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1
WOLTERS-FREDLUND, BENITA. "A “League Against Willan”? The Early Years of the Canadian League of Composers, 1951–1960." Journal of the Society for American Music 5, no. 4 (October 24, 2011): 445–80. http://dx.doi.org/10.1017/s1752196311000289.
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AbstractThe founders of the Canadian League of Composers were young modernists who resented the conservative musical climate in Canada epitomized by the traditional British style of Canada's most famous composer, Healey Willan. In their first decade (1951–60), during which their membership grew from eight to more than forty and they presented dozens of concerts of new Canadian music, they struggled to find a balance between two competing goals: championing the cause of all Canadian composers, regardless of style, and promoting modern and avant-garde styles, which had been virtually ignored by the older Canadian musical establishment. This article probes how those tensions played out in two of the league's early activities: membership decisions and concert programming. Although the league did admit composers and feature works representing a wide variety of stylistic influences, its membership and concerts were nonetheless dominated by younger composers interested in modern styles, especially the group of composers in John Weinzweig's circle in Toronto. The group earned a reputation as young radicals because of their modernistic programming choices and a controversial policy that limited membership to composers younger than sixty. Although its members may not have been entirely successful in their efforts at inclusivity, the league's ground-breaking activities in the 1950s did help to establish a place for composition generally and musical modernism in particular in the postwar Canadian cultural landscape.
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Shchitova, Svitlana. "Bandura concert style of the 21st century (on the example of the bandura concerto with orchestra „Bandura foreverˮ by V. Martyniuk)." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 5–16. http://dx.doi.org/10.33287/222001.
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The purpose of this scientific article is to determine the location of the bandura for a bandura with a piano by celebrated Ukrainian composer Valentina Martyniuk „Bandura foreverˮ in professional Ukrainian music. The target of this investigative work is determined by the corresponding tasks that are to identify the genre-style features of the musical character-logical language of outstanding, distinguished V. Martyniuk. The round of methods for this represented investigation is based on the historical, typological, analytical and didactic approaches, which allows the practically study of this research topic. The scientific novelty of this submitted explorative work is that it examines the original work of renowned contemporary Ukrainian composer V. Martyniuk for the bandura of the concert direction as a distinctive phenomenon combining academic and ethnic musical traditions. Conclusions. The analysis of the concert for a bandura with an orchestra „Bandura forever” by well-known author V. Martynyuk, in which we can see the richness of the imaginative-style panorama, defines the composer's special interest in neo-style – neo-folklorism, neo-romanticism, neo-classicism, neo-baroque, neo-impressionism; manifestations postmodernism, in particular, experimentation in the synthesis of various styles, including those that are opposite in their artistic and aesthetic essence. The original bandura repertoire relies heavily on folk themes and demonstrates the versatility of domestic, nationally musical folklore. Music of the famous composer V. Martynyuk has unrepeatable, charismatic artistically imaginative characterization, which had amazingly bright demonstrated into that musically artistic outstanding masterpiece. The creating of music for academic bandura by Ukrainian professional composers was and staying for today the one of main problem in relation to national, domestic musically performing art.
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Mingalyov, Pavlo. "Evolution of piano miniature in the early 20th century (exemplified by V. Rebikov's piano work)." Ukrainian musicology 46 (October 27, 2020): 152–65. http://dx.doi.org/10.31318/0130-5298.2020.46.234614.
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Relevance of the study. One of the features of the piano music of the early 20th century is traditions overcoming of the romantic style and search for opportunities to go beyond it. Numerous composers of a new generation have experimented with musical language, form and phonic visualization. At the same time, the genre of musical miniature did not lose its relevance, on the contrary, it became one of those piano genres where many musical innovations were tested. The study of piano miniature allows us to consider the evolution of small forms in piano music, the process of style and genre transformation, a gradual transition from the established romantic tradition (including the national one) to a new era, marked by the search for contemporary expressive means. The work study of V. Rebikov, an innovative composer who wrote more than 30 cycles of piano pieces and who made a significant contribution to the development of small forms of piano music, is an important stage on the way to a comprehensive understanding of the musical art evolution of the 20th century. Numerous ideas that were tested in his works found their development in the music of next generations of composers and still remain instant and modern. The study of some of V. Rebikov's miniatures key-cycles, which were important stages in the formation of the unique image of the composer, in the context of the figurative and stylistic genesis trends in the art of the first third of the 20th century, allows, with some assumptions, talk about his work as an example of stylistic and harmonic transformations of their time. Main objective of the study is to identify the fundamental elements of V. Rebikov composer's style, which are manifested in his piano works of small forms, in the context of the patterns development of piano miniature at the beginning of the 20th century. The methodological baseline is the methods of historical, systemic, harmonic, style and performance analysis. Results and Conclusions. Analysis of V. Rebikov's musical heritage, as well as of other composers who did not gain great popularity at their time, proved that there are no composers, whose work can be dispensed with, setting the task of identifying the historical stages in the deve-lopment of musical art, since the value of a particular contribution is determined and will be determined by future generations. Therefore, the study of the work of all composers of the early 20th century is necessary for understanding historical formation of musical art, including piano, as well as for identifying the origins and principles that fed the music of the 20th and early 21st centuries.
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Rovner, Anton А. "Mark Belodubrovsky, a Versatile Contemporary Composer, Violinist and Educator." ICONI, no. 1 (2021): 111–25. http://dx.doi.org/10.33779/2658-4824.2021.1.111-125.
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Mark Belodubrovsky is one of the most accomplished contemporary composers living presently in Moscow who has written a substantial amount of solo, chamber and vocal musical compositions of high quality, which are performed in Russia and in a number of other countries. His musical output is especially noted for its versatility of different styles of music: some of his compositions are traditional and romantic in their style and tonal in their harmony, with a strong infl uence of Russian folk music which the composer actively employs in a number of his compositions, while other works follow innovative avant-garde trends and incorporate serialism, including serial rhythm, sonoristics, aleatory technique and a number of other techniques. Some of his compositions are very accessible to a broad audience, containing memorable melodic and rhythmic traits, while others are written in a highly complex language, based on musical experimentation, comprehensible for the most part to a sophisticated audience well-versed in avantgarde trends in music. Some of his works are based on extroversive theatrical gestures and even contain comic elements, while others bear an inner philosophical discourse. Nonetheless, both of these contrasting features combine together to express a highly original style of the composer’s music which cannot be mistaken for that of anybody else. Belodubrovsky is known and highly regarded as a composer, a violinist, an enthusiastic cultural activist who discovered and popularized rare compositions of the early 20th century Russian modernist trend, the long-time director of the Nikolai Roslavetz and Nahum Gabo Festival for the Arts in Bryansk, and simply as a very open musician with a broad-minded approach towards various musical styles and directions. All of this has undoubtedly created an impact on his multifarious musical style which combines opposite stylistic directions. The article describes the life and the musical activities of Mark Belodubrovsky, then proceeds to describe an analyze his musical compositions. It is shown that notwithstanding the fact that his compositions pertain to different styles, they are all united by one individual stylistic trait which defi nes the composer’s artistic individuality.
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Husarchuk, Tetiana V., Maryna Yu Severynova, Olena O. Derevianchenko, Olha V. Putiatytska, and Larysa A. Hnatiuk. "Spiritual concert in the work of Ukrainian composers." Linguistics and Culture Review 5, S4 (November 15, 2021): 988–1003. http://dx.doi.org/10.21744/lingcure.v5ns4.1776.
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The last decades in the post-Soviet space are characterized by spiritual searches, growing interest in spiritual heritage, in musical art – the blossoming of spiritual creativity, in music science – by increasing attention to genres of spiritual music. The relevance of the problem stated in the article is caused by the need to highlight the development of the genre of spiritual choir concert as an exceptionally important and illustrative for Ukrainian musical art. The purpose of the research is to reveal evolutional tendencies of the genre archetype throughout its history of presence in Ukrainian music art. The leading method of this investigation is a genre-style method, which provides detection of different levels of transformations of genre invariant, connected to historical and style conditions and peculiarities of individual styles of composers. The results of the study can be useful to researchers of choral art and choral conductors, can be used in the pedagogical process – in educational courses on music history, choral literature, music culturology.
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Ovsyannikova-Тrеl, Aleхandra. "Category of Simplicity is an artist intention and individual-style concepts "New Simplicity" in the creativity of contemporary composers." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 238–43. http://dx.doi.org/10.32461/2226-3209.2.2021.240073.
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The purpose of the article is to determine the specifics of stylistic manifestations of the "new simplicity" in the works of contemporary composers in accordance with the meaning of the category of simplicity. The methodology is based on the integrated use of systemic and structural-functional methods, comparative studies, music-historical approach, as well as musicological methods of genre-style analysis. The scientific novelty of the study is due to the theoretical development of genre and style standards of "new simplicity" in terms of their systematic interaction and individual-composer interpretations. Conclusions. The main factor in the formation of a new stylistic vector of composition in the last third of the twentieth century, which was formally defined as "new simplicity", was the recognition of the crisis of musical art, which developed within the avant-garde artistic and aesthetic paradigm. The conceptual foundations of individual composer's versions of the "new simplicity" are connected with the idea of simplifying musical language as the direction of development of musical art, which was called to return music to lost meanings – beauty, clarity, harmony. The concept of simplicity in this context has become one that combines these leading artistic landmarks and acquired in the creative consciousness of composers-representatives of the "new simplicity" the status of aesthetic and ethical categories, which acted as a common artistic intention of variouscompositional versions of "simple" style. Simplicity as an objective condition for the clarity of musical meaning has led to specific types of figurative content of a musical work and its compositional logic. The melodiousness and clarity of musical expression are the semantic impulses of the composer's work to which all the structural elements of the musical text and the "levers" of sound influence on the listener are subordinated.
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Goldman, Jonathan. "Interculturalism through a cognitive filter: Gilles Tremblay recomposes gamelan in Oralléluiants [1975]." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (May 22, 2018): 12. http://dx.doi.org/10.31091/lekesan.v1i1.344.
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In an article on the impact of gamelan music on Claude Debussy's musical language, Nicholas Cook shows Debussy's musical interpretations that navigate between viewpoints that claim that the gamelan presents "confirmation" of the principles that have been acquired by French composers and others who judge inspired techniques from the gamelan to imitate foreign musical culture. This article applies Cook's thought to the Javanese gamelan inspiration case in Oralléluiants (1975) by Gilles Tremblay (1932-2017), by trying to go beyond the opposition between pastiche orientalist style and deeper style assimilation by giving credit to the composer Québécois. This paper proposes the idea of "cognitive filters" as a way to understand how gamelan affects Tremblay without the same effect on other composers who are exposed to the same musical culture. The phrase "cognitive filter" shows every musical schematic that listeners have not mastered in terms of their training, ability, acculturation and psychological specificity, and that represents an order perceptual data to enable in the capture of previously unknown music.
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Sherr, Richard. ""Illibata Dei Virgo Nutrix" and Josquin's Roman Style." Journal of the American Musicological Society 41, no. 3 (1988): 434–64. http://dx.doi.org/10.2307/831460.
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Josquin's famous acrostic motet Illibata Dei virgo nutrix has generally been considered an early work on the basis of its musical style. Viewing the work from different perspectives, both analytical and historical, suggests that the work may not have been written as early as presumed, and that Josquin's style might have changed in response to tastes he encountered in the various centers in which he worked. The focus of discussion is Rome, and the musical styles favored by composers of the Papal Chapel in the period in which Josquin was a member of that organization (1486- ca. 1495). It is suggested that Illibata Dei virgo nutrix be viewed as a contribution to a particularly Roman corpus of five-voice Tenor motets and a deliberate attempt to emulate and surpass papal composers in their own style.
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Kazantseva, Liudmila P. "Musical Intonation: Genre and Style Properties." IKONI / ICONI, no. 4 (2021): 159–79. http://dx.doi.org/10.33779/2658-4824.2021.4.159-179.
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In the previous lecture from the cycle “Musical Intonation” (see the journal ICONI, 2021, No. 3, pp. 68–83) the topic was the conception of musical intonation, its sound contours and semantics. In the present publication there appears the possibility to characterize the other features of intonation which enable it to move towards the achievement of its main goal — conveyance of the artistic meaning. During the course of the conversation about the genre-related particularities of intonation four large-scale genre-related spheres have been indicated (and, correspondingly, four genre types): melodiousness, declamatory features, motoric features and instrumental features. The view of musical intonation in the stylistic perspective is correlated with the nuanced concept of style as the contingence of artistic content with the means of its manifestation. In correspondence with the different “sections” of the existent massif of music, the styles of composers, composers’ schools, social groups, national cultures, continental cultures, eras and artistic directions (trends) develop themselves. They all fixate themselves more or less self-evidently in musical intonation. In musical intonation the features of different genre-related spheres interact with each other by various means (forming poly-genre) and the features of various styles combine together (creating poly-stylistics). The conclusive lecture will be devoted to a discussion of the aesthetical and dramaturgical features of musical intonation, and also about how intonation exists in the historical-culturological context.
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Mdivani, T. G. "Composer’s interpretation of the Christian ethos in the music art of sovereign Belarus." Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 65, no. 2 (May 18, 2020): 203–8. http://dx.doi.org/10.29235/2524-2369-2020-65-2-203-208.
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For the first time in the Belarusian liturgical musicology analysis of the attitude of domestic composers to Christian sources: themes, images, style, church singing culture in general is carried out. It is proved that the interest of the Belarusian musicians of the period of state sovereignty focuses on two Christian denominations – the Western and Eastern European; that the compositions of composers in their essence are representatives of musical art, and not of liturgical singing practice, and also, that the basis of the composer’s work is the phenomenon of interpretation. Three types of composer interpretation of church tradition are distinguished: «leverage» (transposition, re-establishment), author’s transcription and conventionality. The main conclusion of the work: the spiritual stratum of the national musical culture of modern times, presented by composer creativity, is a peculiar aesthetic euphemism between Eastern and Western Christianity, which manifests itself in various aspects.
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Padgett, Andrew. "The Dialectic of Musical Socialist Realism: The Case of Dmitri Shostakovich." Transcultural Studies 9, no. 1 (2013): 103–11. http://dx.doi.org/10.1163/23751606-00901009.
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At the time of his death in 1975, Dmitri Shostakovich was widely recognised as the greatest composer of his generation, and the first master of the socialist realist symphony. However, Shostakovich’s successes were hard-won. They came on the back of denunciations in Pravda of two earlier ‘formalist’ works. In an effort to win the support of the Party leadership, Shostakovich subsequently transformed his compositional style to produce his popular Fifth Symphony. This paper examines what changed in Shostakovich’s style from his Fourth to his Fifth Symphonies, to establish precisely what musical socialist realism was, and how it was successfully composed, and the long term influence it had on the generation of Soviet composers who emerged after the thaw.
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Bukreev, Valeriy. "http://inion.ru/site/assets/files/6134/integratciia-i-assimiliatciia-muzykalnykh-komponentov-dzhazovoi-i-akademicheskoi-muzyki.pdf." Herald of Culturology, no. 2 (2021): 79–89. http://dx.doi.org/10.31249/hoc/2021.02.05.
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The article examines the evolution of thinking of American and European composers of the early 20th century, the expansion of their musical horizons in connection with the birth and emergence of Early Jazz, a new rhythmic music in the South of the United States. Almost all famous composers of the beginning of the century, to one degree or another, turned to jazz, each in his own way refracting new rhythms and harmonies in their work. In this process, the initial, basic material was professional composer compositions, and jazz contributed to assimilation. The article examines experiments of interest from the perspective of fusion of musical genres, synthesis of elements of the musical language, which later anticipated the birth of the unique musical style «Fusion».
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Ovsiannikova-Trel, О. A. "Verbal Texts of Composers as a Prerequisite For Musicological Research of the Style Phenomenon of “New Simplicity”." Culture of Ukraine, no. 71 (April 2, 2021): 94–99. http://dx.doi.org/10.31516/2410-5325.071.12.
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The aim of the article is to determine the theoretical value of verbal composer’s texts for musical research of the style phenomenon of “new simplicity” as an actual direction of composer’s practice at the turn of the XX–XXI centuries.
The research methodology lies in the complex use of the musical-historical and cultural approach to the musical art of our time and individual composer’s styles, the systemic, structural-functional method and comparative studies in the study of verbal composer’s texts.
Results. The main place of development of the composer’s reflections on the ideological-philo-sophical, artistic-aesthetic and linguistic-stylistic features of the “new simplicity” is the space of chamber communication (numerous interviews and conversations that exist both orally and in writing), which captures immediacy of the author’s statement and preserves its vivid intonation. Exceptional cases of the existence of the author’s voice in “large form” are represented by the verbal work of V. Martynov — the author of famous studies of modern music, which were understood as conceptual principles of composition in modern music culture in a broad semantic context that arises at the intersection of musicology, sociology and philosophy. In each of these areas of composer’s verbal self-representation we can find thoughts and concepts that are directly related to the phenomenon of “new simplicity”, the meaning of which is built as a result of deep personal understanding of the essence of musical art by each composer.
Scientific novelty refers to the theoretical development of the style concept of “new simplicity” on the material of verbal composer’s discourse as a premise of musicological research.
The practical significance lies in the use of research materials in special courses in musical-historical and musical-theoretical disciplines in higher educational institutions, as well as in musical performing practice.
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Wells, Dominic. "PLURAL STYLES, PERSONAL STYLE: THE MUSIC OF THOMAS ADÈS." Tempo 66, no. 260 (April 2012): 2–14. http://dx.doi.org/10.1017/s0040298212000125.
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AbstractThe eclectic taste of Thomas Adès has led writers to comment upon the plethora of influences in his music. Adès himself has made no secret of such composers, frequently performing the works of those who have been a particular source of inspiration to him. While the present study initially acknowledges this vast array of disparate styles, the second section considers the extent to which Adès is influencing himself. It identifies certain trends that are evolving across his oeuvre, and central to this is the distinctive treatment of a pair of intervals, evident in the opening bars of almost a quarter of his published works to date.While the influences of others remain undoubtedly significant to any discussion of Adès, it is now also appropriate to examine the way in which some of the composer's own characteristic gestures form musical relationships between his works.
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Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.
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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
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STRAUS, JOSEPH N. "Disability and ““Late Style”” in Music." Journal of Musicology 25, no. 1 (January 1, 2008): 3–45. http://dx.doi.org/10.1525/jm.2008.25.1.3.
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““Late style”” is a longstanding aesthetic category in all the arts. Late-style music is presumed to have certain internal qualities (such as fragmentation, intimacy, nostalgia, or concision) and to be associated with certain external factors (such as the age of the composer, his or her proximity to and foreknowledge of death, lateness within a historical period, or a sense of authorial belatedness with respect to significant predecessors). Upon closer inspection, it appears that many of these external factors are unreliably correlated with a musical style that might be described as late. Late style is often better correlated with the bodily or mental condition of the composer: most composers who write in what is recognized as a late style have shared experiences of non-normative bodily or mental function, that is, of impairment and disability. Composers inscribe their disabilities in their music, and the result is often correlated with what is generally called late style. Close readings of four modernist works serve to illuminate the concept: Stravinsky, Requiem Canticles; Schoenberg, String Trio; Bartóók, Third Piano Concerto; and Copland, Night Thoughts. In each case, I contend that the features of these works generally understood as markers of lateness are better understood in relation to the disabled bodies of their composers.
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Mozgalova, Nataliia, and Anna Novosadova. "GENRE-STYLE INNOVATIONS IN THE OEUVRE OF MODERN UKRAINIAN COMPOSERS." Baltic Journal of Legal and Social Sciences, no. 4 (January 2, 2023): 56–63. http://dx.doi.org/10.30525/2592-8813-2022-4-7.
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The article is devoted to the genre and style features of contemporary oeuvre of Ukrainian composers. It was determined that genre and style, which are closely interrelated, is the representation of the author’s individuality. It is emphasized that it is impossible to characterize the work of artists without understanding the specified categories. Therefore, the reference to the categories of genre and style is not accidental. The analysis of the oeuvre by O. Kozarenko, L. Dychko, L. Kolobud, and Ye. Stankovych allows us to conclude about the inherent features of contemporary Ukrainian musical art, namely: the synthesis of genres, in particular, a symphony and a concerto, the introduction of elements of choreography into the symphony genre, and the resort to various style directions, including musical models of the baroque, new folk wave, and jazz intonations. The mentioned features are successfully combined with modern compositional techniques, such as serial technique, aleatoric music, and sonorism.
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Sycheva, Natalia Nikolaevna. "Romantic Traditions in the Works of Ivan Sokolov on the Example of Intertextual Poetics of "Gospel Paintings"." PHILHARMONICA. International Music Journal, no. 6 (June 2022): 24–39. http://dx.doi.org/10.7256/2453-613x.2022.6.39523.
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The article is devoted to the work of Ivan Glebovich Sokolov (born 1960), which unfolds in many areas of activity, and among them the main one stands out – composer and pianist. Performance directly affects his composer's searches. Realizing the special impact of the music of romantic composers on listeners, I. G. Sokolov changes the focus of his work from a «conceptual» vector to a traditional style of writing. He creates a number of works directly related to the romantic tradition, among them the piano cycle “Gospel Pictures» (2012) stands out, in which the high role of associative links with the heritage of romantic composers (J. Brahms, F. Liszt, S. V. Rachmaninov, A. N. Scriabin, P. I. Tchaikovsky, F. Chopin, R. Schumann). The focus of the article is the intertextual layer in the «Gospel Pictures», which is realized at two levels: compositional and intonational-thematic (quotes, quasi-quotes, allusions), the latter is given special attention in the article. As a result of the analysis, the author comes to the conclusion that the noted material, which is directly related to the musical culture of romanticism, merges into a single whole with the style of the musical language of the piano cycle, forming a «mono-stylistic» (G. V. Grigorieva) musical fabric, which emphasizes the relevance the concept of extending romantic traditions in modern domestic musical culture. At the same time, this perspective of the study confirms the concept of A. V. Mikhailov about the «phenomenon of the omnipresence of romantic music», as well as its «indestructibility» and «immortality» in the process of evolution of musical culture.
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Scott, Derek B. "The Sexual Politics of Victorian Musical Aesthetics." Journal of the Royal Musical Association 119, no. 1 (1994): 91–114. http://dx.doi.org/10.1093/jrma/119.1.91.
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A sexual division of musical composition emerged in nineteenth-century Britain: during that period, metaphors of masculinity and femininity solidified into truths about musical style. Contemporary social theory, domestic sphere ideology, the new scientia sexualis, and aesthetics of the sublime and the beautiful ensured that certain musical styles were considered unsuitable or even unnatural for women composers. Female creativity was also denied or inhibited by educational and socio-economic pressures born of ideological assumptions. In consequence, many women found themselves marginalized as composers, restricted to ‘acceptable’ genres such as the drawing-room ballad. Men, too, were affected by the sexual politics of the age, because the supposed revelation of biological truths in music meant that the presence of feminine qualities in their compositions could lead to invidious comparison with the less elevated output of women.
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Tulyantsev, Andrey, and Ekaterina Guskova. "Cherub chants of M. Berezovsky, D. Bortnyansky, A. Wedel: from innovation to tradition." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 39–49. http://dx.doi.org/10.33287/222016.
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The article examines the Cherubim chants written by Ukrainian composers of the musical classicism era – by Maxim Berezovsky, Dmitry Bortnyansky and Artemy Wedel. These composers wrote mainly spiritual music, so they did not omit the Cherubim chant – one of the songs in musical part during the Orthodox Liturgy. The purpose of this article is to reveal an innovative view on the musical embodiment of Cherubim songs by Ukrainian composers of the Classicism era, which, compared to previous cherubim chants, appears at the level of musical style and musical form, and the difference from pieces of music in concert genre, which had been influenced by everyday status of Cherubim chants. The research methods are based on the ways of musical-theoretical and stylistic analysis, as well as on the comparative manner. The method of musical-theoretical analysis contributed to the study of musical texts in Cherubim chants, the analytical method became the basis for identifying the stylistic belonging of pieces of music, comparative – to compare with the songs of previous and subsequent eras. The scientific novelty lies in the Cherubim chants separation from the creative heritage of Ukrainian composers of the Classicism era and their analysis as an independent line of creativity, which embodied an individual approach to the musical perusal of the canonical text. In the process of analysis it was concluded that the Cherubim chants written by M. Berezovsky, D. Bortnyansky and A. Wedel are striking examples of the new style, they can reveal features of musical classicism. Cherubim chants belong to everyday chant and, unlike choral concerts, have a more unified manner of musical presentation, but some chants reflect the features of individual thinking of their authors. At one time, the cherubim chants of these composers became an undoubted breakthrough, and later became a tradition.
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Bloxam, M. Jennifer. "‘La contenance italienne’: the motets on Beata es Maria by Compère, Obrecht and Brumel." Early Music History 11 (October 1992): 39–89. http://dx.doi.org/10.1017/s0261127900001194.
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Musicians have recognised distinct national styles of musical composition and performance for centuries, and even today our understanding of the development of musical style in virtually every period rests in large part on observations of the contact and melding of national idioms. From the suppression and absorption of Gallic chant by Roman plainsong during the time of Charlemagne, through the wedding of French, Italian and German styles accomplished by Bach, to the joining of north Indian classical musical elements with modern avant-garde music by Philip Glass and other minimalist composers, our telling of music history is in large part analysis of a continuing process of musical colonialisation.
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Urvantseva, O. A. "DIALECTICS OF THE INTERACTION OF STYLE AND CONTENT (on the example of music by composers of the XXth century)." Arts education and science 1, no. 1 (2020): 48–54. http://dx.doi.org/10.36871/hon.202001006.
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It is well known that the categories of style and content are inextricably linked, since one of the functions of style is the fixation and expression of a certain content. At the same time, such concepts as the content of a style and the content of a piece of music included in a specific style context cannot be identified. The interconnection of style and content in musical works of different eras can be different. The article discusses the dialectics of the interaction of two categories in the styles of various levels, as well as the forms and methods of manifestation of style determinants in the meaningful compositions of the works. Style dominants, personification of style in typical images of the epoch, monograms, initiations, allusions are used as concepts that combine both semantic and style attributes. Despite the fact that the categories of style and content are developed in the works of many scientists, there is still no special study on the subject of their interconnection and interdependence. Meanwhile, the knowledge of the stylistic aspects of the content of musical works and the ways of their manifestation helps to decipher the semantic content of a particular composition, and is in demand both in theoretical courses and in the performing practice of musicians of various profiles.
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Caballero, Carlo. "Patriotism or Nationalism? Fauré and the Great War." Journal of the American Musicological Society 52, no. 3 (1999): 593–625. http://dx.doi.org/10.2307/831793.
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Even though Gabriel Fauré's contemporaries championed his music as quintessentially French, Fauré distanced himself from policies of national exclusion in art, and his own construction of French musical style was cosmopolitan. This essay summarizes Fauré's political choices during the Great War, explains his motives, and indicates how some of his decisions affected French musical life. Fauré's outspoken preface to Georges Jean-Aubry's La Musique française d'aujourd'hui provides one key to the composer's position. Jean-Aubry, following Debussy, reckoned as authentically French only musical styles attached to pre-Revolutionary traditions. Fauré felt that such a narrow characterization of French music falsified the diversity of the historical record. His preface therefore takes issue with Jean-Aubry's book and insists that German composers had played an irrefutable role in the formation of modern French music. We may understand Fauré's-and other composers'-wartime decisions in terms of a distinction between patriotism and nationalism. Composers such as Fauré, Bruneau, and Ravel emerge as patriots. Debussy, who sought to purify French music of foreign contamination, emerges as a nationalist. Both nationalism and patriotism call on collective memory and experience, but nationalism exercises its power protectively and tends toward exclusion, while patriotism, favoring political over ethnic determination, tends toward inclusion. Fauré's patriotism emerges through the evidence of the preface; charitable activities; his refusal to sign a French declaration calling for a ban on contemporary German and Austrian music; and his attempt to unite the Société Nationale and the Société Musicale Indépendante. Fauré's wartime music, in contrast to his writings and activities, evades connections with historical events and raises methodological questions about perceived relations between political belief and artistic expression.
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Ovsiannikova-Тrеl, Oleхandra. "«New simplicity» as a phenomenon of modern musicin the conceptual context of novelty." Ukrainian musicology 46 (October 27, 2020): 111–26. http://dx.doi.org/10.31318/0130-5298.2020.46.234606.
Full textAbstract:
The relevance of research. The music of leading contemporary composers, representing the style of «new simplicity», becomes a manifestation of a certain attitude associated with a «new» approach to the technique of musical composition, in a wide sense – to the ontological foundations of music as a specific form of art and culture. Accordingly, the concept of «new» acquires special significance, which contains the essence of the novelty of the composer's understanding of music as an object of its creative realization and a way of communication with the listener. This issue is not often discussed in native researches of contemporary music (as well as the «new simplicity» in general), it is not presented as a special subject of musicological studies. The purpose of the research is to determine the conceptual foundations of the «new simplicity» as a phenomenon of contemporary musical art in the context of the semantic content of the concept of «new music». The methodological basis of the research is the systemic method, the method of comparative studies, as well as the methods of historical musicology and genre-style analysis. The scientific novelty of the article is determined by the theoretical development of the «new simplicity» as a genre and stylistic phenomenon of musical art in the context of the artistic and aesthetic foundations of contemporary composer's creativity. Main results. The conceptual meaning of «new music» as a phenomenon of professional musical art of the 20th century had a straight influence on the development of the aesthetic idea of the «new simplicity» and its creative implementation in individual composer’s styles at the turn of the 20th and 21st centuries. The essence of the «new» in the «new simplicity» consists of the fundamental rejection of the need to constantly changing the norms of the musical language and its total individualization, as well as in the return to a more accessible («simple») musical style. The return of the «new simplicity» to triad and consonance as the main constructive elements of the musical language represents a fundamentally different approach of modern composers to the technique of musical composition in the context of the «ban on consonance» proclaimed by the Western European musical avant-garde. «New» in this case is the understanding of the basic function of triad and consonance: it is associated not with the functional side of tonality, but with the phonic image of music – the factor that ensures its harmony in terms of auditory perception and the possibility of an emotional response. Conclusion. Musicological development of the conceptual aspect of the «new simplicity» opens up opportunities for studying this phenomenon of contemporary musical art in a wide historical perspective and understanding it as a natural link in the evolution of European academic music.
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Kapliyenko-Iliuk, Yuliya. "Style Paradigms of Western European Music in the Works of Sydir Vorobkevych." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 97–108. http://dx.doi.org/10.24193/subbmusica.2020.2.07.
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"The study of the works of composers of different national schools, their creative connections, peculiarities of stylistic contaminations – an important aspect of forming a general “world view” in the field of music. Individual personalities, their works have become a source of information about steady models of musical art, which have become a model for most European cultures. Stylistic paradigms of Western European music were differently manifested in the works of representatives of different peoples and times. The work of a Bukovynian composer of the end of the XIX century – Sydir Vorobkevych – is an example of a combination of national, folklore and classical traditions. The formation of his creative thinking took place in a multinational environment, studying at the Vienna Conservatory, attending concerts, and getting acquainted with the creative and performing activities of his contemporaries. S. Vorobkevych's variety of genres was influenced by stylistic models of classical, romantic, and separate national schools – German, Italian, French, Spanish, Romanian, Czech etc. Thus, the study of stylistic basics of creative work of composers of different national schools, revealing intercultural correlations of the past will contribute to the expansion of the ideas about principles of forming stylistic paradigms of the world musical art. Keywords: music of Bukovyna, creative ties, stylistic contaminations, Western European traditions, musical romanticism."
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BUCIUMAS, Cristian–Ioan. "A review of the romantic repertoire for bassoon in northern European composition schools." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 41–48. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.4.
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This research article aims at bringing to the attention of the public and young performers a repertoire less played in our country and aims in addition to broadening and deepening a lesser known musical material and the analysis of new musical forms and genres, the issue being so related to instrumental technique, as well as understanding the elements of specific language. The deepening of these composers and their compositional style helps to diversify the romantic repertoire and to expand the knowledge on the lesser known schools. The peculiarity of these composers consists in the fact that they composed representative works especially for wind instruments.
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Loseva, Svetlana N. "THE ROLE OF SINESTHESIA IN CREATIVE ACTIVITY OF COMPOSERS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 207–13. http://dx.doi.org/10.17223/22220836/43/16.
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The paper examines the problems of researching the scientific knowledge of synaesthesia and its role in creative compositional activity. An analysis of various approaches to the definition of the phenomenon of synaesthesia as a concept reflecting the form of perception, the connection between feelings in the psyche, the results of their manifestations in specific art fields: the art-aesthetic culture of the 20th century, reflects the culturological component of the phenomenon; the ratio of synaesthesia with a sensory impression having a certain color. The role of synaesthesia in creative musical activity is defined and the relationship with the general features of the style of the Romantic era and the individual psychological qualities of the composers is indicated. Consideration is given to belonging to a certain national musical culture, which bears one or another national style. An example of the manifestation of synaesthetic tendencies in the musical art in the direction of impressionism is given. V. Moskalenko distinguishes three versions of reconstruction by the performer of the composer's plan: real, conditionally real and hypothetical. One of the main distinguishing features of the composer's letter of the first half of the twentieth century is the submission to the general technocratic tendencies inherent in the culture as a whole. In the second half of the XX - beginning of the XXI centuries, the intuitive beginning in the creative process was updated. The ultimate manifestation of the intuitive and sensual principle in the process of composing practice is reflected in the ideas of the Russian composer D. Kurlyandsky, which testifies to the extreme actualization not only of the intuitive beginning, but also of the bodily, sensual experience in creating a musical work. A productive method of constructing the components of the composer's intention is the method proposed by N. Kolyadenko for establishing synesthetic models of the stages of the artistic process, where the synaesthetic model of the artistic process corresponds to the composer's intention. The role of timbre and harmony in the music of the twentieth century is noted. The texture reflects the many-sided changes in the musical paradigm of the twentieth century. The simplest example of fixing the composer's spatial thinking is the notation record. The tendencies of the graphic nature of the musical texture, which only became apparent in the works of K. Debussy, were transformed into an important component, and sometimes the predominance of textured graphics in the music of the twentieth and early twentyfirst centuries. T. Krasnikova points out such forms: a point, a line, a strip, a stream, a stain, a scattering, a cloud, a sound rain. The special research devoted to this phenomenon testifies to the potential of researching composer's remarks as an embodiment of the "semantic" palette of the "stylistics of the composer's musical speech", as well as the "artistic" picture of the world of the "composer" (by A. Sokol's definition). Thus, the remarks being the "key" to understanding the compositional sense of music, in this classification once again demonstrate the inclusion of both emotional and synesthetic components in the sensory image of the sound of a musical work. The synaesthetic analysis objectifies musical sounding with the help of synaesthetic markers, capable of directing an understanding of its meaning. However, the significance of the above mentioned components of the creative process increases when studying the composer's intention of a synesthetic character - the synesthetic concept laid down by the composer - and his performing realization.
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Tschigareva, Evgenia. "Zur Bartók-Rezeption in Russland." Studia Musicologica 48, no. 1-2 (March 1, 2007): 225–36. http://dx.doi.org/10.1556/smus.48.2007.1-2.15.
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Abstract Béla Bartók's sympathies towards Russian culture are well-known, as is the veneration of the Hungarian master by Russian musicians. During the course of three quarters of a century the image of Bartók the composer and folklore researcher has gradually infolded itself to Russian musical circles as well as the broad strata of music lowers. This thesis presents an integral overview of the reception of Bartók in Russia: the perception of his musical legacy by composers, musicological research about him, performances and publications of his works in Russia, comments from the press, and of music critics, etc. At the same time a particular evolution could be traced: an active interest towards Bartók the composer and pianist in the 1920s, then a nearly twenty-five years “pause;” in the 1950's a perception of him primarily as a folklor researcher as well as a progressive musical public figure at that an aversion from the official policy makers of his musical style as an “avant-garde” style during the dominance of the doctrine of “socialist realism;” the discovery of Bartók's innovative style, his influence on the young Soviet composers (E. Denisov, A. Schnittke, S. Gubaidulina) during the 1960's and 1970's; an overall comprehensive study of his musical legacy and the recognition of his significance (1960's–1980's), a decline of interest towards Bartók (as a classic) as a result of the stream of information, gushing from the West, having to do with the “new music” of the avant-garde of the “second wave” and the “post-avantgarde” trends (during the 1990's); a resurgence of interest at the turn of the century and an acquiescence of Bartók's artistic path as being perspective for musical art.
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Minhalov, Pavlo. "Five preludes of Mykola Roslavets in the reflection of academic and avant-garde trends of his time." Culturology Ideas, no. 20 (2'2021) (2021): 179–87. http://dx.doi.org/10.37627/2311-9489-20-2021-2.179-187.
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The article considers a set of problems related to the study of piano art of the early XXth century and, in particular, the piano work of Mykola Roslavets. It provides the characteristic of the main vectors of piano miniature development, its genre and construction diversity. It emphasizes the composers' creative search in the early XXth century, the desire to embody new, not yet tested compositional techniques. The article notes the influence of traditional and avant-garde trends on the compositional style of that time and their synthesis in a single author's style. It describes five preludes for piano by Mykola Roslavets as one of the most significant achievements of the mature period of the artist's work, which fully reveals the key features of the composer's sense and desire for syntheticity and a new, intellectual, system of sound organization. The five preludes are stated to not have an accidental cycle structure reflecting the influence of many styles and compositional techniques, accumulating the achievements of previous musical epochs and sprouts of the latest, quite important musical trends in piano music. The author notes undoubted influence of Mykola Roslavets' work on the further development of musical art, its relevance and modernity. The proposed analysis should contribute to a more complete understanding of the history of piano music of the first third of the XXth century, elucidate the origins of innovative composers, undeservedly overlooked by musicologists, performers and listeners, and replenish the performing repertoire with piano works by Mykola Roslavets.
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Collins, Tom, Robin Laney, Alistair Willis, and Paul H. Garthwaite. "Developing and evaluating computational models of musical style." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 30, no. 1 (April 30, 2015): 16–43. http://dx.doi.org/10.1017/s0890060414000687.
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AbstractStylistic composition is a creative musical activity, in which students as well as renowned composers write according to the style of another composer or period. We describe and evaluate two computational models of stylistic composition, called Racchman-Oct2010 (random constrained chain of Markovian nodes, October 2010) and Racchmaninof-Oct2010 (Racchman with inheritance of form). The former is a constrained Markov model, and the latter embeds this model in an analogy-based design system. Racchmaninof-Oct2010 applies a pattern discovery algorithm called SIACT and a perceptually validated formula for rating pattern importance, to guide the generation of a new target design from an existing source design. A listening study is reported concerning human judgments of music excerpts that are, to varying degrees, in the style of mazurkas by Frédéric Chopin (1810–1849). The listening study acts as an evaluation of the two computational models and a third, benchmark system, called Experiments in Musical Intelligence. Judges' responses indicate that some aspects of musical style, such as phrasing and rhythm, are being modeled effectively by our algorithms. Judgments are also used to identify areas for future improvements. We discuss the broader implications of this work for the fields of engineering and design, where there is potential to make use of our models of hierarchical repetitive structure.
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Ricciardi, Emiliano. "Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime." Journal of Musicology 29, no. 4 (2012): 385–421. http://dx.doi.org/10.1525/jm.2012.29.4.385.
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Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compositions of light tone, that is, canzonetta poems. Numerous composers set these as such or as canzonetta madrigals, the hybrid genre that became popular in the late sixteenth century. This poetic-musical repertoire counters Tasso’s and scholars’ emphasis on gravitas and prompts a reconsideration of his impact on music that takes into greater account his substantial contribution to lighter genres.
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Demchenko, Alexander I. "The Musical Oeuvres of Alfred G. Schnittke." ICONI, no. 2 (2021): 112–30. http://dx.doi.org/10.33779/2658-4824.2021.2.112-130.
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The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich, Aram Khachaturian, Georgy Sviridov, and Rodion Shchedrin. This series is being continued with a lecture about the music of Alfred G. Schnittke. The fi rst part of the lecture (“National ‘Fermentations’ and Early Works”) examines the questions of the genesis of the composer’s personality and the initial stage of his artistic formation with a drastic reorientation from a traditional style to avant-garde experiment. The second part (“The Middle Period”) is devoted to Schnittke’s explorations in the direction of contacts with wide audiences, which went along various lines of democratization of his artistic approach. The conclusive part (“The Late Style”) is directed towards the composer’s immense contribution to the formation of the stylistic realities of the Postmodern aesthetics. During the course of the lecture’s exposition fragments of musical compositions are offered with recommended performances of them, in their sum providing a perception of the most substantial sides of Alfred G. Schnittke’s musical output.
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Guthrie, Kate. "Propaganda Music in Second World War Britain: John Ireland's Epic March." Journal of the Royal Musical Association 139, no. 1 (2014): 137–75. http://dx.doi.org/10.1080/02690403.2014.886430.
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ABSTRACTWhile biographical studies of British composers' experiences in the Second World War abound, little attention has been paid to how the demands of ‘total’ war impacted on music's ideological status. This article sheds new light on how composers and critics negotiated the problematic relationship between art music and politics in this period. John Ireland's Epic March – a BBC commission that caused the composer considerable anxiety – provides a case study. Drawing first on the correspondence charting the lengthy genesis of the work, and then on the work's critical reception, I consider how Ireland and his audiences sought to reconcile the conflicting political and aesthetic demands of this commission. With its conventional musical style, Epic March offers an example of a ‘middlebrow’ attempt to bridge the gap between art and politics.
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Belonis, Yanis. "Dimitri Mitropoulos: Lonesome passage to modern music." Muzikologija, no. 8 (2008): 45–54. http://dx.doi.org/10.2298/muz0808045b.
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It is not widely known that Dimitri Mitropoulos first public appearances in Greece were as a composer. His early works (ca. 1912-1924), distinguished by the blend of elements of the late-romantic style with intensely impressionistic references, reflect the search for a personal, 'advanced' harmonic musical language. In his works written after 1924, Mitropoulos abandons tonality and adopts more modern idioms of composition (atonality and 12-tone method). He is the first Greek composer to follow the modern musical tendencies of Europe, when music by Manolis Kalomiris and the other composers of the Greek National School was dominant in Greece.
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Kurtbedinova, L. T. "STYLE FEATURES OF A CHAMBER-INSTRUMENTAL MUSIC MALZY HALITOVA BY THE EXAMPLE OF TRIO “IN THE RHYTHM OF PINK TONES” FOR VIOLIN, TROMBON AND PIANO." EurasianUnionScientists 6, no. 4(73) (May 12, 2020): 15–18. http://dx.doi.org/10.31618/esu.2413-9335.2020.6.73.689.
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In the musical creativity of composers of the XXI century, the issue of interaction of various national musical cultures remains relevant. The article discusses the features of the creative style of the Crimean Tatar composer Merzie Khalitova on the example of chamber and instrumental creativity. The analysis of the trio "in the rhythm of pink tones" for violin, trombone and piano, from the point of view of the interaction of national musical traditions and European musical thinking, is presented. The analysis of the work represents the characteristic trends in the development of chamber and instrumental music of the beginning of the XXI century. Means of musical expression aimed at revealing figurative semantics are also indicated. In each of his works, the composer finds an individual solution for the synthesis of folk elements and modern musical intonation means. It is possible to distinguish the ornamental melody and patterned rhythmics, which are variously reproduced by the composer, as the national basis of Merzie Khalitova's works.
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Le, Liu. "Chinese Composers in the West: Towards a New Style Identity (Case Study of the Opera “Dream of The Red Chamber” By Bright Sheng)." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 66–79. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251798.
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There is considered the issue of migration as a criterion of creativity of Chinese composers on the way to understanding a new stylistic identity. It is stated that in the case of Chinese composers who emigrated to America, the integration of their compositional experience into a different cultural space coincided with the period of renewal of Western musical language on the rowing waves of interest of European and American musical communities in Eastern cultural traditions. It is noted that the process of adaptation of Western listeners to the unusual musical language of Chinese composers was gradual. The figures of Tan Dun, Bright Sheng, Chen Yi, Zhou Long stand out, whose work is highly appreciated by modern musicians and listeners, which is confirmed by the concert programs of the world's leading music institutions. Among Chinese opera composers, the importance of Bright Sheng is emphasized, whose work combines the traditions of Western and Eastern cultures. Sheng managed to achieve a new stylistic identity, which allows us to call him a modern classic, in whose work classical values are disguised by cross-cultural combinations. The composer's experiences are conveyed through bilingual musical vocabulary, which reflects the result of Shen's cultural experience. The peculiarities of the opera "Dream of the Red Chamber" in terms of combining cultural symbols of east and west are analyzed. It is determined that oriental elements are manifested in the usage of additional traditional instruments (Peking Opera and Guqin percussion) while preserving their main function and rhythmic patterns, imitation of the sound of traditional Chinese wind instruments, introduction of quotations from folk songs, creation of variations on folk themes and more. Western traditions of opera writing are demonstrated through the appeal to the traditional number structure, the use of the method of monothematism and general tonal (but complicated by pentatonic constructions) harmonic writing.
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Tomašević, Katarina. "On the Paths of Béla Bartók’s Modernism Followers and Companions: Josip Slavenski and Marko Tajčević." Musicological Annual 52, no. 1 (June 27, 2016): 27–40. http://dx.doi.org/10.4312/mz.52.1.27-40.
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The main aim of this paper is to re-examine the modalities of Béla Bartók’s influence as a composer during the first half of the 20th century to the main, dominantly “nationally oriented style” in the former Yugoslavia, focusing on two of Bartók’s somewhat younger contemporaries – the composers Josip Slavenski (1896–1955) and Marko Tajčević (1900–1984), prominent representatives of European interwar musical modernism.
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Wang, Sige. "Ukrainian national vocal tradition: genre, style and performance projections." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (September 16, 2022): 93–106. http://dx.doi.org/10.34064/khnum1-62.06.
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Statement of the problem. The research of a national component in music is one of the urgent areas of music science, which can be realized in various aspects – historical, socio-cultural, stylistic, genre, compositional, and performance. The need of studying national specifics is traced most clearly on the examples of European countries, where the path of academic musical art has large time parameters. The Ukrainian national tradition, the vocal in particular, belongs to such musical phenomena. The analysis of publications on the chosen topic shows that, in addition to academic musicological works (Draganchuk, 2008; Komenda, 2014; Lyudkevych, 1999a, 1999b; Liashenko, 1973, 1991; Romaniuk, 2009), there are studies on the border of different sciences – musicology, sociology, history, psychology, cultural studies (Nikolaievska, 2020; Applegate, 1998; Gottlieb, 2019; Kelly, Mantere, & Scott, 2018; Knox, 2019). The studies of national traditions in musical art, as a rule, concern the general principles of their manifestation (Draganchuk, Lyudkevych, Liashenko, Applegate, Kelly, Mantere, & Scott), as well as the creative work of individual composers (Komenda, Romaniuk). The study of national traditions in the performing aspect today requires special development. All this determines the scientific novelty of the presented research, which is related to the systematic characteristics of the whole phenomenon of the Ukrainian national vocal tradition. Our purpose is to identify the genre, style and performing aspects of it. The complex of research methods includes several directions: studying the researches devoted to the national in music in general, in the work of Ukrainian composers in particular; of the scientific works on a wide range of modern issues of musical theory and practice, as well as the analysis of historical evolution of Ukrainian vocal music. Research results and conclusions. In vocal music, national specificity operates on several levels – stylistic, genre, compositional, figurative, semantic, and performing. The Ukrainian national vocal tradition combines all these levels, which interact in different ways in a specific piece of music. It is important to note the difference between the concepts of national vocal tradition and national vocal school – the latter is a component of the national vocal tradition, which combines traditional musical culture and academic musical art, represented by both musical compositions and their presentation, that is by musical practice.
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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 (March 10, 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 peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Han, Siuebin. "Early piano work of Sang Tong: becoming a style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 160–72. http://dx.doi.org/10.34064/khnum1-52.11.
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Background. The article explores the development of the piano style of the outstanding composer Sang Tong, one of the founders of the national pianistic art. He was one of the first Chinese composers to apply modern techniques of composer writing on the basis of national musical elements. The early period of the creativity of this musician (1950–60’s) was the basis for the formation of his composer personality. The basis of the creative experiments of Sang Tong was his early piano work. In such works as “In a distant place” (1947), “Seven Ballads on the Themes of Songs of Inner Mongolia” (1953), “Three Preludes” (1955), “Two Piano Pieces” (1956), “The Little Children’s Suite” ( 1958), “Miao National Songs” (1959), “Imagination” (1959), the composer’s innovative style crystallized. Objectives. The purpose of the article is consideration and study the early period of Sang Tong’s piano work, the development of his compositional style in the 1950–60’s. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. The influence of European teachers V. Frankel (student A.Schoenberg), J. Schloss (student A. Webern), and Chinese musician Xu Luosi on the formation of the artistic worldview of Sang Tong is investigated. If V. Frankel and J. Schloss instilled in the young musician an interest in modern techniques of composer writing, then Xu Luoxi pointed out to San Tong the importance of preserving the national principle in musical compositions. The influence of other musical genres, in particular, vocal and instrumental, on the formation of the composer’s piano style in the 1950s is also considered. Composer’s works have high artistic value due to his composer personality and high artistic merits of his works, which reflect the national style of music. His music is modern, it is often performed on stage, it sounds on radio and television, it adorns a lot of art and documentary films. The early works of San Tong, according to the peculiarities of harmonic language and musical content, can be divided into three groups. To the first group based on traditional harmony, it is possible to carry its vocal works. Although Sang Tong tried to adhere to traditional harmony, he does not associate himself with rigid canons. The composer boldly uses modern harmonic complexes consisting of nine, eleven, thirteen sounds, variable chords performing the function of complication, uses complex polyphonic combinations, which leads to a strong and dramatic sound. The second type of works differs in that their musical language is based on modal harmony and the structure of pentatonic. Mostly it concerns such works as “Spring wild mountain song”, “Jiannan thousand aromas of rice”, “Piano song about Miao song”, etc. The composer creates his own rich, gravitating to the national style, poetically depicting bright and memorable pastoral paintings. Functional limitations of pentatonic allow the author to diversify the style and demonstrate the inherent elegance of writing. The third group of the composer’s early works is based on a modern style. The main works, where the author used modern innovations, are his “Three Preludes”, “Night” and “In that remote place”. Boldly relying on some principles of modern harmony and combining them with a pentatonic fret, Sang Tong made some useful discoveries. In the “Three Preludes” retaining the color of pentatonic, the author used the serial technique of the composition for the development of the material. When composing chords, he relies on the Chinese principle of Yin Yang, which in this context embodies harmony and disharmony and expands the scope of the chord. Breaking the traditional harmonic concept and transforming it into a complex function that depends on factors such as multi-level chords, using a number of modern notions of harmony, the composer invades the sphere of traditional pentatonic sounding, modernizing it, which allows us to rethink the possibilities of the pentatonic fret. Conclusions. Thus, the early period of music creation laid the foundation for the study of the modern theory of harmony in the work of Sang Tong, and also contributed to the further development of innovation in the use of modern techniques of composer writing in synthesis with pentatonic.
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Ilienko, M. M. "The «virtus» problem in musical performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 138–54. http://dx.doi.org/10.34064/khnum1-54.09.
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The article is devoted to consideration of a virtuosity phenomenon (from Latin virtus – virtue, talent) in musical performing. It is stated that this phenomenon and research approaches to it compose an entire musical area in today’s performing musicology which has been actively developing during the last two or three decades both abroad and in Ukraine. The given research underlines strong connection of a performing virtuosity with other phenomena and categories dealing with the problem under consideration. First of all, it is thinking of a musician-interpreter acting as an authentic co-author of a piece of music as well as his/her style, the so-called “stylish performance” (according to L. Gakkel), which employs music expression as the main feature of its semantics from the point of affecting audience. The article observes stages of formation of performing art, which are closely related to the evolution of musical thinking, and distinguishes instruments that were taking the lead at different historical periods. Therefore, all these factors together stipulate scientific originality of the suggested research. It is noted that traditionally the concept of “virtuosity” in performing art, as a rule, reflects only one aspect of artistic process – the technical one which is connected with professional skills of a musician. As if behind the scenes there remains a philosophical and aesthetic background of virtuosity leading to praxeology – the science about forms of human activity. From this perspective, “activity” is linked to “freedom” and makes up a dialectical pair with it. In other words, the freer a performer is, the higher level of his “mastery of doing” (according to T. Cherednichenko) is, and the more widely he understands the category of virtus, which came to Baroque music from the theatrical theory of affects. It was during this time that the “class” of professional virtuoso performers was formed, which makes Baroque “concert style” basically different from the Renaissance one in which the performers – choristers and orchestra members – were “anonymous”. Each performing school – epochal, national, regional, authorial – develops its own performing standards, determined by the peculiarities of musical thinking under different historical or “geographical” conditions. As a result of these processes, paradigmatic attitudes of musical thinking emerge in the form of its social communicative and artistic determinants, generating one or another type of musical culture, including its performing aspect. It is proved that musical performing was most influenced by evolution of semantic ideas which serve as a basis for epochal stylistic systems: 1) in Antiquity there prevailed an “idea of a number” which dealt directly with cosmological harmonia mundi (the leading instruments were plucked string ones – lyre, cithara as well as aulos; 2) in the Middle Ages influenced by the ideas of Antiquity the Christian idea of Divine Universe was prevailing, and performing culture-bearers were anonymous choristers performing Gregorian chants and their first adaptations; 3) Renaissance period with its idea of humanization of art puts a focus on the image of a virtuoso creator that combines the roles of a performer and a composer (the leading instruments here are organ and clavier in combination with voices and bowed string instruments); 4) Baroque period with its cult of theory of affects is notable for the image of a virtuoso performer that combined in-depth knowledge and high-class technique (the range of instrumental timbres was being expanded significantly – up to the usage of most instruments of then-orchestra with the focus on bowed string instruments as well as some brass ones – flute, trumpet, oboe); 5) Classicism which replaced Baroque clearly differentiated composers and performers giving a strong preference to the first ones (there could be observed a variety of performance specializations from the point of instruments: traditional bowed string instruments and a clavier were enriched with both woodwinds and brass winds). In the era of Romanticism, there can be observed a new synthesis of composer’s and performer’s intentions in the creation and representation of musical compositions of various genres and forms, compliant with the Baroque era to some extent. The style of “creative virtuosos” was formed, and it replaced the style of “playing creators” (according to N. Zhaivoronok), which constitutes the main (epochal) division in the formation and evolution of the virtus phenomenon in music: it becomes universal and can reveal itself in three versions – composer’s, performing, and mixed. The latter one includes two styles, distinguished by the emphasis on the components – composer-performer or performer-composer style (according to V. Tkachenko). As for music of the most recent period (XX – the beginning of XXI century) with its stylistic pluralism, it does not feature complicated intertwining of all variants of the phenomenon virtus that needs to be dealt with separately in terms of individual styles – composer’s and performer’s as well as their combination.
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Demchenko, Alexander I. "The Musical Oeuvres of Aram Khachaturian." ICONI, no. 3 (2020): 122–36. http://dx.doi.org/10.33779/2658-4824.2020.3.122-136.
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The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky and Dmitri Shostakovich. This series is continued with a lecture about Aram Khachaturian’s music. After a general characterization of his musical legacy (in the preamble), the respective sections of the fi rst part of the lecture (the trajectory of the artistic path, “The Feast of Music”) examines the foundational principles of the composer’s bright individual style and evaluates the signifi cance of his contribution to the treasury of Russian art of the mid-20th century. During the exposition of the lecture fragments of his musical compositions will be offered for analysis, in their sum giving a perspective of the most substantial aspects of Khachaturian’s musical legacy.
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Kyzeubay, A. U., and K. K. Amirkhanov. "Poetic and musicl-structured features of national singing in the songs by the composer M. Eginbaev." Pedagogy and Psychology 43, no. 2 (June 6, 2021): 230–34. http://dx.doi.org/10.51889/2020-2.2077-6861.31.
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This work was carried out as part of the science project «Performing art of Kazakhstan: the national style, traditions and role in the society transformation», No. AR 05135997. The article is intended to identify national poetic and musical structures in the songs of the composer M. Eginbaev. Using the analytical approach of structural methodology, the authors focus on the study of three popular songs of the composer: “Ush Arys”, “Sen Desem”, “Sagynysh nazy”, the subject of studies of which are mainly their structural features. The analysis shows that the formation of the compositional style was mainly influenced by the folk composers and folk songs of the Arka region
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Kruglova, M. G. "Romantic Style in American Music and Its Place in Courses of Disciplines of Universities of Culture and Art." Uchenye Zapiski RGSU 19, no. 4 (December 29, 2020): 220–27. http://dx.doi.org/10.17922/2071-5323-2020-19-4-220-227.
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in the development of American music of the 19th century, researchers find stylistic trends in romanticism. During this period, the characteristic features of national musical thinking and the features of the composer’s work of US composers manifest themselves. A similar thing was observed in European music of the same century: the Polish national composer school was formed in Chopin’s works, Liszt embodied the features of Hungarian music, Grieg – Norwegian, etc. Since the beginning of the 19th century, American composers have been passionate about European romantic trends, but at the same time they have gone and developed along their special path. The influence of Schubert, Schumann, Mendelssohn is felt in the works of American composers of the mid-19th century, in the literature of the USA romanticism manifested itself much earlier, and its development was peculiar and special due to the ethnic and historical development of the country. However, all these most important historical pages still remain almost without the attention of scholars, researchers, and are also absent from the courses of music history not only colleges, but also universities of art culture. In this work, an attempt is made to outline ways to master the artistic and creative experience of composers of the USA of the 19th century in the process of studying professional disciplines by students of universities of culture and art and at the same time enriching the scientific experience of musicology with new discoveries in the field of American romantic music.
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Androsova, D. V. "Modern methods of the style approach to the phenomena of musical creativity and performing." Educational Dimension 26 (December 14, 2009): 3–11. http://dx.doi.org/10.31812/educdim.6982.
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Bevz, Maryna. "Composer Valentyn Borysov. Symphony of life." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 27–41. http://dx.doi.org/10.34064/khnum2-23.02.
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Background. The aim of the article is examination and presentation of Valentyn Borysov’s creative life, who was a celebrated Ukrainian composer (1901–1988), a classic of Kharkiv composition school, author of vivid and profound works in such spheres as symphonic, choral, chamber, vocal and piano music; his 120th anniversary in 2021 will be a big milestone for artistic community of Ukraine. Valentyn Borysov’s creativity is an indispensable part of national music, one of its treasures. He belonged to artists who had defined ways of development of Ukrainian professional music in XX century. In his creative outcome we can see influences of numerous artistic tendencies, characteristic for extremely controversial, but also prolific epoch. Composer being a part of quite ambivalent period of Ukraine’s cultural history conditioned usage of diverse research approaches; his works are regarded both in the light of existing musical traditions and on the background of his contemporary cultural environment. This is the novelty of the study. Integrity of presentation of Valentyn Borysov’s creative life is supported by the fact that this article considers his pedagogical activity in his alma mater, nowadays Kharkiv I. P. Kotlyarevsky National University of Arts, which resulted in bringing up a constellation of well-known Ukrainian composers, as well as his public and aimed at cultural enlightenment work. Results and conclusions. For V. Borysov, stage of accumulation of professional and personal experience coincided in time with a turning point in development of Ukrainian musical art. In these years composer attended classes of S. S. Bogatyrov, forefather of Kharkiv composition school; he studied alongside with M. Koliada, H. Tumeneva, D. Klebanov, V. Barabashov, M. Tits, who constituted a brilliant generation of Ukrainian composers several decades later. Symphonic and chamber works of this time showed such features of V. Borysov’s creative method as large-scale thought, leaning towards epic and heroic images, skilful usage of advanced composition techniques. At the same time, under the influence of external factors V. Borysov turned to relevant genre of his time, such as mass song and choral music. As early as on the primary stage of his development as a composer, V. Borysov defined Ukrainian folklore as one of the main sources for his inspiration. Folklore component of musical language became one of the prominent features of his style, its presence is conspicuous on each stages of his evolution. Submission of individual to collective, national conditioned V. Borysov’s interest to monumental forms of symphony, oratorio, cantata, poem, defined their leading role through late style of composer’s creativity. Unique combination of already existing aesthetic premises, high level of moral imperative, relevance of musical language created phenomenon of “V. Borysov’s late style”. The article regards the most original works, which were received very well by the contemporaries: “Divertissement” for symphonic orchestra, “Music for strings”, concert compositions for piano, violin, viola, sets of piano miniatures, composed on late period (70s–80s). Singularity of musical language in these works is created by the fact that V. Borysov succeeded to create a unique mixture of folklore tradition with “sonic field” of avantgarde musical art; with this musical language incredibly relevant, “eternal” problems of existence are embodied. This article was inspired by a desire to draw attention to V. Borysov’s legacy, to revive profound and immensely talented works of the composer, to enrich culture of modernity with them, to remind people of XXI century about such a treasure, that his works are.
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Buchok, L. V. "Pianoforte compositions “Etude” by D. Zador and “Impromptu” by I. Marton in the context of the problem of analysis and interpretation of the creative idea." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 113–26. http://dx.doi.org/10.34064/khnum2-13.09.
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Background. In the time of Ukraine’s state independence, the interest of scholars in reproduction of a coherent historically formed image of regional cultures arose. The thing is, that almost throughout the twentieth century the priority issue was that the term «international» was considered as «assimilated». However, in the second half of the 20th century signifi cant processes took place in Transcarpathia, which manifested the formation of a professional Transcarpathian composer’s school – a movement led by Dezyderiy Zador and picked up by other composers, in particular Ishtvan Marton. In particular, the interest of Transcarpathian composers in piano compositions is of considerable interest as one of the segments of the European professional tradition: on the one hand, it is a testimony to the higher level of professional training and the practice of possession of classical experience; on the other hand, a geographically designated vector of stylistic modelling in the context of the intonational fund and the semantic fi eld of the European academic piano music in its inextricable connection with historically contemporary European-style stylistic phenomena. In its turn, the style shaping initiatives of the Transcarpathian composers of the second half of the 20th century caused signifi cant changes in their theoretical understanding – in accordance with the change of the mental paradigm of artistic creativity from the classical to the post-classical, when the method of tracing “style features” (the initial model of the formation of the method of style analysis) can no longer clarify the essence of the author’s concepts and requires orientation to methodologically predetermined transformations in the basis of the theory of style (for example, the human-dimensional nature of style). The problem, therefore, is that, on the example of selectively taken piano compositions of Transcarpathian composers of the period of the second half of the 20th century to present methodologically updated position of their stylistic analysis and executable interpretation – in view of the achievements of musicological thought at the border of the 20th – 21st centuries concerning the interpretation of stylistic phenomena of the modern age as a certain innovation project and its development in the conditions of post-traditional professionalism. Thus, today the task is to expand the perceptions of the piano creativity of the composers of Transcarpathia in the context of the whole 20th century, which includes the phases of modernism, modernism and avant-garde, united by the idea of the ultimate autonomy of the style. The scientifi c novelty of the conducted research is the broadening of the ideas of the pianoforte art of the Transcarpathian composers in the context of the intonation fund and the semantic fi eld of the European academic piano music of the whole 20th century, which contains the phases of modern, modernism and avant-garde, united by the intention of extreme style autonomy. Objectives. The purpose of the work is to comprehend the specifi cs of the analytical elaboration and performer’s interpretation of the «Etude» by D. Zador and «Impromptu » by I. Marton as such that, given the characteristic of the Transcarpathian region, the priority of choral compositions in the fi rst half of the 20th century testifi es to the formation of the original style initiatives, namely instrumental, in particular piano music in the middle of the twentieth century. Methods. The comparative, phenomenological and functional methods of research are used, which in aggregate gav e an opportunity to relate to the realities of the development of the national (Ukrainian) musicology, to reveal the world-view specifi cs and the vectors of individual stylistic modeling in the pianoforte art of Transcarpathian composers of the middle of the twentieth century, to provide knowledge of the semantic structure of the studied musical works. Results. It has been found out that on the background of changes in the mental paradigm of musical creativity from classical to post-classical, the analysis and interpretation of real musical text requires its semantic decoding in the intention of an accurate explanation of the idea and the intention of a particular musical work. However, as it has been established, there is an urgent need to focus on the immanent property of the semantic structure of innovative musical «projects», which exactly in the second half of the 20th century mostly show heterogeneity of style modelling – in the version of the active associative of correspondence range in the space of historical styles. This will provide an opportunity to eliminate the disadvantages of the formal-logical analysis method, which usually provokes the establishment and description of purely stylistic values of the real musical text without attempts at their fi gurative and semantic interpretation, and even provides an approximate summary of the analysis data at the level of the creative idea and the composer’s plan. It is proved that «Etude» с-moll of Dezyderiy Zador is a brightly modern (secessionist) stylistic model based on the characteristic of post-romanticism author’s stylization of historically known stylistic systems, and at the same time it has a distinctly individual, characteristic image concept, whose dynamic structure is determined by dramatic (semantic) perspective of the inclusion of various sorts of allusions and reminiscences concerning the manner of piano music; in turn, «Impromptu» by I. Marton is an example of mastering modernist trends with their expressionist (pathologized) expression of their perception of themselves in a spiritually declined world, when the declamative articulation of sound forms and their crystalline fragility, which are intended to recreate the ratio of the vulnerability of the alienated subject and inexorably terrible destructive power from the outside. Instead, it has been observed that not always the performers of the mentioned works read their idea and decode the image system. In general, this indicates an inability to adequately respond to styling in the version of the neo-stylistic formation (neo-romanticism, neoclassicism, etc.) – when the attachment of auditory experience to a historically known style (like manners – romantic, classical, etc.) tends to subconsciously ignore the transition to a hierarchical level of renewal (neo – renewed) by introducing innovations (sonorism, abstractly tuned block model of themes etc.) and the search for a stylistic centre of gravity using the allusion way of style development (allusion as the kind of indirect quoting) that ensures the existence of the concept of the so-called mixed style. Conclusions. The comprehension of the stylistic character of the creative ideas and intentions of piano art of Transcarpathian composers of the second half of the 20th century based on methods of semantic decoding of the real notations is heuristically productive for their hermeneutic reception – in order to maximize the probable approximation to the essence and concept of a musical composition and its adequate (meaningful) reproduction by the performers.
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Pompe, Gregor. "Slovenian Music in the First Decade after the Second World War – In Search of Socialist Realism." Musicological Annual 54, no. 2 (November 15, 2018): 187–208. http://dx.doi.org/10.4312/mz.54.2.187-208.
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After the Second World War, Slovenia became a part of socialist Yugoslavia, which, following the example of the Soviet Union, scrutinised art from an ideological perspective. Previous studies of the influence of the new social system on Slovenian music have not discovered any distinct and direct political interventions in musical life, so it is reasonable to enquire whether such influences can be identified in the works of Slovenian composers from the first decade after the end of the Second World War. It turns out that demands and solutions were rather ambivalent and arbitrary; some composers, particularly those who continued traditional musical expression, did not adapt their aesthetic principles, while a change in style is observed especially in those composers who had endorsed the new music before the war.
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Demchenko, Alexander I. "The Musical Oeuvres of Georgy Sviridov." ICONI, no. 4 (2020): 153–70. http://dx.doi.org/10.33779/2658-4824.2020.4.153-170.
Full textAbstract:
The previous issues of the journal featured publications of lectures about such outstanding 20th century Russian composers as Sergei Rachmaninoff, Igor Stravinsky, Sergei Prokofi ev, Nikolai Myaskovsky, Dmitri Shostakovich and Aram Khachaturian. This series is continued with a lecture about the music of Georgy Sviridov. After a general characterization of his musical legacy (in the preamble), the respective sections of the fi rst part of the lecture (The Musical Oeuvres of Sviridov in the Mid-20th Century, The Musical Oeuvres of Sviridov in the 1960s and 1970s, the Late Oeuvres of Sviridov) examines the foundational principles of the composer’s vivid individual style and evaluates the signifi cance of his contribution to the treasury of Russian art of the middle and second half of the 20th century. During the exposition of the lecture fragments of his musical compositions are presented for analysis in performances recommended by the author, in their sum, providing a perspective of the most substantial aspects of Sviridov’s musical legacy.
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Darie, Laurenţiu. "German Musical Baroque, a mini European Union avant la lettre: the bassoon concerto." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 187–95. http://dx.doi.org/10.2478/ajm-2021-0010.
Full textAbstract:
Abstract The German musical Baroque represents a sum of stylistic diversities, in which the European cultural values were merged with the national ones, resulting in a strongly individualized, but malleable style. The works dedicated to the bassoon by German composers are living evidence of aesthetic unity in the Baroque stylistic diversity, emphasizing the universality of music and its cohesive force. The analyzed concertos approach the aesthetics of each composer, through his relationship with Italian and French music, personalized in an expressive form of the German type: robust, in a clear, dynamic solid structure.