo-pastorałkowy nastrój. Podobnie rzecz ma się z kompozycjami instrumentalnymi. Są pośród nich takie, w których melodia kolędy staje się czynnikiem konstrukcyjnym, na drugim zaś biegunie sytuują się utwory, w którym cytat z kolędy pojawia się okazjonalnie, pełniąc rolę symbolu.</p><p> </p><p><strong>Christmas Carol as a Source of Inspiration in the Works of Polish Composers in 1945-2005</strong></p>SUMMARY<p>The repertoire of Christmas music from 1945-2005, consolidated on the native Christmas carol tradition, can be perceived as a vast part of the works of Polish composers. It is a diverse phenomenon, comprising various ways of treatment of the Christmas carol material, various solutions in the form, composer’s technique, various kinds of the artist forces, and various shadows of sound expression. We may fi nd here inter alia: frequent references to Polish folk music, historicizing stylizations, Romantic and neo-Romantic language, archaizations, emanations of a new sound language (sonorism, punctualism, aleatorism, modern harmonica, repetitive technique, clusters). In the group of adaptations of carols (Part I – Adaptation of Carols) the composers frequently make use of commonly known carols and pastorals. In the case of adaptations for a choir a cappella and vocal-instrumental adaptations, the inspiration stems from both the verbal text and melody of the adapted carol e.g. by emphasizing its motifs in the structure of counterpoint voices). Among applied composer’s techniques, conventional means dominate which stylistically refer to the music of Romantic or previous epochs. Only sporadically the traditional carol melody is accompanied by modern harmonic language and new means of expression. In the adaptation of pastorals the stylization of Polish musical folklore is very often heard – in the melody pattern (e.g. the use of scales characteristic of the music of some regions in Poland), in rhythmicity (the use of dancing rhythms), in harmony and texture (empty fi fths, bourdon sounds). The composers particularly frequently refer to the music of the Podhale region. Instrumental adaptations are usually of practical character – they serve to be played in church, for didactic purposes, to play music at home. The group of compositions (Part II – Compositions) which refers to the native carol-pastoral tradition, while at same time distancing itself from the practice of arrangements etc., is far more diverse both as far as the text and melody is concerned. In vocal and vocal-instrumental works the vastness of the literary layer is striking; it comprises the texts from old epochs, 19th century, modern poetry, folk works, and Latin texts. This is followed by a variety of means and composer’s techniques, stylistic conventions, and types of expression. On the one hand, there are archaizations – references to the organum, Gregorian chorale, rhythmicity and modal harmony of old forms, on the other hand – folk stylizations, neo-Baroque, romanticizing compositions, work based on modern sound language. We may also perceive a great variety in the way of treating traditional carol, material from fi lling with it the motif structure of the composition (thematic material, imitation, motif repetitions) to occasional citations, and even to such situations where newly composed music avoids a citation, nevertheless it refers to the carol-pastoral mood). The same applies to the instrumental compositions. There are compositions in which the melody of a carol is a constructive factor; at the opposite end there are musical pieces in which the citation from a carol appears occasionally, playing the role of a symbol.</p>
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Янкус, А. И. "The Vertical Construction in Canons from Bach’s Goldberg Variations (BWV 988; BWV 1087): Some Aspects." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 120–40. http://dx.doi.org/10.26156/om.2020.12.5.008.
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В статье сопоставлены две группы канонов И. С. Баха из Гольдберг-вариаций (BWV 988 и BWV 1087): собственно каноны-вариации и 14 зашифрованных бесконечных канонов на восемь начальных басовых нот Арии — темы вариационного цикла. Объектом сравнения выступила гармония как один из основных общескрепляющих элементов вариационного цикла. Опора вариаций на сохраняемую гармонию требует специфических решений при построении канонов: об интервалах, направлении и времени вступления, об их сорасположении, о прямом и инверсионном движении, наконец, о точности воспроизведения басовой мелодии, в том числе о фигурировании и о взаимодействии баса с прочими голосами. Предписанные темой гармонические вертикали влияют на способ развертывания горизонталей и на состав опорных тонов их мелодии; изменение гармонии происходит как следствие и имитационного движения верхних голосов, и изменений баса, и в результате использования минорной тональности. В 14 канонах начальные басовые звуки Арии повторяются без фигурационного варьирования, притом чаще всего в одном или нескольких нижних голосах. В этом видится основание к более точному воспроизведению тематической гармонии практически во всех канонах с их разнообразными видами и соответственно имитационно-контрапунктическими приемами. Взаимозависимость горизонтали (баса / cantus firmus и голосов имитации) и вертикали, формирующейся при построении канона, — основа корреляции канонообразующих и контрапунктирующих голосов с гармонией темы. The article gives a comparison of the two groups of canon-variations from the J. S. Bach’s cycle Aria with 30 Variations (Goldberg Variations, BWV 988) and Diverse Canons on the first eight Foundation Notes of the preceding Aria (BWV 1087). The latter is 14 canons in the abbreviated notation using the ground bass line from the subject of Goldberg Variations in so called Handexemplar (Christoph Wolff), where they (the canons) were included by Bach himself. Perpetual canons comprising the group of 14 vary in thematic material, number of parts, devices of imitational and contrapuntal treatment. The bass notes of the Aria are used in the canonic parts as well as cantus firmus in free counterpointing part. Moreover, parts of the subject become constitutional elements for almost every part in the canons, and similar, contrary, and retrograde motion creates simple, double and one triple canon. Analysis of the first bars of the canon-variations (on the first eight notes) and the decryptions of the encrypted canons published by Christoph Wolff show the interrelatedness between the horizontal (primarily eight-sound melody / сantus firmus) and various verticals emerging as a result of canonical progression. Comparison of these canons let us clarify the means of intervallic and chordal correlation of the canonic parts: with varying degrees of accuracy thematic harmonic course of the beginning of the Aria is reproduced in both examined groups. Changes in the thematically relevant vertical construction among other reasons are seen as a result of imitative-contrapuntal progression within the variation cycle on the one hand and of interaction between different techniques of contrapuntal writing in the encrypted canons — on the other one.
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Päll, Janika. "Meremotiiv üleva pildikeeles: paari näitega eesti luulest." Baltic Journal of Art History 11 (November 30, 2016): 37. http://dx.doi.org/10.12697/bjah.2016.11.03.
Full textAbstract:
The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion (pathos) in the Sublime. The Renaissance and Early Modern Sublime reveal the continuation of these trends in Burke’s theories and the landscape descriptions of Radcliffe in the Mysteries of Udolpho. In the latter, we also see a quotation from Beattie’s Minstrel, whose motif of a sea-wrecked mariner represents the same type of sublime as Wordsworth’s Peele Castle (which, in its turn, was inspired by a painting by Sir George Beaumont). This sublimity is felt by human beings before mortal danger and nature’s untamed and excessive forces. In German poetry and art such sublimity can be seen in the works of Hölderlin or Caspar David Friedrich. However, 16th and 17th century poetry and painting rarely focused on such sublimity and preferred the more classical harmonia discors, in which ruins or the sea were just a slight accent underlining general harmony.The article continues, focusing on the sea motifs in Estonian art and poetry. In Estonian art (initially created by Baltic Germans), the reflections of the magnificent Sublime in the paintings by August Matthias Hagen can be seen as the influence of Caspar David. In poetry, we see sublime grandeur in the ode called Singer by the first Estonian poet, Kristjan Jaak Peterson, who compared the might of the words of future Estonian poets to stormy torrents during a thunderstorm, in contrast to the Estonian poetry of his day, which he compared to a quiet stream under the moonlight. The grandeur, might and yearning for sublimity is reflected in the prose poem Sea (1905) by Friedebert Tuglas, who belonged to the Young Estonia movement. This movement was more interested in modernity and city life than in romantically dangerous or idyllic landscapes. However, the main trends of Estonian poetry seem to dwell on idyllic landscapes and quietly sparkling seas, as for example, in a poem by Villem Ridala or sea landscape by Konrad Mägi. We also see this type of sublimity at the end of the 20th and beginning of the 21st centuries in the soundscapes of the sea by Ester Mägi or paintings by Aili Vint.After World War II, the influence of the romantic ode genre and sublime can be seen in a translation of Byron’s Stanzas for Music (1815) by Minni Nurme (1950). In Byron’s gentle, sweet and serene picture of a lulled and charmed ocean, the underlying dimension of the divine, and the grandeur and power of the music is not expressed explicitly. Nurme tries to bring the translation into accord with the ode genre, thereby causing a shift from the serene to the grand sublime, by focusing on the depth of water and feelings, the greatness of the ocean, and most of all, the rupture of the soul, which has been the most important factor in the sublime theory of Pseudo-Longinus. Her translation also seems influenced by her era of post-war Soviet Estonia (so that Byron’s allusions to the divine word have been replaced by the might of nature). In the same period, Estonia’s most vivid description of the romantic sublime appears in the choral poem Northern Coast (1958) composed by Gustav Ernesaks, with lyrics by another Estonian poet, Kersti Merilaas.Coastline in a leap, on the spur of attacking; each other tightly the sea and the land here are holding The rocky banks, breast open to winds, are hurling downwards the pebbles and chunks. Its adversary’s waves now grasp for its feet, gnawing and biting into the shores. Stop now! No further from here, neither of you can proceed any more! Full of might is the sea, more powerful is the land.