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Journal articles on the topic 'Choral writing'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

Dan, Liu. "Modern choral art as an artistic system (historical and stylistic dynamics and structural concepts)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 73, no. 73 (2024): 137–50. https://doi.org/10.34064/khnum1-73.08.

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Statement of the problem. The issue of studying the systemic principles of choral art is stipulated by the existing tendency to “merge” choral concert and educational practice with academic science, which studies choral performance in unity with the composer’s experience in this field of creativity. In the scientific discourse, there is a constant renewal of the concepts of choral creativity, through the actualization of the latest techniques of choral writing, the style of thinking of artists. Hence, a synthesis of history, methodology and pragmatics of modern choral studies is necessary. Obj

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2

Koshkareva, Natalya Vladimirovna. "Polyphony in Vadim Salmanov's a cappella choral work." PHILHARMONICA. International Music Journal, no. 6 (June 2023): 1–9. http://dx.doi.org/10.7256/2453-613x.2023.6.69481.

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The author examines in detail the revival of ancient choral genres and forms that corresponded to the aesthetic trend in the Russian musical culture of the second half of the twentieth century. The subject of the study is the stylistic features of Vadim Salmanov's polyphonic writing. The object of the research is the choral heritage of V. Salmanov's a cappella from the point of view of integrating new compositional techniques and polyphony. Special attention is paid to polyphonic techniques in the concert for the a cappella choir "Lebedushka". The author examines in detail the dramaturgy and a

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3

Koshkareva, Natalya Vladimirovna. "Compositions for a cappella choir by S. Balasanyan: features of polyphonic writing." Человек и культура, no. 6 (June 2024): 224–37. https://doi.org/10.25136/2409-8744.2024.6.72500.

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The subject of the study is polyphony, considered as a way of organizing polyphony in compositions for unaccompanied choir by the outstanding Russian composer S. Balasanyan. The purpose of this article is to study the stylistic features of polyphony in compositions for a cappella choir by S. Balasanyan. The object of the research is the few completed opuses of S. Balasanyan's choral heritage: "Symphony for Unaccompanied Mixed Choir" (1968), "Polyphonic Triptych on themes of Armenian folk songs" (1971), "Polyphonic Concerto for a cappella Choir" (1980). The author examines in detail such aspect

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4

Koshkareva, Natalya Vladimirovna. ""Veni Sancte Spiritus" by Alexander Vustin: on the problem of updating the technique of writing on cantus firmus in modern choral composition." Философия и культура, no. 4 (April 2022): 41–49. http://dx.doi.org/10.7256/2454-0757.2022.4.37791.

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The purpose of this article is to identify a close, "polyphonic" connection, consolidation of ancient forms and techniques of compositional writing of the twentieth century. The subject of the study is the choral creativity of Alexander Vustin. The object of the study is the consideration of polyphonic works of techniques in A. Vustin's composition "Veni Sancte Spiritus". The musical language of A. Vustin is characterized by extreme restraint, depth, semantic concentration. The appeal to ancient polyphonic genres, forms and techniques of writing in A. Vustin's choral compositions is characteri

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Vojvodic-Nikolic, Dina. "Petаr Bingulac's music criticism in Misao magazine: Evaluations of Serbian choral music and its performers". Muzikologija, № 34 (2023): 149–66. http://dx.doi.org/10.2298/muz2334149v.

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This article is devoted to Petar Bingulac?s critiques of choral music published in the magazine Misao - a total of twenty-four reviews, most of which are on cho?ral music and its performers. I discuss Bingulac?s selected reviews from the point of view of critical-analytical interpretation. One of the goals is to determine the author?s dominant method when writing reviews and to assess his role in Serbian music criticism, taking into account the context in which the selected writings were created. I also compare his reviews of choral music performances with the views of other prominent critics.

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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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7

Symeonova, Yuliia. "Vocal and Choral Analysis of the Arrangement of Ukrainian Folk Songs and Choral Miniatures in the Context of Writing an Annotation for a Choral Work." Bulletin of KNUKiM. Series in Arts, no. 47 (December 26, 2022): 74–79. https://doi.org/10.31866/2410-1176.47.2022.269569.

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The purpose of the research is to highlight the leading determinants of the vocal and choral analysis of the arrangement of the Ukrainian folk song and choral miniature; to determine for applicants for higher education the peculiarities of writing the section “Vocal and choral analysis”, in particular annotations for a choral work, for the arrangement of a folk song or an author’s work in the style of a folk song. This section is the most professional in the work, requiring students not only to describe and factualize but also to comprehend the artistic intentions of the

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8

Mamedova, Leila. "Concerto for Choir in Memory of Kara Karaiev." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 1, no. 2 (2018): 53–68. https://doi.org/10.31866/2616-7581.2.2018.153378.

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The purpose of the study is to identify the characteristics of choral writing Faik Nagiiev on example of the bright and original composition "Concerto for choir in memory of K. Karaiev”. This large-scale, in three parts, piece for choir <em>a cappella</em> choir was for the first time the subject of serious scientific studies.  The various research methods were used, as follows empirical to identify innovative sonorous techniques in musical material and theoretical for in-depth analysis of national peculiarities of Azerbaijan composers’ school in its tradit

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Ryzhinsky, Alexander S. "Choral Writing in Iannis Xenakis’ Late Compositions." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 47–61. http://dx.doi.org/10.56620/2782-3598.2023.1.047-061.

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The article is devoted to the peculiarities of choral writing in the compositions of the outstanding representative of the postwar avant-garde Iannis Xenakis (1922–2001) created during his final creative decade. Examination is made of the questions of the correlation between the music and the words, the use of techniques of “phonemic composition” (Konstantin Floros) in the composer’s works Nekuia, Serment-Orkos, Knephas, Pour la paix, and Sea Nymphs. Special attention is given to a unique case of encoding of Arthur Rimbaud’s literary text in Xenakis’ composition Pu wijnuej we fyp. The vocal-or

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Shvetsova, Lyudmila Nikolaevna. "PECULIARITIES OF DARYA KORKINA’S CHORAL WRITING ON THE EXAMPLE OF «POTPOURRI ON THE THEMES OF THE SONGS OF THE BURYAT COMPOSERS»." Вестник Восточно-Сибирского государственного института культуры 160 (October 17, 2023): 80–90. http://dx.doi.org/10.31443/2541-8874-2023-2-26-80-90.

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The article considers some features of the style and peculiarities of the choral writing of the Buryat composer D. Korkina on the basis of the analysis of the choral score «Potpourri on the themes of the Buryat songs» refracted through the prism of the author’s personal performing experience.

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Zhaulshakova, S. "CHORAL CREATIVITY OF S. MUKHAMEDZHANOV." Scientific heritage, no. 101 (November 21, 2022): 4–6. https://doi.org/10.5281/zenodo.7340700.

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Sydyk Mukhamedzhanov one of the most talented and great composers of music pieces, he is link between composers of the senior generation of the 60th years. In this article important problems of chorus creativity of S. Mukhamedzha-nov are discussed.

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Koshkareva, Natalya Vladimirovna. "Thirteen Five-Voice Madrigals "From Omar Khayyam's Rubayat" by Sergey Ekimov: on the Problem of the Modern Method of Analysis of Polyphonic Cycles for a cappella Choir." Философия и культура, no. 2 (February 2023): 27–36. http://dx.doi.org/10.7256/2454-0757.2023.2.39817.

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The purpose of this article is to identify the parameters of cyclization, as well as techniques for updating the ancient form and technique of polyphonic writing by modern musical means in a cappella choral music. The subject of the study is the choral creativity of Sergei Ekimov. The object of the research is the study of the architectonics of the cyclic form and the consideration of polyphonic techniques in thirteen five-voice madrigals "From the Rubayat of Omar Khayyam" by S. Ekimov. The musical language of the St. Petersburg master is saturated with semantic concentration, differs in the e

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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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Koshkareva, Natalya Vladimirovna. "Polyphony in D. Shostakovich's a cappella choral work." Культура и искусство, no. 7 (July 2024): 1–12. http://dx.doi.org/10.7256/2454-0625.2024.7.71072.

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The purpose of this article is to identify the role of polyphony in choral a cappella music of Russian compositional writing of the twentieth century. The subject of the study is the a cappella choral work of Dmitry Shostakovich. The object of the research is to consider the polyphonic techniques in the works "Ten poems of revolutionary poets", "Two treatments of Russian folk songs for unaccompanied choir", "Fidelity". The author examines in detail the polyphonic means in the choral heritage of the great Russian composer. Special attention is paid to polyphonic methods in a cappella choral wor

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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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Ryzhinsky, Alexander S. "Utrenya by Krzysztof Penderecki: Concerning the Question of the Influence of the Musical Traditions of Orthodox Christianity." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 71–82. http://dx.doi.org/10.33779/2782-3598.2022.1.071-082.

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The object of research in article is Krzysztof Penderecki’s large-scale work Utrenya composed in 1970–1971 after the composer’s visit to The Trinity Lavra of St. Sergius. The author analyzes the textual basis of the composition, explaining the principles of selection of the verbal texts, and describes the relationships between individual techniques of the position of the words to the music with the tendencies in the development of choral music in the 1950s and 1960s. Analysis of textural and timbre features of the composition reveals three main sources of the technical compositional solutions:

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Shapovalova, Liudmyla, and Liu Dan. "Choral Bachiana as a current strategy of Ukrainian art (interpretive commentary)." Aspects of Historical Musicology 38, no. 38 (2025): 331–48. https://doi.org/10.34064/khnum2-38.15.

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Statement of the problem. Choral “Bachiana” is one of the relevant areas of functioning of musical culture of the 21st century for many reasons. One of them is the flourishing of the tendency towards the performance restoration of Baroque music in the artistic practice of Western Europe; the second is especially relevant for its Ukrainian “branch” – the absence of national and confessional boundaries in Bach’s choral works, their spiritual greatness. Finally, the highest level of Bach’s polyphonic technique, which requires significant performance efforts, provides an excellent opportunity for

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ZHOU, ZHOU. "Wang Chao's "Journey": towards the problem of the "Ecological" trend in the contemporary choral work of Chinese composers." Культура и искусство, no. 10 (October 2024): 136–47. http://dx.doi.org/10.7256/2454-0625.2024.10.72097.

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The subject of this study is the "ecological direction" as one of the most relevant in modern choral music by Chinese composers. The object of the study is to consider the stylistic features of the work "Journey" by Wang Chao. The purpose of this article is to study current trends in the development of choral creativity of Chinese composers. The author examines in detail such aspects of the topic as the "ecological" trend in the music of Chinese composers and the stylistic features of Wang Chao's choral writing. Special attention is paid to the a cappella choir as the most natural "ecological"

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Koshkareva, Natalya Vladimirovna. "Choral polyphony in M. Mussorgsky 's operas." Человек и культура, no. 4 (April 2022): 1–11. http://dx.doi.org/10.25136/2409-8744.2022.4.38588.

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The purpose of this article is to study polyphonic techniques in the opera choirs of M. Mussorgsky. The question is raised about the identity of M. Mussorgsky's polyphonic thinking from the point of view of the free refraction of the forms and techniques of writing Western European polyphony in it. The subject of the study are choirs from the operas "Boris Godunov" and "Khovanshchina". Through the synthesis of research methods, including musicology and choral studies, the specific features of M. Mussorgsky's polyphony are revealed. Attention is drawn to the fact that polyphony in M. Mussorgsky

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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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Mihalas, Mihai. "Means of expressivity in Petru Serban’s choral miniature ”Codrule, codrutule”." Akademos, no. 3(62) (January 2022): 127–31. http://dx.doi.org/10.52673/18570461.21.3-62.16.

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The article is dedicated to the structural-compositional analysis of the choral miniature Codrule, codrutule signed by the composer Petru Serban from the Republic of Moldova, written in the second half of the 20th century, from the perspective of a conductive interpretive approach. The piece stands out through a compositional language of a particular expressiveness. It represents a choral writing in which the homophone-harmonic exposition predominates providing a series of original opportunities for interpretive-conducting approach. The author comes with a series of recommendations in this reg

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Bielik-Zolotariova, Nataliia. "Unknown pages of Ihor Shamo’s choral work." Aspects of Historical Musicology 38, no. 38 (2025): 276–90. https://doi.org/10.34064/khnum2-38.12.

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Statement of the problem. On February 21, 2025, the artistic community of Ukraine celebrated the 100th anniversary of the birth of the outstanding Ukrainian composer Ihor Naumovich Shamo (1925–1982). The artist’s legacy is significant in volume and diverse in genres: symphonies, opera, cantatas, oratorioconcert, choral, vocal and piano cycles, film music and over 300 songs, among them the visiting card of the capital of the Ukrainian state – “Kyiv Waltz”. Ihor Shamo’s choral legacy includes the only cycle for male a cappella ensemble –“The Harvest Triptych”, which has survived in manuscript an

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Suarez, Elizabeth Susan V. "Why Do I Do What I Do? and For What and For Whom?: An Autoethnography of a Music Educator-Adult Learner." Philippine Social Science Journal 5, no. 3 (2022): 21–32. http://dx.doi.org/10.52006/main.v5i3.509.

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This autoethnography investigates my role as a music educator -adult learner within the context of choral pedagogy. To answer my questions, I drew from my childhood experiences and discovered that "modelling behavior” is an exemplary pedagogical tool for expedited but efficient choral rehearsal. This led to the development of the Guided Partnered Model (GPM), which has shaped the learners, choir members, and my music appreciation, developing self-esteem, self-worth, and musicianship. The ethnography method was used for data collection, and writing was assembled through hindsight. Furthermore,

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Ryzhinsky, Alexander S. "British Choral Music at the Turn of the 19th and 20th Centuries: the Phenomenon of the English Musical Renaissance." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 53–67. http://dx.doi.org/10.56620/2782-3598.2023.2.053-067.

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The article is devoted to the phenomenon of the English musical renaissance, little studied in Russian musicology — a movement under which presently the formation of the British national compositional school of the turn of the 19th and 20th centuries is comprehended. The author turns to the musical heritage of the leading composers of that period — Alexander MacKenzie, Hubert Parry, Charles Stanford and Sir Edward Elgar — with the aim of demonstrating the sources of the English musical renaissance and determining, what significance was exerted by the choral heritage by its main representatives

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Gao, Chiling. "Genre context of Ihor Shamo’s choral creativity." Culture of Ukraine, no. 75 (March 21, 2022): 109–14. http://dx.doi.org/10.31516/2410-5325.075.14.

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The purpose of this paper. The purpose of the study involves a thorough study on the genre system of choral heritage I. Shamo, as understanding the genre essence of choral work is an essential component of performing interpretation. The methodology. Methodological principles are the principle of historicism, historical-contextual method, genre-style analysis and acmeological method in musicology, used to understand the top achievements of I. Shamo in the context of the evolution of artistic thinking of the artist. The results. The genre system of I. Shamo’s choral heritage consists

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Okuneva, Ekaterina G., and Olga V. Shmakova. "Martin Romberg’s Choral Music: Stylistic Features." Russian Musicology, no. 3 (2024): 82–100. http://dx.doi.org/10.56620/rm.2024.3.082-100.

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Contemporary choral music from Scandinavia increasingly attracts the attention of performing groups both abroad and in Russia due to its deep originality and distinctiveness. The article examines the choral work of the contemporary Norwegian composer Martin Romberg, whose work is characterised by Neo-Romantic poetics and style. Three of his choral cycles are subjected to detailed analysis: Aradia (2012), Rúnatal (2012), and Requiem of Runes (2022). The themes of the works reflect the Norwegian composer’s interest in mysticism and mythology, as well as in archetypal motifs and plots. The relati

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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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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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Ryzhinsky, Alexander S. "Timbral Innovations in Heinz Holliger’s Choral Music: from Dona nobis pacem to Die Jahreszeiten." Problemy Muzykal'noj Nauki / Music Scholarship, no. 3 (2022): 45–58. http://dx.doi.org/10.56620/2782-3598.2022.3.045-058.

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The article is devoted to the three most famous works for chorus by contemporary Swiss composer Heinz Holliger (b. 1939) composed during the course of ten years – from 1969 to 1979. Departing from the field of experiments in the field of vocal articulation of the representatives of the post-war avant-garde, Holliger was able to enrich to a considerable degree the timbral element of vocal composition with new performance techniques. The latter include singing through inhalation, singing with emptied lungs, voiced exhalation, etc. The systematization of Holliger’s timbral techniques presented by

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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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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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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/khnum1-49.13.

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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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Ryzhinsky, Alexander S. "Major Trends in the Development of Choral Music by the Western European Avant-Garde of the 1960s." Problemy Muzykal'noj Nauki / Music Scholarship, no. 4 (2022): 38–52. http://dx.doi.org/10.56620/2782-3598.2022.4.038-052.

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The article contains information on the main directions of the development of choral music of Western European avant-garde composers of the 1960s. The turning of attention to choral music of that particular decade is due to the considerable number of innovations that received dissemination in the musical compositions of Karlheinz Stokhausen, Luigi Nono, Mauricio Kagel, György Ligeti and a number of other composers associated with the Summer Courses of New Music in Darmstadt. Among these innovations are: phoneme composition, micropolyphony, stereophonic effects achieved by timbre modulation, by

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Окунева, Е. Г., and Д. С. Сажина. "COMPOSITIONAL TECHNIQUE AS A SYMBOL: THE IMPORTANCE OF THE SERIAL METHOD AND CHORAL TEXTURE IN THE ARTISTIC CONCEPT OF “TEMPUS DESTRUCENDI – TEMPUS AEDIFICANDI” BY LUIGI DALLAPICCOLA." Music Journal of Northern Europe, no. 4(28) (April 8, 2024): 1–20. http://dx.doi.org/10.61908/2413-0486.2021.28.4.1-20.

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Статья посвящена анализу хорового сочинения Луиджи Даллапикколы «Tempus destruendi – Tempus aedificandi», принадлежащего позднему периоду творчества композитора. Авторы изучают особенности серийной техники данного опуса, специфику его хоровой фактуры в опоре на центральную концепцию произведения, определяемую идеей образных оппозиций – разрушения (распада) и восстановления (интеграции). Последняя находит воплощение в различных аспектах композиции: в использовании структуры диптиха, обращении к полисерийности, в видах серийных рядов и способах их изложения, в типах хоровой фактуры и принципах е

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Savchenko, Hanna. "The Concept of "Orchestral Writing" in Scientific Discourse." Bulletin of KNUKiM. Series in Arts, no. 50 (June 27, 2024): 74–81. https://doi.org/10.31866/2410-1176.50.2024.306796.

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<strong>The aim of the article</strong> is to determine the essence and specificity of orchestral writing; formulate a definition of the term “orchestral writing”. <strong>Results.</strong> Research approaches in the study of choral writing and ensemble writing, which have developed in modern musicology, are analysed. The main provisions of R. Barth’s concept of writing are briefly considered. The aspects of understanding writing that can be productive when studying the commonly used, but not developed in musicology, concept of “orchestral writing” are o

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Shanklin, Nancy. "New Puzzles/Next Moves: Exploring Poetry: How Does a Middle School Teacher Begin?" Voices from the Middle 16, no. 3 (2009): 46–47. http://dx.doi.org/10.58680/vm20097007.

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Shanklin comments on several excellent reasons for using poetry throughout the school year, citing its accessibility, the community of choral reading, the practice in making deep inferences, and its role as a natural segue to writing. She also advises pretesting students to determine their current knowledge, becoming familiar with state and district standards and related exam questions, and encouraging performance of poetry.

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Ryzhinsky, Alexander S. "Luigi Nono’s Works from the Late 1950s: The Emergence of a New Choral Style." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 148–65. http://dx.doi.org/10.56620/2782-3598.2024.2.148-165.

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At the center of attention in the article are Luigi Nono’s choral works from the late 1950s. On the example of analysis of two compositions created consecutively one after the other — La terra e la compagna (The Earth and the Female Friend, 1957) and Cori di Didone (Choruses of Dido, 1958), — the composer demonstrates innovative techniques expanding the arsenal of technical means and testifying of the intensity of the development of his personal choral style within the indicated period of time, and also manifests the tendencies characteristic for the choral texture of the subsequent years. Spe

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Dyatlov, Dmitry A. "”Musical theater” by Mark Levyant." Sphere of culture 2, no. 4 (2021): 89–101. http://dx.doi.org/10.48164/2713-301x_2021_6_89.

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The article is devoted to the work of Samara composer Mark Levyant. The musician celebrates his anniversary in 2021. In the composers extensive creative background of writing there is a variety of genres including classical music. Brief analytical overview presents composers chamber, choral, vocal and symphonic works. They are all considered in the music paradigm of drama theatre. Each of them reflects some interaction with the composers theatre music.

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Koshkareva, N. V. "THE RUSSIAN THEME IN THE POLYPHONIC SPACE OF R. SHCHEDRIN'S A'CAPPELLA CHORAL WORKS (on the 90th anniversary of the composer's birth)." Arts education and science 4, no. 33 (2022): 172–80. http://dx.doi.org/10.36871/hon.202204172.

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The name of Rodion Shchedrin is widely known all over the world. With his work, he has made a significant contribution to the treasury of world music. R. Shchedrin knows how to be different, he speaks to the listener in a modern language, preserving his individual handwriting and style, while not ignoring the techniques of composition within various stylistic directions. In each essay, R. Shchedrin touches on a new topic, giving it an original form of expression. The object of the analysis in this article is his choral creativity — one of the original pages in the legacy of the master. The aut

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Belyaeva, Antonina. "Religious theme in the cantata-oratorio works of Viktor Ulyanich." St. Tikhons' University Review. Series V. Christian Art 48 (December 30, 2022): 114–25. http://dx.doi.org/10.15382/sturv202248.114-125.

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The work of Viktor Ulyanich is multifaceted and varied. A special place in the composer's work is occupied by cantata-oratorio works. The article is devoted to the religious theme in Viktor Ulyanich's choral works, revealing their figurative and thematic content, genre and stylistic features. Victor Ulyanich in his works refers to the poetic work of Russian classics - A.S. Pushkin, M.I. Lermontov, F.I. Tyutcheva, A.S. Khomyakova, Ya.P. Polonsky, uses folklore and Church Slavonic liturgical texts. In his works, the composer touches on eternal themes, he mainly refers to religious and lyric-phil

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Tereshchenko, V. P. "THE INFLUENCE OF TANEYEV’S STYLISTIC PRINCIPLES ON RUSSIAN CHORAL MUSIC OF THE XXTH CENTURY." Arts education and science 1, no. 2 (2020): 75–80. http://dx.doi.org/10.36871/hon.202002009.

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The article touches upon the unique combination of Taneyev’s stylistic principles, which consists in an organic synthesis of protective and innovative features. Taneyev consciously turns to the polyphony of strictly writing, Baroque music and Viennese classicism in forming his own individual compositional style. The paradox is that Taneyev acted as an innovator who foresaw a vision for the future of music through the prism of the distant past. Stylistic principles such as historicism of thinking, rational approach to creativity and leading role of counterpoint forms became the basis of new tre

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Konkin, Gleb A. "Concerning the Issue of Compositional Technique in Polychoral Works (Based on the Motets by Thomas Tallis and Alessandro Striggio)." Russian Musicology 134, no. 1 (2025): 89–102. https://doi.org/10.56620/rm.2025.1.089-102.

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The article is devoted to the comparative analysis of two significant compositions from the Renaissance era — the motets endowed with forty separate voices: Alessandro Striggio’s Ecce beatam lucem and Thomas Tallis’s Spem in alium. The distinguished principles of counterpoint having been revealed, as well as the different kind of work with the musical material and choral parts refute the widespread thesis that Striggio’s motet could be considered as a model for Tallis’ motet. At the same time, it is possible to observe a common general compositional technique for both of these motets — by mean

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Հովհաննիսյան, Աննա. "Երվանդ Երկանյանի խմբերգերը՝ նվիրված Հայոց Մեծ Եղեռնի 100-ամյա տարելիցին". Հայագիտական ընթերցումներ. Գիտական հոդվածների ժողովածու=Арменоведческие чтения. Сборник научных трудов=Armenological readings. Collection of scientific articles, № 2 (19 грудня 2024): 26–49. https://doi.org/10.52971/3045-3038-2024.2-26.

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Հոդվածը նվիրված է Երվանդ Երկանյանի խմբերգերին: Մեր ուշադրության կենտրոնում է Հայոց ցեղասպանության 100-ամյա տարելիցին նվիրված խմբերգերի առաջին ժողովածուն, որտեղ զետեղված են Ե. Չարենցի, Հ. Սահյանի, Ռ. Դավոյանի, Ա.Իսահակյանի, Մ. Մեծարենցի, Դ. Վարուժանի, Հ. Հովեյանի,Վ. Տերյանի և Ե.Երկանյանի բանաստեղծությունների հիման վրա գրված խմբերգերը: Դիտարկվել են ժողովածուի յուրաքանչյուր խմբերգի երաժշտական արտահայտչամիջոցների` կառուցվածքային, ֆակտուրային, հարմոնիկ լեզվի, երգչախմբային կարևորագույն տարրերի, խմբերգային գրելաոճի, ինչպես նաև բանաստեղծական տեքստի կարևոր բնորոշիչները: Արդյունքում հնարավոր է դարձել Ե.

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Rahayu, Dwi, and Eka Margianti Sagimin. "Reinventing Corrective Feedback Strategies In A Higher Education Academic Writing Synchronous Course." Jurnal Onoma: Pendidikan, Bahasa, dan Sastra 10, no. 2 (2024): 2342–55. http://dx.doi.org/10.30605/onoma.v10i2.3384.

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Corrective feedback (CF) for academic writing is essential to improve writing skills. This study discovers how CF strategies are reinvented in an academic writing synchronous course. Therefore, within the framework of sociocultural and humanistic approaches in education, 71 students from two non-quasi classes in a university contributed by sharing their points of view for the CF they received. Class observations and surveys were conducted to gather data on how the CF was given and how the students perceived it. The main findings indicate that the CF was choral to the class, explicit, unfocused

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Макарова, А. В. "Stylistic Features of Works for Choir A Cappella by Dmitry Smirnov on the Example of Choir Concerto “Insomnia”." OPERA MUSICOLOGICA, no. 2021 (September 15, 2021): 38–57. http://dx.doi.org/10.26156/om.2021.13.3.003.

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В творчестве современного петербургского композитора Дмитрия Валентиновича Смирнова (р. 1952) хоровые сочинения занимают особое место. В жанровом отношении именно концерт для хора представляет собой своеобразное «зеркало» творческого поиска композитора. Начиная с ранних сочинений начала 1980-х годов («Приявший мир», «Рождение крыла», Концерт для хора на стихи Н. Некрасова) и вплоть до созданного в 2006 году цикла «Набоковские песнопения» многочастные композиции хоровых концертов играли ключевую роль в процессе становления и постепенного усложнения хорового письма автора. Хоровой концерт «Бессо

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Gomeniuk, Svitlana, та Nazarii Tarasenko. "Features of the early tintinnabuli style in the works by Arvo Pärt: interaction а word and a number". Scientific herald of Tchaikovsky National Music Academy of Ukraine, № 137 (30 жовтня 2023): 95–109. http://dx.doi.org/10.31318/2522-4190.2023.137.294668.

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Relevance and scientific novelty of the selected topic of the research. The work of Arvo Pärt is regularly covered in Ukrainian musicology, however, the issue of the interaction of his compositional technique with the verbal text used to be a part of a broader scientific problem—such as the author's style, modern choral writing, etc. At the same time, a comparison of the methods of applying the tintinnabuli technique in works with and without text was not undertaken yet. Indeed, the comparative method allows a better understanding of how word and number—two main compositional factors in the wo

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Shubina, Anastasia Vladimirovna. "A cappella choir «How to cross the river?» Yu. A. Evgrafova: folklore and composer." Человек и культура, no. 4 (April 2025): 55–69. https://doi.org/10.25136/2409-8744.2025.4.75082.

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The subject of this study is the problem of «folklore and composer» as one of the most relevant in modern Russian musical culture. The object of the study is the consideration of modern methods of composer's work with a folklore source. The purpose of this article is to study the implementation of the Russian folk tale «Bubble, Straw and Bast Shoe» in the a cappella choir «How to cross the river?» by Yu.A. Evgrafov. The author examines in detail such aspects of the topic as attribution of the literary-textual source; disclosure of the features of the composer's choral writing. A number of key

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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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Hill, Stuart Chapman. "Words and Music: Considering the Musicianship of Lyric Writing." Philosophy of Music Education Review 31, no. 2 (2023): 121–35. http://dx.doi.org/10.2979/philmusieducrevi.31.2.03.

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Abstract: Popular songs are ubiquitous in the lives of school-age children, but the construction of traditional school music curricula does not always provide an adequate framework for studying them. In particular, the salience of words qua lyrics is an inescapable feature of popular songs, and recognizing the musical properties of those lyrics opens for study an important dimension of the real-world music that students of all ages engage so readily. Rather than treating song lyrics as separate from the music, I here attempt to establish that lyrics can be treated as musical entities, as demon

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Hill, Stuart Chapman. "Words and Music: Considering the Musicianship of Lyric Writing." Philosophy of Music Education Review 31, no. 2 (2023): 121–35. http://dx.doi.org/10.2979/pme.2023.a909306.

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Abstract: Popular songs are ubiquitous in the lives of school-age children, but the construction of traditional school music curricula does not always provide an adequate framework for studying them. In particular, the salience of words qua lyrics is an inescapable feature of popular songs, and recognizing the musical properties of those lyrics opens for study an important dimension of the real-world music that students of all ages engage so readily. Rather than treating song lyrics as separate from the music, I here attempt to establish that lyrics can be treated as musical entities, as demon

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