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Journal articles on the topic 'Choral writing for Samba'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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1

Ryzhinsky, Alexander S. "Karlheinz Stockhausen’s Choral Writing in his Heptalogy Licht." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2020): 84–97. http://dx.doi.org/10.33779/2587-6341.2020.2.084-097.

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Ryzhinskii, Aleksandr. "Characteristics of Choral Writing in György Ligeti’s Late Works." Vestnik of Saint Petersburg University. Arts 8, no. 4 (2018): 578–92. http://dx.doi.org/10.21638/spbu15.2018.403.

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3

Lupu, Anamaria. "The Influence of Luther's View of Music on the Emergence of the Concepts of Musica poetica and Musical Rhetoric." Musicology Papers 35, no. 1 (2020): 41–51. http://dx.doi.org/10.47809/mp.2020.35.01.03.

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La casa di peste drum [At the House across the Road] is, perhaps, Tudor Jarda`s most emblematic choral work, being the first composition of the 10 carols for mixed choir included in the volume Coruri [Choral Works] (1981). Dedicated to Maestro Dorin Pop and the Cappella Transylvanica choir, this work has been part of the ensemble`s repertoire since the publication of the collection, being also found in the repertoire of the most important Cluj and Transylvanian choirs. This paper aims to detail aspects of musical grammar in the choral work La casa di peste drum, highlighting the close connecti

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4

Drew, David. "CHRISTOPHER SHAW (1963)." Tempo 64, no. 252 (2010): 21–24. http://dx.doi.org/10.1017/s0040298210000148.

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This article appeared in the July 1963 issue of Musical Times, whose regular choral music supplement of that month was Christopher Shaw's anthem for chorus and organ A Lesson from Ecclesiastes. It was the first writing of substance to appear about this composer, and very nearly the last to date.

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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 im

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Savelieva, Hanna. "“LUX AURUMQUE” BY ERIC WHITACRE IN TERMS OF COMPARATIVE ANALYSIS OF PERFORMANCE INTERPRETATION." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 143–57. http://dx.doi.org/10.34064/khnum1-58.09.

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The purpose of the article is to study the creative aspects of the performance interpretation of the choral work “Lux Aurumque” by the modern American composer E. Whitacre in the perspective of comparative analysis of performance versions. The research methodology includes classical musicological methods – analytical, interpretive and comparative methods. The concept of the article was created in the process of developing the ideas of I. Polusmyak and K. Timofeyeva. The scientific novelty is based on the fact of virtualization of choral singing that has not become the subject of a separate sci

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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 wor

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8

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 (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 per

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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari

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Romenskaya, Lyudmila, Aleksandr Golovin, Sergey Kurganskiy, and Olga Bezuglova. "Spiritual Concert “Glory Be to This Day” of S. A. Degtyarev: Compositional and Stylistic Features of Choral Writing." Journal of History Culture and Art Research 7, no. 4 (2018): 387. http://dx.doi.org/10.7596/taksad.v7i4.1861.

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11

ZALIYEVA, Leyla. "THE DRAMATURGİCAL ROLE OF CHORAL SCENES İN VASİF ADİGOZALOV’S OPERA “DEAD”." IEDSR Association 6, no. 12 (2021): 57–67. http://dx.doi.org/10.46872/pj.268.

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Vasif Adigozalov was one of the artists who attracted attention during the brilliant development of the Azerbaijani composition school in the 70 s of the XX century. Born in Karabakh, a fascinating sorner of Azerbaijan, in the family of the famous and talented singer Zulfu Adigozalov’s works reflected the priceless pages of the national music culture. The story-based opera “The Dead”, which entered the history of literature as a comedy, is also regarded as the first comedy opera in our music history. However, every Azerbaijani who knows the work realizes what a great tragedy is actually happen

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Smirnova, Tetyana. "THE SPECIFICITY OF STUDENTS’ CREATIVE SELF-EXPRESSION IN THE PROCESS OF CONDUCTOR-CHORAL EDUCATION." 1 1, no. 1 (2020): 10–16. http://dx.doi.org/10.34142/27091805.2020.1.01.02.

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Object. The article considers the issues of the future singers` and choral conductors` creative self-expression in the process of conductor-choral education. Methods. Analytical, historical-comparative, retrospective method was used in writing the article. Results. As a result of the analysis and generalization of scientific psychological-pedagogical and art-literary literature, comparison, comparison of different opinions the definition of the concept «creative self-expression of students» is presents. It means a conscious act of discovering and affirming the individual, personal and subjecti

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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 (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

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Palmer, Peter. "Fritz Brun: a Swiss Symphonist." Tempo, no. 195 (January 1996): 14–18. http://dx.doi.org/10.1017/s0040298200004721.

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Ferruccio Busoni, who saw out the First World War from the neutral haven of Switzerland, maintained that the best Swiss symphony was Rossini's William Tell overture. Not that the country was completely lacking in resident composers of symphonic music during the Classical and Romantic eras. There was, for example, Gaspard Fritz (d.1783), whom Dr Bumey met in Geneva. There was Xaver Schnyder von Wartensee (d.1868), whose works include an amiable ‘Military’ Symphony. But the dominant force in the 19th century was the composer, publisher and pedagogue Hans Georg Nägeli, whose primary achievement w

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15

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 (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.

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16

Yastrub, Olena. "Musical and educational activities of Mykola Lysenko as a phenomenon of self-identification of the national culture." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 92–104. http://dx.doi.org/10.34064/khnum1-55.07.

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Formulation of the problem. In the globalized time-space of the 21st century, the musical heritage left by M.V. Lysenko motivates to comprehend at a new level the phenomenon of the creative universalism of the artist, the multiple manifestations of his musical-social, educational, ethnographic and composing activities. Given the importance of the choral singing for nurturing the national consciousness of young musicians, the role of M. Lysenko’s opera heritage for children and adolescents should be noted. The choice of the theme was actualized by the iconic premiere of M. Lysenko’s children’s

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17

O’Connor, Alison. "Coming home to the arts: theatre with military veterans and families." Journal of Public Mental Health 16, no. 1 (2017): 12–14. http://dx.doi.org/10.1108/jpmh-03-2016-0015.

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Purpose A significant number of military veterans and family members are living with post-traumatic stress, unmet mental health needs and isolation. There is growing interest in the potential of theatre and the expressive arts as a positive intervention with this population. The purpose of this paper is to introduce the Coming Home programme which aims to create opportunities for military veterans and families to develop an ongoing engagement with the arts and through that engagement to access new ways of regulating and expressing complex emotions. Design/methodology/approach This case study s

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18

Nedelcuţ, Nelida, and Lucian Ghişa. "Interpretative and Compositional Connotations from a Musicological Perspective." Artes. Journal of Musicology 18, no. 1 (2018): 136–50. http://dx.doi.org/10.2478/ajm-2018-0008.

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Abstract Musicology, viewed as a general science regarding all the defining elements of music, can approach compositions using hermeneutical methods, both through a critical view on the interpretation, the stage performance of the creative act, and through the subsequent musicological writings, becoming a “meta-interpretation” that requires a thorough exegesis. The couplet hermeneutics-interpretation together with that of compositional concept versus stage production are the ones underlying our research, while hermeneutics is the very art of performing that penetrates the most cryptic elements

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19

Vasic, Aleksandar. "Problem of the ′national style′ in the writing of Miloje Milojevic." Muzikologija, no. 7 (2007): 231–44. http://dx.doi.org/10.2298/muz0707231v.

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Dr. Miloje Milojevic (1884-1946) was a central figure in Serbian music criticism and academic essays between the World Wars. A large part of his writings on music were dedicated to the issue of the Serbian ?national music style?, its means of expression, and the question of modernity, i. e. to what extent modernity is desirable in the ?national style?. This paper analyzes some twenty articles - reviews, essays, and writings for special occasions - published by Milojevic between 1912 and 1942 in various Serbian newspapers magazines and collections: Srpski knjizevni glasnik (The Serbian Literary

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20

Wright, David. "Robert Saxton in the 1990s." Tempo, no. 215 (January 2001): 2–6. http://dx.doi.org/10.1017/s0040298200008184.

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The recent NMC recording of chamber music by Robert Saxton has broadened our knowledge of his oeuvre, complementing the perspective on his music that had been opened up by recordings of his orchestral works and the opera Caritas in the early 1990s. Certainly, the period 1990 to his fortieth birthday in 1993 represented a highpoint in terms of public recognition, but in recent years much of Saxton's composition has been in the more private sphere of chamber or solo music, or in the less prominent medium of choral writing, and it has received less sustained attention than its quality deserves. B

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21

Knyt, Erinn. "“A History of Man and His Desire”: Ferruccio Busoni and Faust." 19th-Century Music 41, no. 2 (2017): 151–79. http://dx.doi.org/10.1525/ncm.2017.41.2.151.

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Relying on knowledge of Karl Engel's edition of the Volksschauspiel, Karl Simrock's version of the puppet play, Gotthold Lessing's Faust fragments, and versions of the Faust legend by Christopher Marlowe and Johann Wolfgang von Goethe, among others, Ferruccio Busoni crafted his own hybrid libretto that depicts a mystical and broadminded Faust. Busoni's music reflects the richness of Faust's mind, combining heterogeneous timbres, forms, and styles. Busoni juxtaposes a Gregorian Credo, Palestrina-style choral settings, a reformation hymn, a Baroque instrumental dance suite, an organ fantasia, re

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22

Roseveare, Chris. "Editorial Volume 16 Issue 4." Acute Medicine Journal 16, no. 4 (2017): 155. http://dx.doi.org/10.52964/amja.0676.

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My time has come. After 15 years and over 50 editions it is time for me to hang up my metaphorical red biro, and hand over the role of Editor. It has been an interesting job, and I am extremely grateful to everyone who has contributed and supported the journal over this period. When I took on the position in 2002, this journal was very different to how it is today. Some readers may recall its original incarnation as the CPD journal of Internal Medicine, part of a series of publications produced at that time by Rila. Initially this was comprised predominantly of commissioned review articles, ru

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23

Marangoni, Kristen. "Beckett's Watt and Monastic Tradition." Journal of Beckett Studies 25, no. 1 (2016): 96–109. http://dx.doi.org/10.3366/jobs.2016.0158.

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The enigmatic setting of Beckett's novel Watt has been compared to places as diverse as an insane asylum, a boarding school, a womb, and a concentration camp. Watt's experience at Knott's house does seem suggestive of all of these, and yet it may more readily conform to the setting of a monastery. The novel is filled with chants, meditations, choral arrangements, hierarchical classifications, and even silence, all highly evocative of a monastic lifestyle. Some of Watt's dialogue (such as his requests for forgiveness or reflections on the nature of mankind) further echoes various Catholic litur

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24

Burel, O. V. "About compositions for piano and orchestra by Ch.-M. Widor. Background." Aspects of Historical Musicology 13, no. 13 (2018): 45–60. http://dx.doi.org/10.34064/khnum2-13.04.

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Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this st

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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, № 56 (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 musi

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Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.

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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff

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Zhu, Fengdaijiao. "Zhu Jian’er’s life creativity: the historiography of the composer’s personality." Aspects of Historical Musicology 18, no. 18 (2019): 190–212. http://dx.doi.org/10.34064/khnum2-18.11.

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Background. The article is devoted to the study of the personality of the outstanding Chinese composer Zhu Jian’er (1922–2017) – the leading figure of the national musical art of the twentieth century. It is proved that the presented problematic makes it possible to most deeply and accurately explore the musical heritage of the artist. In order to better understand the meaning of the composer’s creations, it is necessary to consider his environment, the stages of creative formation, the characteristics of character and personal qualities, his civic position and the characteristics of his world

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Yeromenko, Andrii, and Nataliya Yeromenko. "CREATIVE PATH OF THE OUTSTANDING ARTIST ANATOLIY HAIDENKO." Aspects of Historical Musicology 22, no. 22 (2021): 101–20. http://dx.doi.org/10.34064/khnum2-22.06.

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Anatoliy Haidenko’s creative path lasts for about sixty years, during which this outstanding musician has been working fruitfully as a composer, performer, teacher, scientist, methodologist, music and public figure. The versatility of his personality, the diversity of talents, the relentless search for new ideas or means of expression, interest in a wide range of current issues of today are fully manifested in each of these areas. The desire to keep up, not to miss any opportunity to do something for people and at the same time to find time to «create» music in the silence of the cabinet led t

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29

Zaverukha, O. L. "Choral Writing Components: the System of Interaction of Music Composition." Culture of Ukraine, no. 65 (September 25, 2019). http://dx.doi.org/10.31516/2410-5325.065.17.

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Jansson, Dag, Beate Elstad, and Erik Døving. "Choral conducting competences: Perceptions and priorities." Research Studies in Music Education, June 29, 2019, 1321103X1984319. http://dx.doi.org/10.1177/1321103x19843191.

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Choral conducting is a complex and multi-faceted leader role. Leading music is a particular kind of leadership through the prominence of gestural communication, and it is a ubiquitous phenomenon across a variety of social settings, musical genres, and ensemble types. Despite the variety, colloquial writing as well as academic research implicitly assumes that there is a common underlying competence base. Most research on conducting looks at a particular aspect, such as gestures, error correction, or rehearsing approach. What is largely wanting, is an overall view of how the competence elements

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Zaverukha, O. L. "The Author’s Concept of V. Silvestov’s “Liturgical Chants”: the Interplay of Ideological Principles and the Contemporary Choral Writing." Culture of Ukraine, no. 61 (May 28, 2018). http://dx.doi.org/10.31516/2410-5325.061.010.

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32

Fanning, David, and Michelle Assay. "Nielsen, Shakespeare and the Flute Concerto: From Character to Archetype." Carl Nielsen Studies 6 (October 2, 2020). http://dx.doi.org/10.7146/cns.v6i0.122251.

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In June 1916 Nielsen supplied incidental music for the tercentenary Shakespeare celebrations in Hamlet’s castle of Kronborg, Helsingør (Elsinore). The three choruses and two songs he composed constitute one of his least-known works. But they had a legacy, and not only in the final choral number, which, to other words, subsequently became a candidate for Danish national anthem. Shortly after the event, Nielsen confided that he found Ariel and Caliban (for each of whom he had composed a sharply characterful song) so fascinating that he was considering writing an instrumental work based on their

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Guralna, Svitlana. "Reflection of the Problems of Ukrainian Church Singing in the Source Materials of Galicia at the End of the XIX – early XX Century." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2018, 37–47. http://dx.doi.org/10.33398/2310-0583.2018.4243.37.47.

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As a result of the awareness of the important role of spiritual and cultural phenomena in the development of Ukrainian culture, modern society has a particular interest in the historical context of the formation of sacred art. Therefore, the process of research of church singing based on reliable information, fixed in Galician periodicals since the appearance of the first publications on this topic and before the Second World War, became the basis of the writing of the article. The choice of methodological principles is conditioned by the specifics of the research carried out, in particular, t

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Chapman, Owen. "The Affect of Selection in Digital Sound Art." M/C Journal 8, no. 3 (2005). http://dx.doi.org/10.5204/mcj.2357.

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   A variety of digital technologies exist that can transform sound waves into binary code. Any sound can be ‘sampled’ in this way: drum beats, field recordings, even full-length instrumental or vocal tracks. Copies are then ready to be duplicated, cut, spliced, pitch-shifted, equalised, turned backwards, and/or passed through a myriad of different effects processors before being sequenced and layered into a final stereo mix.   Once obtained, this mix is itself eminently copy-able without loss in audio quality. Moreover, affordable digital reproduction media aboun

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McCosker, Anthony, and Rowan Wilken. "Café Space, Communication, Creativity, and Materialism." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.459.

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IntroductionCoffee, as a stimulant, and the spaces in which it is has been consumed, have long played a vital role in fostering communication, creativity, and sociality. This article explores the interrelationship of café space, communication, creativity, and materialism. In developing these themes, this article is structured in two parts. The first looks back to the coffee houses of the seventeenth and eighteenth centuries to give a historical context to the contemporary role of the café as a key site of creativity through its facilitation of social interaction, communication and information

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Brennan, Claire. "Australia's Northern Safari." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1285.

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IntroductionFilmed during a 1955 family trip from Perth to the Gulf of Carpentaria, Keith Adams’s Northern Safari showed to packed houses across Australia, and in some overseas locations, across three decades. Essentially a home movie, initially accompanied by live commentary and subsequently by a homemade sound track, it tapped into audiences’ sense of Australia’s north as a place of adventure. In the film Adams interacts with the animals of northern Australia (often by killing them), and while by 1971 the violence apparent in the film was attracting criticism in letters to newspapers, the fi

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