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1
TCHAROS, STEFANIE. "The Serenata in Early 18th––Century Rome: Sight, Sound, Ritual, and the Signification of Meaning." Journal of Musicology 23, no. 4 (2006): 528–68. http://dx.doi.org/10.1525/jm.2006.23.4.528.
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ABSTRACT By the turn of the 18th century serenatas performed in Rome's urban squares as political or dynastic propaganda were a well-established ritual. In this public forum the effect of sound produced by large instrumental forces was a central feature, yet the serenata was a complex performance in which music was but one element in a series of other displays. Though undoubtedly an important part of the serenata, music's role in this multifaceted performance and its effect on audiences remain unclear. Part of that ambiguity stems from the serenata's ability to service both public and private consumption. Patrons exploited this dual nature, using the more spectacular elements of the serenata to influence the public at large, while also relying on other elements (primarily word and sound) to sway elite audiences. In the context of Rome and its dynastic politics, Giacomo Buonaccorsi's and Pietro Paolo Bencini's serenata Le gare festive in applauso alla Real Casa di Francia (1704) demonstrates how the serenata's dichotomous structures and multiplicity of meaning were deeply linked to larger cultural frameworks and social tensions——in this case, brewing over the War of Spanish Succession. The serenata was both a musical work and a performed event effectively shaped by the genre's ritual practice and by history and politics in late 17th- and early 18th-century Rome. The logic of the serenata's ritual practice shows significant correspondences to the genre's narrative strategies. Within the serenata, allegory served as the catalyst to express layers of meaning to diverse audiences. But more than that, allegory provided the means by which music was contained and its delivery marked. For public audiences, sound was as much visual as it was aural, an immediate and palpable special effect. For privileged listeners, music required reflection as to how spectacular effects acquired deeper meaning when anchored in the significance of the poetic text. Thus music in the serenata was not merely an element in a multifaceted performance but was multidimensional in itself, uniquely straddling both sides of the public/private divide.
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Pastukhov, Oleksandr. "Bassoon in the 16–17 centuries: the issues of the bassoon practice development." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 139–50. http://dx.doi.org/10.34064/khnum2-19.08.
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Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.
3
Lionnet, Jean. "Performance practice in the Papal Chapel during the 17th century." Early Music XV, no. 1 (February 1987): 3–15. http://dx.doi.org/10.1093/earlyj/xv.1.3.
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Moufarrej, Guilnard. "Maronite Music: History, Transmission, and Performance Practice." Review of Middle East Studies 44, no. 2 (2010): 196–215. http://dx.doi.org/10.1017/s2151348100001518.
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This essay discusses the music of the Maronite Church, a Christian church based in Lebanon. It provides an overview of the chants used in religious services and examines their transmission and performance practice. The Maronites have always faced challenges to maintain their identity and preserve their heritage while adapting to their cultural milieu. Their religious music reflects the dichotomy between safeguarding tradition and accepting contemporary trends. Since the late nineteenth century, Maronites looking for better opportunities and political freedom have increasingly immigrated to the New World, where they face new challenges to preserving their religious identity while assimilating to the culture of their new homeland. Therefore, this essay reaches beyond the traditional geographic boundaries of the Maronite Church in Lebanon to examine issues in the transmission of Maronite music in the diaspora.
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Gouk, Penelope. "Performance practice: music, medicine and natural philosophy in Interregnum Oxford." British Journal for the History of Science 29, no. 3 (September 1996): 257–88. http://dx.doi.org/10.1017/s0007087400034464.
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A generation or so ago, scholarly discussion about the creation of new scientific knowledge in seventeenth-century England was often framed in terms of the respective contributions of scholars and practitioners, the effects of their training and background, the relative importance of the universities compared with London, and of the role of external and internal factors, and so forth. These discourses have now largely been put aside in favour of those emphasizing spatial metaphors and models, which are recognized as powerful conceptual tools for representing the dynamics of complex systems. The role that geographies play in the fostering of creativity and innovation in human systems at both the social and cognitive levels is a subject that is attracting widespread interest.
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Pradhan, Aneesh. "Perspectives on performance practice: Hindustani music in nineteenth and twentieth century Bombay (Mumbai)." South Asia: Journal of South Asian Studies 27, no. 3 (December 2004): 339–58. http://dx.doi.org/10.1080/1479027042000327165.
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Monod, David. "DOUBLE-VOICED: MUSIC, GENDER, AND NATURE IN PERFORMANCE." Journal of the Gilded Age and Progressive Era 14, no. 2 (April 2015): 173–93. http://dx.doi.org/10.1017/s1537781414000784.
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AbstractDouble-voiced singing was a popular form of variety show entertainment from the 1860s through to the 1920s. Double-voiced performers were able, through intonation and tone, to sound as though they had at least two separate and distinct “voices,” generally one soprano and one baritone. But as Claire Rochester, a double-voiced singer of the early twentieth century made clear, their act was more than just a matter of a woman singing low notes or a man singing high ones; it was all about a performer adopting the “voice” of the other sex. The unusual practice of these singers was to sing duets (and sometimes as much as quartets) to themselves and by themselves, flipping back and forth between their male to female “voices.” I place this strange form of entertainment in the context of changing attitudes to gender and sexuality and suggests that conventional interpretations of “freak” performances as “transgressive” fail to account for these vocal wonders. Double-voiced singers shunned the “transgressive” billing, especially when their own sexual identity was called into question. In making this argument, I suggest that we need to widen our understanding of “freakery,” imposture and the meaning of “nature” and “truth,” as they were revealed both on stage and off.
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BELET, BRIAN. "Live performance interaction for humans and machines in the early twenty-first century: one composer's aesthetics for composition and performance practice." Organised Sound 8, no. 3 (December 2003): 305–12. http://dx.doi.org/10.1017/s1355771803000281.
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Technology influences all art, and therefore all music, including composition, performance and listening. It always has, and it always will. For example, technical developments in materials, mechanics and manufacturing were important factors that permitted the piano to supersede the harpsichord as the primary concert Western keyboard instrument by about 1800. And with each new technical development new performance issues have been introduced. Piano performance technique is quite different from harpsichord technique, and composers responded to these differences with new music ideas and gestures. The multiple relationships between technology and composer and performer are dynamic and of paramount importance to each party. And a true consideration of any aspect of music requires that all three areas be examined. This has always been a part of music, and so these relationships are inherently important within computer music. The difference is that electronic technology has caused a fundamental change for all aspects of music, a difference that is as pivotal in the history of Western music as was the shift from oral to written preservation of music over a thousand years ago, and then also the accessibility provided by printed music five hundred years ago. In computer music, all parties are always acutely aware of the presence and influence of machine technology in both the visual and audible realms.
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Clarke, Martin V. "The Illingworth Moor Singers' Book: A Snapshot of Methodist Music in the Early Nineteenth Century." Nineteenth-Century Music Review 7, no. 1 (June 2010): 81–103. http://dx.doi.org/10.1017/s1479409800001154.
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Congregational song occupies a central place in the history of Methodism and offers an insight into the theological, doctrinal, cultural and educational principles and practices of the movement. The repertoire, performance styles and musical preferences in evidence across Methodism at different points in its history reflect the historical influences that shaped it, the frequent tensions that emerged between local practices and the movement's hierarchy and the disputes that led to a proliferation of breakaway groups during the nineteenth century. The focus of this article will be the implicit tension between the evidence of local practice contained within the Illingworth Moor Singers' Book, which forms part of the archives at Mount Zion Methodist Church and Heritage Centre, near Halifax, UK, and the repertoire and performance practice advocated by John Wesley in the latter part of the eighteenth century. While the study of a single, locally produced collection cannot be regarded as representative of wider practices, it is nonetheless useful in highlighting the need for a more nuanced approach to the history of Methodist music, which takes account of local circumstances and practices.
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Kościukiewicz, Jakub. "Cello in the Baroque, part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.
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The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.
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Weber, William. "The Eighteenth-Century Origins of the Musical Canon." Journal of the Royal Musical Association 114, no. 1 (1989): 6–17. http://dx.doi.org/10.1093/jrma/114.1.6.
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Joseph Kerman has suggested a distinction crucial in defining the meaning of ‘canon’ in musical culture: repertory, he argues, was simply the performance of old works; canon, by contrast, is their reverence on a critical plane and in a literary context. The distinction is a fertile one, for it challenges us to define when works were not just offered by convention, but when they functioned as models for musical taste critically and aesthetically. The distinction can be extremely fruitful in tracing the early history of the canon – its origins in repertory and gradual evolution into its modern form. What I would like to show here is how repertories grew up originally without true status as canon; before canon there was repertory, and that is where the whole tradition began. In inquiring just where the modern practice of performing old music regularly came about we can look into some of the most fundamental social and intellectual bases upon which the tradition was established.
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Green, Emily H. "How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century." Journal of the American Musicological Society 73, no. 2 (2020): 267–325. http://dx.doi.org/10.1525/jams.2020.73.2.267.
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Written in the form and style of the popular “novel of circulation” (or “it-narrative”), this article examines and provides an experience of the performance practices of eighteenth-century amateur music. It tells the typically complex history of a minor hit, “Come Haste to the Wedding,” a tune that was sung in a 1760s Drury Lane pantomime, rewritten as a rondeau for London publishers, danced as a jig in Irish and Scottish halls, transcribed as a fiddle tune by a captain in the Continental Army, circulated as a flute or guitar melody as far abroad as Calcutta, and collected by a young loyalist in Charleston, South Carolina. I argue that common to all these versions—and among many similar and neglected amateur genres, including sectional variation sets and dance collections—was the practice of desultory reading. The term “desultory” itself comes from the period, and the practice suggested here extrapolates from evidence of readers' experience of approaching literature and periodicals out of order. Many musical texts asked readers to skip between pages and sections, rondeaux chief among them but also instructional treatises. Some of those same treatises, by C. P. E. Bach (1753–62) and Quantz (1752), hint at desultory reading in subtle admonitions. Through a lively engagement with period style, this article outlines a new definition of music reading informed by eighteenth-century language and practical context, a definition attuned to the ocular and physical habits of the era's most plentiful practitioners: domestic performers of domestic music.
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Varelli, Giovanni. "TWO NEWLY DISCOVERED TENTH-CENTURY ORGANA." Early Music History 32 (2013): 277–315. http://dx.doi.org/10.1017/s0261127913000053.
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In the tenth century, when the earliest chant books were being compiled in the heart of the Carolingian Empire and polyphonic music was entering the realm of theoretical speculation in the anonymous writings of Musica enchiriadis and Scolica enchiriadis, organa were also being notated for performance outside music treatises. We would not know this, were it not for a two-voice organum on an antiphon for Saint Boniface written in the first decades of the tenth century on the last page of a long-neglected manuscript, now in the British Library. A second notated antiphon, Rex caelestium terrestrium, provides elements for a reconstruction of a further, ‘hidden’, organum. These newly identified organa shed light on a significant phase in Western music history, being the sole evidence from the tenth century of a polyphonic practice before the great eleventh-century collection of organa from Winchester.
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BOARO, ERIC. "EVIDENCE OF THE PRACTICAL APPLICATION OF SOLFEGGIO PATTERNS IN THE MANUSCRIPT FOR THE 1707 NEAPOLITAN PERFORMANCE OF LA FEDE TRADITA E VENDICATA BY GASPARINI AND VIGNOLA." Eighteenth Century Music 18, no. 1 (February 5, 2021): 171–84. http://dx.doi.org/10.1017/s1478570620000421.
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The last two decades have seen the opening of several new paths in eighteenth-century musicology, and Robert O. Gjerdingen has opened one of these: schema theory. Schemata are ‘stock musical phrases employed in conventional sequences’ that function as harmonic, melodic and rhythmic frameworks for musical passages. Evidence of such schematic thinking has emerged through related studies on partimento and solfeggio. Solfeggio practice of the time manifests a schematic way of thinking about music, being mostly based on simple hexachordal patterns which, as studies progressed, could be embellished in different ways. Vasili Byros has addressed the ‘archaeology’ of hearing through reception history, and offered strong evidence that eighteenth-century ears did hear schemata. Interweaving corpus studies on music of the long eighteenth century (1720–1840), contemporary music criticism and reception history, as well as didactic documents from that era, Byros sheds new light on the ways in which schemata were perceived at the time. A recent contribution by Gilad Rabinovitch uses a live improvisation in the style of Mozart by Robert Levin to demonstrate the importance of conventional schemata for historical improvisation.
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Eisen, Cliff, and W. Dean Sutcliffe. "EDITORIAL." Eighteenth Century Music 1, no. 1 (March 2004): 3. http://dx.doi.org/10.1017/s1478570604000090.
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Why Eighteenth-Century Music? Thirty years ago, eighteenth-century music research represented a scholarly vanguard: the field was at the forefront in source studies, in performance practice, in investigating local music history and even in its willingness to think critically about the ways it had defined itself historically. These successes were in no small part responsible for a fundamental shift in musicological studies, even if this shift, fed by methodologies derived from literary and critical theory, was more apparent in writings on nineteenth-century music. Perhaps the field of eighteenth-century music studies was slow to reposition itself in this new intellectual environment. Or perhaps there was a feeling that this music ‘could look after itself’, that it is the common property of all musicologists. Whatever the reason, research into music of the eighteenth century was eclipsed in terms of the number of publications, conferences and doctoral dissertations.
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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)." Musical art in the educological discourse, no. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.
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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.
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Калицкий, V. Kalitskiy, Диденко, and N. Didenko. "Musical Communication: Problems of Theory and Practice." Modern Communication Studies 3, no. 4 (August 15, 2014): 10–16. http://dx.doi.org/10.12737/5396.
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The article considers the concept of musical communication as the content
of music and performing practice. Phenomenon of existence of a musical
work in miscommunication relationships. Reveals the importance of
an integrated approach for the most successful performance of a musical
work. The need detailed consideration of the phenomenon of musical communication
serves to update through a review and analysis as a means
of Humanities and art history. The essence and specific features of the
phenomenon are projected on specific examples of music: in the process
of composing musical works of the composer, his artistic interpretation by
the contractor and multifaceted perception of the recipient. The authors of
this article, with special emphasis on musical practice of the twentieth century
(especially in the field of writing and interpretation of piano works by
russian and western european composers and performers), allowing most
adequately and fully disclose material provisions of musical communication.
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Pilch, Marek. "Harpsichord or piano? Different concepts in the 18th century keyboard music." Notes Muzyczny 1, no. 9 (June 20, 2018): 65–87. http://dx.doi.org/10.5604/01.3001.0012.9899.
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The article touches on the problem musicians come across while referring to compositions without a specified instrument they were meant for. This problem is particularly noticeable in the harpsichord music from the end of the 18th century when there were numerous keyboard instruments. Some of them, so to say, were at the end of their career (harpsichord, clavichord), others only at the beginning (piano). The author of the article is primarily interested in the dependency between the piano and the harpsichord, so he asks himself whether keyboard music from the Classical period can still be part of the harpsichord repertoire and to what degree harpsichord performances of Classical compositions can be justified in performance practice. The problem is discussed especially in reference to music by W.A. Mozart. The article presents the history of views on the possibility of Mozart’s works to be performed on historical instruments. It also provides the most up-to-date information on the position of the harpsichord at the end of the 18th century. The last part of the article discusses this instrument’s role in the creative output of W.A. Mozart. It is mainly based on the latest knowledge Siegbert Rampe acquired in recent years.
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Born, Georgina. "For a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn." Journal of the Royal Musical Association 135, no. 2 (2010): 205–43. http://dx.doi.org/10.1080/02690403.2010.506265.
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What would contemporary music scholarship look like if it was no longer imprinted with the disciplinary assumptions, boundaries and divisions inherited from the last century? This article proposes that a generative model for future music studies would take the form of a relational musicology. The model is drawn from the author's work; but signs of an incipient relational musicology are found scattered across recent research in musicology, ethnomusicology, and jazz and popular music studies. In support of such a development, the article calls for a reconfiguration of the boundaries between the subdisciplines of music study – notably musicology, ethnomusicology, music sociology and popular music studies – so as to render problematic the music/social opposition and achieve a new interdisciplinary settlement, one that launches the study of music onto new epistemological and ontological terrain. In proposing this direction, the article points to the limits of the vision of interdisciplinarity in music research that is more often articulated, one that – in the guise of a turn to practice or performance – sutures together the historically inclined, humanities model of musicology with the micro-social, musicologically inclined aspects of ethnomusicology. The article suggests, moreover, that this vision obscures other sources of renewal in music scholarship: those deriving from anthropology, social theory and history, and how they infuse the recent work gathered under the rubric of a relational musicology. As an alternative to the practice turn, a future direction is proposed that entails an expanded analytics of the social, cultural, material and temporal in music. The last part of the article takes the comparativist dimension of a relational musicology to four topics: questions of the social, technology, temporality and ontology.
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Ronyak, Jennifer. "Schubert’s “Ständchen” in the Voice of the Cinematic Amateur." 19th-Century Music 42, no. 3 (2019): 157–83. http://dx.doi.org/10.1525/ncm.2019.42.3.157.
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Scholars who have analyzed performances of Schubert’s Lieder have generally focused on the voices of masterful professionals, whether looking at performances before or during the age of sound recordings. This tendency overlooks one historically important group of performers: the amateurs who made up the broad marketplace for the genre during Schubert’s lifetime and throughout the nineteenth century. Studying this group of performers with any level of aesthetic particularity is, however, difficult: documentary evidence of particular singers in this group in the nineteenth century and even the early twentieth is scarce. Yet as the real-life practice of the amateur singing of Schubert’s Lieder in the home gradually dwindled after the nineteenth century, fictional representations of this nineteenth-century practice began to appear in period sound films across the twentieth. While not a substitute for documentary evidence of real practices, this film phenomenon meaningfully engages with nineteenth-century cultural history, literary sources, and musical practices through presentist conventions and concerns. Such films thus offer a vehicle through which to think about continuity and change in the relationship between Schubert’s song and the figure of the amateur in the nineteenth century, the twentieth century, and today. This article analyzes three period film scenes involving nineteenth-century “amateur” performances of Schubert’s “Ständchen” (Schwanengesang, D. 957, no. 4). It does so in order to think about the combined aesthetic and social ramifications of the figure of the amateur in relationship to Schubert’s Lieder. I look at scenes in the following three films: the operetta-influenced Schubert picture Leise flehen meine Lieder (1933), in which operetta star Mártha Eggerth sings as the Countess Esterházy, the classic novel adaptation Jane Eyre (1934), in which Virginia Bruce sings as the titular character, and a newly written piece of “governess fiction,” The Governess (1998), in which Minnie Driver performs the song as said governess. None of these scenes offers unmediated or simple access to amateurism. Instead, in each scene, a professional, twentieth-century celebrity woman movie star both sings and otherwise portrays the nineteenth-century amateur musician and character onscreen. Keeping this tension in mind, I explore how this contradiction and other elements in each scene would have and can still provide audiences opportunities to think about the relationship between amateurism and Schubert’s most popular songs. In so doing, I explore the term “amateur” in a number of overlapping senses that embrace positive and, to a lesser extent, pejorative meanings. My analysis ultimately shows how these three diverse film stagings valorize the figure and, indeed, the voice of the amateur in relationship to Schubert’s music. These conclusions have implications regarding Schubert’s songs and successful modes of performance that might attend them.
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SLOMINSKI, TES. "Policing Space and Defying the Mainstream: Gender and the Creation of a Traditional Music Public Sphere in Twentieth-Century Ireland." Yearbook for Traditional Music 51 (November 2019): 247–68. http://dx.doi.org/10.1017/ytm.2019.11.
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Whether in Ireland or elsewhere, most people first encounter Irish traditional music in public spaces such as pub sessions or concerts, or through the recorded traces of music-making produced for a listening public.1 For those who become more involved in the scene as players, dancers, or avid listeners, festivals, schools, non-profit organisations, archives, and other instruments of the public sphere of Irish traditional music shape perceptions of the genre’s style, history, and participants. But while public and semi-public music-making has been a vital part of the transnational Irish traditional music scene for at least a century, the genre’s self-understanding still relies on its associations with a domestic, private past. In this article, I locate the roots of this contradiction in the historiographical problems presented by the 1935 Public Dance Halls Act—a piece of legislation that has had profound effects on musical practice and discourse in Ireland.2 I examine the ways this law and the frequent retrospective overemphasis of its effects have contributed to the idealisation of Irish traditional music as rooted in a domestic, rural, and lower-class past. Combined with social and governmental restrictions on the activities of women during most of the twentieth century, this alignment of domesticity with imagined “authenticity” has shaped the reception of women’s public Irish traditional musical performance in the twentieth and twenty-first centuries.
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Cherkasov, Vladimir. "Number 13 / Part I. Music. 8. The Development of Music-Pedagogical Education of Ukraine in The 60's –70-ies of The XX Century." Review of Artistic Education 13, no. 1 (March 1, 2017): 66–78. http://dx.doi.org/10.1515/rae-2017-0008.
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Abstract The article has analyzed and systematized the development of musical-pedagogical education in Ukraine in the 60's -70-ies of XX century. It has summarized the experience of training of specialists with higher musical-pedagogical education at the faculties of Humanities, where the 50's - 60's graduates received diplomas of philologists, historians, geographers with additional qualification of a teacher of music and singing. It has also been grounded the establishment of the first musical-pedagogical faculties at educational institutions in different regions of Ukraine (Kyiv, Luhansk, Drohobych, Odesa, Zaporozhia). Having based on the analysis of the archival documents it has been revealed the main directions of the formation of teaching staff of specialized departments, organization of the educational process, creation of the art groups, participation of students in research work, teaching practice at secondary schools. It has been proved the importance of concert performance and musical educational work in the pedagogical formation of prospective teachers of music and singing. Their role in raising the level of musical and aesthetic education of children and youth in the 60's of last century has been proved. The 70‟s years of the twentieth century of the history of Ukraine are known as the years of corresponding changes in the socio-political processes, "thaw" in all spheres of life, particularly in the organization of higher education activity. This period of musical-pedagogical education is characterized by democratization and the search for more advanced forms of the educational-upbringing process.
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Gribenski, Fanny. "Nature's “Disturbing Influence”: Sound and Temperature in the Age of Empire." 19th-Century Music 45, no. 1 (2021): 23–36. http://dx.doi.org/10.1525/ncm.2021.45.1.23.
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Today, knowledge concerning the relationship between temperature and musical pitch shapes many dimensions of Western musical practice, from the ambient conditions of performance sites to the design of musical instruments, and performers’ routines and techniques. But the history of how temperature came to play such a defining role in musical cultures remains unexamined. This article lays the foundations for such work by approaching musical instruments as sites of negotiation between acousticians, instrument makers, and players on the one hand, and music's variegated environments on the other. First, the article shows that the conceptualization of pitch in relation to temperature was a by-product of nineteenth-century international negotiations over musical standardization. These debates reveal that, while assessing the relation between pitch and temperature may seem like a decisive step toward the regulation of musical frequencies, in fact it was the source of countless epistemological and sociopolitical problems. Next, the article turns to David J. Blaikley, a British maker of wind instruments, whose experiments on the influence of extreme temperature variations on army-band instruments revealed the limits of Western attempts to control sound on a global scale, including in colonial contexts. Finally, I trace the implications of this new awareness of the interplay between sound and the environment to expose the silent ways in which that awareness continued to inform Western musical practice into the 1940s and beyond.
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Bartlett, Alison. "Reading the ‘Gold Coast Symphony’ in Thea Astley’s The Acolyte." Queensland Review 26, no. 2 (December 2019): 232–44. http://dx.doi.org/10.1017/qre.2019.29.
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AbstractThea Astley is a figure who is strongly associated with music, both in her life interests and in her writing rhythms and allusions; this article investigates the uses of music in her 1972 novel The Acolyte. Drawing on a recent genre of critical musicology that understands music to be a social practice, The Acolyte is read in relation to mid-twentieth-century cultural debates around the development of a distinctive Australian classical music. Centring on the blind pianist turned composer Jack Holberg, The Acolyte is grounded in the Gold Coast hinterland as an inspiring and generative landscape, in contrast with the desolate outback favoured in national mythologies. Holberg’s ‘Gold Coast Symphony’, arguably the turning point of the novel, imaginatively writes this coastal fringe of urban debauchery into the vernacular of classical music through its performance in conservative 1960s Brisbane. In this article, I read The Acolyte as a novel positioned within an Australian musicological history that intersects with the poetics of place, the politics of gender and sexuality, and ongoing national formations through cultural production.
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Wangpaiboonkit, Parkorn. "Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy." Cambridge Opera Journal 32, no. 1 (March 2020): 1–26. http://dx.doi.org/10.1017/s0954586720000099.
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AbstractThis article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women's feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi's criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self-definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d'Irminsul, La donna del lago and Norma demonstrate how singers established the components of masculine-heroic conventions through sensitive consideration of dramaturgy. I stress that the singing voice before 1830 was under-assimilated as an index of gender, and that rethinking the history of the ‘rise of the tenor’ may be crucial to understanding the history of the vocalic body.
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Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.
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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Schütz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).
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Ryan, Patrick J. "A Case Study in the Cultural Origins of a Superpower: Liberal Individualism, American Nationalism, and the Rise of High School Life, A Study of Cleveland's Central and East Technical High Schools, 1890–1918." History of Education Quarterly 45, no. 1 (2005): 66–95. http://dx.doi.org/10.1111/j.1748-5959.2005.tb00027.x.
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At the beginning of the twentieth century about one in twenty American teenagers graduated from high school; by mid century over half of them did so; and today six of seven do. Along with this expansion in graduation, the experiences of high schooling became more significant. Though diversity existed at the school level, by the interwar period most high schools offered courses in “higher” academic subjects (literature, mathematics, and ancient and foreign languages), while they gave large numbers of students a chance to practice music, drama, and other fine arts. Business leaders and educators developed programs in technical-skill training. Courses in household economics, personal hygiene, and sex and reproduction appeared as well. A few schools operated with two shifts: day and night Many maximized their capacity by rotating students between newly constructed gymnasiums, stadiums, fields, swimming pools, showers, cafeterias, laundries, machine shops, laboratories, performance halls, and libraries. Some provided up-to-date diagnostic and preventative medical and psychological services. Others developed vocational guidance. Nearly all established relationships with juvenile justice and youth custody agencies. More than any other institution, the increasingly comprehensive high schools of the twentieth-century redefined the social lives of American youths through teams, clubs, bands, and groups engaged in a long list of contests, games, performances, and other events. Early in the century extracurricular activities began to rival formal class work as the primary focus of secondary schooling. Today there is a joke told from Ohio to Texas, funny for its sad truth. Q: How do you pass a school levy? A: Put football on the chopping-block.
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Blazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.
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The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the historical development of national musical culture in today's extremely topical issue in the context of scientific understanding, particularly by disclosing distinctive features of the national musical performance and in particular instrument. Currently growing interest in issues of history, theory and techniques of instrumental performance has been considered, and study of the evolution of performance traditions due to the diversity of the world's musical instruments has been conducted.The XX century has started a process of recognition of the guitar as a professional instrument and it has integrated into the system of specialized music education. As a result of significantly increased quality guitar performance is becoming more popular palette of guitar music; multidisciplinary academic chamber and instrumental direction began to be classical and jazz guitar techniques.Principles and methods of forming performance skills that have been elaborated by practice of Ukrainian and foreign guitarists can be used for further development of musical training and education of talented youth.
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Knapp, Alexander. "Ashkenazi Pentateuchal Chant: A Sixteenth-Century German-Christian Interpretation." European Journal of Jewish Studies 6, no. 1 (2012): 23–69. http://dx.doi.org/10.1163/187247112x637551.
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Abstract Much attention has been given to the pioneering achievements of the Christian Hebraists of the sixteenth century in transcribing the essential elements of traditional Torah chant into Western musical notation. One of these transcriptions, however, is unique. Johannes Reuchlin’s De Accentibus et Orthographia Linguae Hebraicae of 1518 contains not only the ‘accents of biblical recitation’ themselves, but also a complete four-part harmonization of these tropes by one of Reuchlin’s students, Christoph Schilling, in the German choral style of the period. Although Schilling’s arrangement of the individual accents has been mentioned in passing by numerous scholars, it has never been published in a modern edition, nor applied to the actual practice of chanting biblical texts. In this article, I discuss some of the general background to cantillation, accentuation, and the role of the German Humanists in preserving this oral tradition in written form. Comparisons between sixteenth-century and twentieth-century biblical chant are made in relation to the melodic and harmonic characteristics of Schilling’s notation, and this leads to an assessment of some of the problems concerning the realization of these raw materials for ‘live’ performance. Three short extracts from the Pentateuch are then presented as working examples based upon Schilling’s arrangement. In conclusion, the possible motives and intentions behind this intercultural phenomenon will be considered, as will its significance in the long history of Judeo-Christian syncretism in music.
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Lindmayr-Brandl, Andrea. "THE MODERN INVENTION OF THE ‘TENORLIED’: A HISTORIOGRAPHY OF THE EARLY GERMAN LIED SETTING." Early Music History 32 (2013): 119–77. http://dx.doi.org/10.1017/s026112791300003x.
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The early German lied setting is the musical genre that is considered to be the first polyphonic art form in German music. The genre was revived in the nineteenth century in the context of early nationalism, linked with the idea of ‘Volkslied’. This article traces the evolution of the ‘Tenorlied theory’ in early musicology, featuring prominent figures such as Arnold Schering, Hans Joachim Moser and Heinrich Besseler, and connects it with a specific performance practice that developed simultaneously with the emergence of various amateur musical circles: the Jugendmusikbewegung, the male choir movement, the Hausmusik movement and the Collegium musicum. A fatal period in the history of the early German lied setting led to the politicisation of its repertory in the Third Reich. Ludwig Senfl, a German hero of early times, provides a case study in point. The years after the Second World War were characterised by efforts to standardise the performance practice of the lied as well as the usage of the term ‘Tenorlied’, while still insisting on the German identity of the genre.
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Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.
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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.
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Meloni, Ilaria. "Sindhenan Banyumasan: An Example of Variation and Pluralism of the Javanese Female Singing Tradition." Journal of Urban Society's Arts 8, no. 1 (June 9, 2021): 15–27. http://dx.doi.org/10.24821/jousa.v8i1.5446.
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Sindhenan Banyumasan, meaning the female traditional Javanese singing in the style of Banyumas, represents an interesting “regional variant” of sindhen vocal tradition. Flourished in the court of Surakarta in the 19th century, the sindhen practice has spread rapidly across the centuries, reaching many territories outside the court centers. Deeply connected with the ancient practices of the singer dancers, sindhen styles are still indicative of the local traditions and a testimony of differences and continuity with the formal teaching of central Javanese institutions. Despite the importance of the local variants, existing international studies on sindhenan have mainly focused on the styles of Yogyakarta and Surakarta, often neglecting rural areas, like Banyumas. The aim of this paper is to shed some light on sindhen practice in Banyumas territory; and to investigate its history, performance practice, repertoires, and vocal style. The research outcomes reveal how Banyumas singing tradition has many common traits with Yogyakarta and Surakarta vocal practices, though it maintains some specificities, index of the pluralism of Javanese music and performing arts.
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Rector, Michael. "Historical Trends in Expressive Timing Strategies: Chopin's Etude, Op. 25 no. 1." Empirical Musicology Review 15, no. 3-4 (June 28, 2021): 176–201. http://dx.doi.org/10.18061/emr.v15i3-4.7338.
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Studies of early 20th-century performance practice tend to focus on features that are alien to late 20th- and early 21st-century ears. Empirical analysis of timing in recordings of Chopin's Etude, Op. 25 no. 1—a piece for which performance style has remained relatively static—suggests how some foundational rules of phrasing and expressive nuance have changed over the history of recorded music. Melody note onsets were marked manually in 127 commercial recordings dating from 1909 to 2016. Overall, the data do not show an increase or decrease over time in the amount of tempo fluctuation. Independently of a tendency to use slower tempi, pianists changed the way they employ rubato. Several factors contribute to a trend whereby the fourth beat is lengthened at the expense of the second and third beats: an increase in phrase-final lengthening, an increase in the use of tempo arching for shorter groups of measures, and a tendency to delay the arrival of an accented dissonance or change of harmony instead of lengthening the melody inter-onset interval that contains it. The data illustrate nearly imperceptible shifts in interpretation and suggest that some practices thought to be the bedrock of expressive performance may be historically conditioned.
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ATHANASSOPOULOU (Φ. ΑΘΑΝΑΣΟΠΟΥΛΟΥ), F. "The history of development of medicine through time: a repeated case." Journal of the Hellenic Veterinary Medical Society 60, no. 2 (November 20, 2017): 125. http://dx.doi.org/10.12681/jhvms.14921.
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At all times, man was interested in the therapy of diseases in any possible way. In the Hellenic world, that is generally regarded as the spiritual predecessor of recent Europe, two distinct traditions existed: the first had a true sacred origin and was practiced from a corporation or guild of healers/priests named zsAsklipiades. Asklipios, son of Apollo, was considered by them as their generic leader. The second, practiced by Vakhes, comes from indigenous populations of Eastern Aegean area approx. at 2000 B.C. During its practice patients went into a sacred mania ie., with dancing, music, or body exertion went into an extended consciousness from which, when they recovered, they showed a peaceful state and a new identity again due to moral comprehension. The first liberation from sacred ceremonies occurs in ancient Greece from Hippocrates and thus the first step towards scientific medicine occurs and it is practiced by cosmic healers. To Hippokrates we owe the meaning of "method" for the observation and development of the disease and its symptoms (there is a distinction between them). He believed in "the self healing capability of nature" that had to be taken into account, because medicine comes from the disruption of the balance between man and environment. After Hippocrates there is a gap of approx. 7 eons (till 3rd century D.C.) during which period important developments occur that will determine later the path of medicine: 1. During the 1st century B.C., Dioscouridis from Alexandria and in the 2ndcentury D.C. Asklipiadis and the great healer and surgeon from Pergamos, Galinos, transplanted the "absolute medical orthodoxy" in Rome where it remained as a dogma until the 16th century D.C. This is similar to Arab and recent European medicine. Hippocrates and Galinos beliefs have a lot in common with the growth of medicine in China and India. 2.Arab philosophers and healers reconnect medicine with politics and their base is the healthy society. 3. In Christianity, in the Middle Ages, the human body is discarded as not * worthy and surgery and anatomy are prohibited. In 1130 D.C. the practice of medicine by monks isprohibited and this is passed on to "cosmic clergy" from where the first schools of medicine and recent Universities originate (Paris, Oxford, Bologna, Montpellier). With Renaissance starts the questioning of the Galino's theory. The main archetype of the healer of this period was undoubtedly Paracelsus. He brings back the correlations of symptoms and moral attitude and his whole comprehension was "ecosystematic" and "psychosomatic". The healing ideas and practices of the Middle Ages and Eastern world are various and come from different origins without being an identical philosophical model, but they have the following similar points changed eventually by the "scientific medicine" born after the Cartesian debate: a) there is a bond between body and psyche, b) there is a bond of interaction between the human body and the environment, c) there is a mutual bond of equality and trust between the patient and the healer. The important developments between the 17th - 18th centuries (discovery of the microscope, growth of laboratories and clinics) will give a tremendous push to this scientific medicine and will allow to discard the patient as a whole person for the favour of the diagnosis and the manipulation of "diseases and syndromes". Another disruption from this course of scientific medicine occurs with the emergence of biology as a distinct science, which brought the uprising of the usual vitalistic beliefs that during in the 18th century did not totally stop to exist (G. Stahl-anima, S. Hahneman- homeopathy). However, due to the positivistic direction that the great physiologist of the 19th century, C. Bernard (who established in medicine the quantification according to the prototype of positive Sciences) and finally L. Pasteur established with the discovery of the bacterial role, strengthened again the self confidence of the classical/ scientific medicine. In 20th century, medicine gains also powers and is connected socially also with the growing pharmaceutical, but still is unable to heal satisfactory the mental / psychological illnesses; meantime, the recent specialization opened up a new horizon of medical applications (molecular biology, neurochemistry, clear understanding of the immunological-nervous-endocrinological mechanism) that are, however, part of the same mechanical model. The malpractice of this model involved attachment of medicine and politics in a programme that experimentally was performed in the Nazis camps. Again, three subsequent currents of developments questioned the medical orthodox theory during most of 20th century: S. Freud and psychoanalysis, the phenomenological medicine of E. Husserl and modern alternative medicines (homeopathy, acupuncture).
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Roberts, Kathryn S. "Our Town, the MacDowell Colony, and the Art of Civic Mediation." American Literary History 31, no. 3 (2019): 395–418. http://dx.doi.org/10.1093/alh/ajz025.
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Abstract Thornton Wilder’s Our Town (1938) has found unusual currency of late. In 2011, the play lent its name to a major funding program launched by the National Endowment for the Arts; in 2017, it appeared in the center of a popular podcast and was revived by a British theater company in the wake of a terrorist attack. These productions recognize what terms like middlebrow obscure: Our Town is a civic mediator, a performance that installs art at the center of community life and community at the center of art. Taking inspiration from Antoine Hennion’s sociology of music, this essay ventures into the archive to trace an unfamiliar origin story for Our Town, involving a turn-of-the-century writers’ colony, a Progressive-Era historical pageant, and Wilder’s self-understanding as both confirmed bachelor and “community man.” Through the trajectory of a single play, civic mediation emerges as a pervasive strategy and ethos of American cultural practice, connecting diverse media through time and space.
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Рева, Константин. "Court Singing Capella and Divine Рractice of the Russian Orthodox Church." Праксис, no. 2(4) (August 15, 2020): 126–36. http://dx.doi.org/10.31802/praxis.2020.4.2.008.
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В настоящей статье предпринята попытка рассмотреть влияние Придворной певческой капеллы на развитие богослужебной практики Русской Православной Церкви в Синодальный период. После церковного раскола XVII в. продолжающееся развитие богослужебной практики не находило отражения в корпусе богослужебных книг. В XVII в. в Русской Церкви было два практически равновеликих по значению образцовых столичных хора: хор патриарших певчих дьяков и хор государевых певчих дьяков. С упразднением патриаршества и переносом столицы в Санкт¬-Петербург в Синодальный период истории Русской Православной Церкви Придворная певческая капелла стала главным церковным хоровым коллективом, основной обязанностью которого было пение за богослужением в придворных церквях. В XIX в. Придворная певческая капелла была на делена особыми административными правами в церковно-¬певческой сфере, связанны ми с цензурой церковно-¬певческих произведений и подготовкой церковных регентов. Исключительные права по изданию церковно¬-певческих книг в Русской Православной Церкви, закрепленные Святейшим Синодом за Придворной певческой капеллой, стали причиной широкого распространения литургических особенностей богослужения придворных церквей в Российской империи. Практика обязательной аттестации церковных регентов Придворной певческой капеллой усилила распространение не только её церковно-¬музыкальной традиции, но и придворного литургического порядка, что оказало существенное влияние на практику совершения кафедрального и приходского богослужения. Изучение богослужебной практики Русской Православной Церкви в XVIII-XX вв. немыслимо без учёта деятельности и наследия Придворной певческой капеллы. This article attempts to consider the influence of the Court Singing Chapel on the development of divine practice of the Russian Orthodox Church during the synodal period. After the Church split of the 17th century, the continuing development of liturgical practice was not re flected in the corpus of liturgical books. In the XVII century the Russian Church had two almost equal in importance exemplary Metropolitan choirs: the choir of Patriarchal singing deacons and the choir of sovereign singing deacons. With the abolition of the Patriarchate and the transfer of the capital to Saint Petersburg during the Synodal period of the history of the Russian Orthodox Church, the Court singing Capella became the main Church choral group, whose main duty was to sing at divine services in the court churches. In the 19th century, the Court singing chapel was giv en special administrative rights in the Church singing sphere related to the censorship of Church singing works and the training of Church Regents. The exclusive rights to publish Church sing ing books in the Russian Orthodox Church, which were assigned by the Holy Synod to the Court singing chapel, caused a wide spread of liturgical features of the service of court churches in the Russian Empire. The practice of mandatory certification of Church Regents by the Court singingchapel has increased the spread of not only its Church music tradition, but also the court liturgical order, which has had a significant impact on the practice of performing Cathedral and parish ser vices. The study of the liturgical practice of the Russian Orthodox Church in the XVIII-XX centuries is unthinkable without taking into account the activities and heritage of the court singing chapel.
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Strilets, Andriy. "Kharkiv regional school of chromatic button accordion playing: the history, the personalities and the priorities of performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 141–56. http://dx.doi.org/10.34064/khnum2-49.10.
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Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.
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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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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.
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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.
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Konoval, K. K. "The flute art in Kharkiv: the performing and pedagogical traditions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 190–201. http://dx.doi.org/10.34064/khnum1-54.12.
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Logical reason for research. The flute art has its own history of development, which is marked by different traditions – the performing, composing, and pedagogical. The mentioned traditions outline the ways of the development of the flute art of the present and the future; they have a certain originality of geographical and cultural orientation. Today, the flute art is the subject of the audience demand, the performing and composing creativity, and has a solid repertoire in various styles and genres of both translations and original compositions in many instrumental compounds, ranging from solo to various ensembles and orchestras. This situation in music practice requires the theoretical understanding and generalization, including those in the projection of national and cultural traditions of different countries and regions. However, we can state that, at the moment, music science addresses the performance on the flute not systematically, mostly in a methodological direction. The Ukrainian flute art is closely related to the traditions of the flute music of Western European and Eastern European music art, but it also has its originality, which exists owing not only to musical (intonation, genre, and repertoire), but also to the historical, national-cultural or human reasons. Kharkiv, as one of the historical and cultural centres of Ukraine, has a rich musical history, and traditions of the flute art are its important component. Innovation. The presented article is devoted to the research of the Kharkiv flute art in the aspect of unity and interaction of the performing and pedagogical traditions. This aspect combines a number of historical, theoretical, and practical questions, and allows finding their answers related to the demands of both music science and music practice. We are talking about a number of aspects of the study of the flute art in the aspect of music regionalism, from organology and common European traditions of the flute art to the peculiar features of its development in Kharkiv in all the directions – the composing, performing, and pedagogical. Objectives. The purpose of the study is to identify the specifics of the performing and pedagogical traditions of the flute art in Kharkiv in the aspects of the continuity from European musical art and the identity of the Ukrainian, in particular, Kharkiv flute school. Methods. The main methods of the presented research are the historical one and the systematic one. The first one is related to the historical factors of the development of the flute art both in the European and Ukrainian historical cultural and artistic context. The second one allows one to represent the performing and pedagogical traditions associated with the flute art in their legacy and cultural and regional specification. Results and Discussion. Kharkiv is one of the most important historical and cultural centres of Ukraine. Its military purpose determined the nature of music playing (the regimental music of the Kharkiv Cossack Regiment), its instruments (primarily the wind instruments) and the genre direction. The relevant performing and pedagogical traditions of the Kharkiv musical culture are still marked today by the significant influence of the Kharkiv Wind Instruments School, known both in Ukraine and abroad. The flute art is an important and illustrative part of this historical process. The regimental music influenced the development of music education and training of musicians in Kharkiv – the opened schools for teaching children also had a "military profile" (from the nature of the student recruitment to instrumentation and repertoire). In the 18th-19th centuries the flute was spreading in the general education system in Ukraine. Many Ukrainian art and culture figures started their musical training with the flute and perfectly mastered the instrument; the spread of the flute in the musical life of the 18th century is mentioned in the writings by M. Zagaykevych, O. Schreyer-Tkachenko, I. Pyaskovsky and others. The musical activity of the national enlightener G. Skovoroda can be considered essential in this sense; the flute was his companion in many years of his legendary travels about Ukraine. The subsequent opening of schools and vocal-instrumental classes at Kharkiv College demonstrated the expansion of the character of the performing and pedagogical foundations of the flute art in Kharkiv, connected not only with military music, but also with the development of noble-house culture and theatrical and amateur practice. Flute performers were one of the first orders to European teachers. The flute was a part of practically all the variants of ensembles and orchestras of Kharkiv and Slobidska Ukraine. This stimulated the development of performing skills, music pedagogy, composing creativity. It is important that the most skilled flute performers in Kharkiv were, as a rule, the leading teachers and educators. In addition, the Kharkiv wind instruments performance and pedagogy were characterized by such a quality as multi-instrumentalism. At different times, the flute art in Kharkiv (both the performing one and the pedagogical one) was glorified by such artists as I. Vitkovsky, I. Lozynsky, K. Kestner, E. Prill, F. Kuchera, A. Boroznin, E. Krychevsky, G. Heck, D. Rykov, F. Prokhachev. Representing various national schools, they ensured the multicultural development of the Kharkiv flute art. In the 20th-21st centuries the activity of the teachers and students of Kharkiv National University of Arts named after I. P. Kotlyarevsky who were putting their forces into the creation of the local ensembles and orchestras played a decisive role in the development of the flute art in Kharkiv. Conclusions. The "genetic memory" of Kharkiv’s history as a city-military frontier was reflected in the performing and pedagogical traditions of wind instruments music, in particular, the flute art, in its performing (genres, repertoire, and performing stylistic) and pedagogical specificity. The further development of the flute music in the Kharkiv region has enriched these traditions of European music with its diverse repertoire in all genres and styles, but the Kharkiv specificity remains its recognizable core. The summarized results of the presented article indicate that the selected aspect of the study, related to the characteristic of the performing and pedagogical traditions of the flute art in Kharkiv through the prisms of continuity and interaction, is the link that integrates the theoretical and practical directions of studying the art of the flute playing into the whole complex of knowledge, that helps to understand the universal and specific in the processes of the development of the flute art in different aspects – the historical, cultural-regional, and artistic, etc.
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Vassiliev, Anatoli. "Studio Theatre, Laboratory Theatre." New Theatre Quarterly 25, no. 4 (November 2009): 324–32. http://dx.doi.org/10.1017/s0266464x0900061x.
Full textAbstract:
Anatoli Vassiliev must be ranked with the most prominent of the internationally acclaimed directors of the late twentieth century and the beginning of the twenty-first; and history will surely place him among the great director-researcher-pedagogues of the Russian and world theatre, starting with Stanislavsky and including Meyerhold and Vakhtangov. In this conversation, Vassiliev discusses the unique situation of theatre activity in Russia in the early decades of the twentieth century, where the studio, or laboratory, was integral to the very life of the theatre as a specific, collaborative, and ensemble practice and a comprehensive artistic institution. He situates the School of Dramatic Art, which he founded in 1987, in this context, extending the latter's reach to Maria Knebel and Andrey Popov, who were his teachers on the directing course at GITIS in Moscow (State Institute of Theatre Art, now known as the Russian Academy of Theatre Art). He graduated from GITIS in 1973. Vassa Zheleznova, referred to in this interview, was the acme of Vassiliev's explorations of psychological realism, after which he developed forms of what he calls ‘play structures’ (or ‘ludic structures’). Actors working in these structures project externally in clearly articulated ways rather than go inwards, towards and within emotional states of being, as is typical of psychological-realist performance in the Russian tradition. Vassiliev's reversal of established performance modes led to his current preoccupation with ‘verbal structures’, which are underpinned by his understanding of words as ideas oriented to symbolic and metaphysical sense rather than to psycho-emotional interpretation. The spatial and luminary dimensions of play, together with movement, music, and song that is formal, operatic, rather than in any other kind of vein, defines such later works as Mozart and Salieri (2000) and Onegin's Journey (2003). They have won him great acclaim in Russia and abroad for their innovative approach outside the parameters not only of realism but also of a range of other familiar aesthetic configurations. Vassiliev has directed productions in various countries in Europe, and has also conducted prolonged research workshops as well as working demonstrations there. In this conversation, which took place in June 2009, Vassiliev refers to several underlying principles of his work and reflects upon the importance to him of Grotowski, his last mentor.
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Mykhailets, V. V. "The problems of vocal training in the conditions of modern choral art." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 141–54. http://dx.doi.org/10.34064/khnum2-18.08.
Full textAbstract:
Background. The contemporary choral art has accumulated many bright samples, which present various performing directions and genres. Particularly interesting are those that include the traits traditionally not inherent to the choral performance. We will consider some of the requirements for the performance of choral music, put forward by the composers of the twentieth century, in particular, representatives of the new Viennese school and the Italian avant-garde, as well as the performance conditions, which require the tendency to adaptation for the stage of choral works and the improvisational component of musical thinking today. The need for such analysis is connected with vocal-performing training of contemporary choirmasters. The choral collective is a complex musical organism, and its successful work depends not only on the conductor, but also on the performers, therefore, there is a question of improving the complex development of the vocal-technical skills of the choirmaster, taking into account the specifics of his/her future activities. Methods. The scientific and methodological basis of improving the performing skills must be deepened in the issues of the psychology of performance and expanded with the questions of combining the choral performance with theatre. Due to such a methodological basis, it is possible to study extremely complex psychological processes of artistically meaningful vocal intonation, formation, control and implementation of performing skills, peculiarities of the psychological state of the choir performers, etc. The article is based on the analysis of materials on the development of the choral performance in various artistic directions and their synthesis (Kyrylenko, Ya., 2017; Ryzhynsky, A. 2015, 2016; Saponov, M., 1982), as well as the study of psychophysiological regularities of the vocal education in different performance conditions (Lukishko, A. 1984; Morozov, V., 2008, Selezneva, N., 2005). Objectives. The purpose of the article is to consider the performance tasks in the contemporary choral art and to outline the factors that shape the skills for the implementation of these tasks. Results. The analysis of the development of the vocal-choral art proves that vocal-technical means are defined and formed in unity with the performing tasks that characterize certain musical trends, styles or genres. Throughout the 20th century, in the choral art appears the works that became the result of the composers’ search for new versions of the timbre sound. The representatives of the new Viennese school A. Schoenberg and A. Webern were the first to overcome the timbre “conservatism” of the choir. In the choral creative activities by A. Schoenberg, the experiments with the use of timbre can be found. Namely, the use of expressiveness of the unison of the alt and tenor and the falsetto singing of the tenor, which provided for the alignment of the timbre and corrected dynamic misbalance of the artificial ensemble of tenor and soprano. However, the further introduction of falsetto singing was no longer a technical necessity, but became a means of a new expressiveness. The experiments are typical for the choral creativity by A. Webern, where the following two tendencies are clearly distinguished: 1) the jump-like structure of the melody in combination with syllabics; 2) the presence of pauses, which divide the motive into separate intonations. The purpose of the texture transformation was to uncover a fundamentally new sound of the choir, the creation of a new choral timbre. A. Webern achieves the timbre richness through a constant game with various nuances, strokes, and juxtaposition of the singing registers. The Italian composers L. Nono (1924–1990), B. Maderna (1920–1973) and L. Berio (1925–2003) became the followers of Webern’s creative experiments with regard to the organization of sound, the texture of the composition and timbres. In their creative work, they showed the possibility of an organic combination of centuries-old traditions of the vocal art with the latest composition techniques. In the modern choral art, a great interest is paid to theatrical actions during the choral performance. Hence, the new performing tasks rise for both, the conductor and performers of the choir. So, in the dramatized choral performance, a personality of an actor-singer is characterized by a certain complex of skills. The latter include ownership of different types of expressive intonation: vocal intonation, the verbal intonation and the acting intonation or the intonation of the gesture. The choral performer’s instrument is a singing voice. The vocal development of choral singers bases on the objective laws of the singing, the basis for understanding of which is the positions of musical acoustics. The choirmasters need to know, which acoustic patterns influence the formation of the singing voice in the choir, which of its properties develop automatically, and which require special techniques that stimulate an individual development. Another important aspect on which it is necessary to focus attention in the modern vocal education is the improvisational thinking, the ability to creative ingenuity. The tasks of the modern choral art are the preservation, the development, and sometimes the revival of the traditions of improvisational vocal-ensemble music. The solutions of these tasks one should look for in several directions. The first of them is the preservation of the traditions of Western European professional polyphonic (counterpoint) music, which is determined by the highest level of combination of the canonically invariable melody, of the cult or secular, with improvisational melodic decorations. The second is due to the preserving the traditions of collective vocal improvisation in folk singing cultures. The third direction is due to performance tasks, which are provided by the composers’ creativity of contemporary authors. Conclusion. The contemporary choirmaster needs to have a wide range of knowledge in the questions of history and theory of the world music, choral science, vocal pedagogy, acting skills, psychology, without which it is impossible to solve numerous issues that constantly arise in practice. The choirmaster must develop a critical and analytical thinking in him/her, be able to judge right the work of his/her mind and be thoughtful in the actions. The creative approach in work contributes to the flexibility in solving any problems – perhaps, it allows to abandon the usual techniques in work, which at the present moment do not produce the desired results. Practice is the only criterion for the truth of the selected actions.
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Syriatska, Tetiana. "The performing principles of the Ukrainian pianist and teacher Viktor Syriatsky." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 171–84. http://dx.doi.org/10.34064/khnum2-23.11.
Full textAbstract:
Background. Viktor Syriatsky is a pianist, pedagogue, composer and scholar, a unique figure in the piano art of the second half of XX century. His talent as a pianist is incredibly multi-faceted, he brought up several generations of famous musician during 35 years, while working at Kharkiv I. P. Kotlyarevsky National University of Arts. The aim of the article is to reveal basic principles of the performing style of Viktor Syriatsky and essence of his artistic aspirations. The relevance of chosen facet of the research is caused by the fact that its results might be used in the work of performer on the interpretation of musical piece, and in practice of teaching, including such courses as history and methodology of performance art. Research methodology. In order to reveal the chosen theme, complex musicologically-analytical approach is used, which is founded on the works by such scholars as B. Asafev, S. Savshinskiy, S. Feynberg, Ya. Milshteyn, D. Rabinovich, N. Rastopchina, G. Neygauz, modern research – works by N. Drach (2006), I. Belonosova (2014), O. Fedorovich (2014) etc. These works allowed to regard performance style as an attribute of the personality of the performer himself, which might be dependent on his own physiological and psychological traits, from his mentality and worldview. Results for discussion. All his life V. Syriatsky consciously and unremittingly worked on his performer style. The play of the pianist draws attention from the very first sounds. His sound is full mellow, warm, resonant, equally noble even in mighty ff and in soft pp, always full and resonant. His sound is a tool, not the goal itself. The best sound is the one, the most fully. embodying artistic content. Mastership of V. Syriatsky is connected as well with rich usage of textural performer’s means and pedal. Understanding performance art as the one bearing artistic content, he regarded intonation to be the most important mean of musical expressiveness. Apart from performer’s intonation for him the was not truly valuable and significant recreation of the author’s idea. His play stood out apart from the play of other pianists by naturality of the performance: whatever he played, it became alive under his hands. The master was incredibly careful in his choosing of temporal organization in music such as tempo. He also underlined importance of the performer’s rubato. At the same time, the ideas of the composer were a law for him. Conclusion. In performance style of V. Syriatsky there was incredible calmness and sage of a man who went through diverse school of life.
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Metlushko, V. O. "The peculiarities of the instrumental parts interpretation in “Four Pieces for Clarinet and Piano” op. 5 by A. Berg." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 43–60. http://dx.doi.org/10.34064/khnum2-15.02.
Full textAbstract:
Background. Chamber instrumental music written for a clarinet follows the fate оf so-called small genres in the XXth century. The researches in a varying degree connected with problems of the music written for a clarinet or with its participation are very various. However, features of use of a clarinet in chamber genres are researched, as a rule, in aspect of wider perspective. Owing to this fact information on many compositions which entered the repertoire of modern performers in scientifi c and methodical literature either is absent, or does not exhaust all complex of the questions arising in connection with updating of musical language at preservation of the developed receptions of the instrumental and ensemble composing. Objectives. The purpose of the article is to reveal the features of chamber and instrumental ensemble in Four Pieces for Clarinet and Piano by A. Berg in terms of interpretation of technical and expressive opportunities of a clarinet and role functions of parts. Methods. Structurally functional, compose-dramaturgic and comparative methods of research are used. Results. As the presented literature testifi es, the performer, fi rst of all, should get acquainted with the scientifi c researches in order to facilitate the subsequent interpretation process. This is important for understanding not only the fi guratively emotional and meaningful side of music, but also the novelty of the ensemble ratio of instrumental voices. From this point of view, the clarinetist should be aware of his part both in its individual features, and as an integral part of a single thematic process. It is advisable to recall that the previous musical practice has formed different types of the ratio of parts. Аtonality of the Four Pieces op. 5, associated with the avoidance of tonal landmarks and based on the expressiveness of interval clutches, predetermined the emergence of a new quality of ensemble technique, which declares itself in leveling the concept of solo timbre, accompaniment techniques, and open interchange of thematic material. Outwardly, all these signs are present in the musical text, but the writing technique itself directs the musical process towards the creation of a single intoning space in which the participating timbre-register «individualities» appear to be components of a polyphonic texture. Despite this, the idea of ensemble in a broad sense is preserved, which allows us to consider the clarinet part as a relatively independent phenomenon. So, the plays collected in an opus assume possession of a various palette of articulation and dynamic means, capable to transfer thin change of lyrical moods. Their contrast is exhibited already in the fi rst play, which aims the performer to quickly switch to a different emotional mood in the absence of large-scale thematic structures. Against the background of the multievent fi rst play, the two middle ones are distinguished by their consistency of the fi gurative plan. Hence a more modest palette of strokes, articulation, tempo, dynamic changes. This kind of composer’s installation is largely due to the fact that they are enlarging the semantic ideas that were outlined at the beginning of the opus. Due to this, there is a bright contrast, a sharp change of emotional state. Details of this kind raise the requirements for the quality of performance and reveal the truly virtuosic nature of miniatures in the absence of traditional concert techniques. Final op. 5 is similar to the fi rst play by the presence of contrasting elements. Its complexity is indicated both by the rich texture of the piano part, distinguished by a complex rhythmic pattern, and the heterogeneity of the techniques in the clarinet part, where the expressive solo cantilena is adjacent to the background tremolo, angular non-legato motifs, written out by a group of thirty-second in a 9:1 ratio, register spread, sharp dynamic gradations from p to ff. The composer here remains true to himself, prescribing all tempo, dynamic, expressive techniques. Recall that the requirement of long pauses between plays, on the one hand, helps to switch to a different emotional state, on the other hand, complicates the act of performance due to the fact that ensemble artists must fi nd that measure of restraint of silence, which, while retaining the impression of the preceding, does not destroy the immediate contact with the audience. It is impossible to ignore the fact that in the absence of extraordinary innovations in the fi eld of performing techniques, the composer opens the way for further discoveries in this area. Conclusions. The results of the research summarizing analytical observations, including those in the literature we know about, and evaluating the creative discoveries of A. Berg in Four Pieces for Clarinet and Piano op. 5 taking into account the subsequent compositional practice, let us highlight a few fundamental, in our opinion, moments. First, op. 5 is distinguished by a radical renewal of the musical language, predicting the expansion of the boundaries of an established tradition; secondly, he became the ancestor of a new type of ensemble; thirdly, it allowed to treat the pause as an important component of the artistic intent, as an image of meaningful silence; fourthly, demonstrated a new understanding of software based on the symbolism of sounds and numbers; fi fthly, he revealed a deep connection with the tradition of changing musical patterns. In this context, from the cycle by A. Berg stretched a lot of threads to the works of composers belonging to different generations and national cultures. This allows us to speak about the weighty signifi cance of this opus in the history of the development of clarinet – not only ensemble, but also solo music. We conclude that at the same time, the real compositional practice of the subsequent time refl ected the multi-vector nature of creative interests, characteristic of the music of the twentieth century, where, along with the search for renewing principles, the established methods of instrumental.
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Melnyk, Alla. "Stylization of Baroque genres in the Ukrainian violin miniature of the early 21st century: specifics of musical consciousness formation." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 151–68. http://dx.doi.org/10.34064/khnum2-19.09.
Full textAbstract:
Introduction. Nowadays, continuing the neo-style trend in musical art started in the 20 century, increased attention is being attracted to the intentions of stylization and reinterpretation of a certain historical artistic models, where stylistic allusions (a kind of indirect citation, hint) use. This stylistic phenomenon has special spiritual and ethical preconditions that culturologists interpret in view of the so-called neo-restoration trends in culture. The above also applies to Ukrainian violin music, where the creative method of stylization, which has acquired such great importance in the art of the twentieth century, is actively in demand even today, in the modern postmodern style situation. Thus, the appearance of pieces in the Ukrainian violin repertoire, which even by their name declare its relation with the models of baroque genres, programming a certain creative idea, deserves to be studied in order to explore their direct relation to the original genre form and identify the algorithms for its stylization. All this, at least, will have a positive effect on the practice of the perception of stylization artifacts of a certain genre invariant, including the miniatures of the baroque type. The material of this research is the works of modern Ukrainian composers in the genre of violin miniatures, based on stylization of Baroque genre forms, which have taken a prominent place in academic musical creativity in general and in the history of the formation of the violin repertoire in particular. The stylistic variety of genre reminiscences in the Ukrainian violin repertoire is reflected in a number of materials by Ukrainian researchers (I. Andrievskyi, I. Hrebneva, V. Zaranskyi, I. Karachevtseva, V. Lapsiuk, I. Pilatiuk, S. Sandiuk, L. Skrypnyk, S. Yadlovskyi), where, in particular, the question of the demand for the so-called “violin miniature” (A. Haray, N. Pilatiuk) appears. However, the conceptual definition of a violin miniature today does not look completely methodologically adequate: the stereotypical norms of comprehending this class of genres touch exclusively the side of scale proportions, which contradicts the latest approaches to the interpretation of genre forms by the method of semantic analysis, namely, when the genre invariant is considered as a sign of a certain typed content. However, only taking into account the act of typification, the reference indications necessary for the formation of musical consciousness are established, which serve as a reliable guide in recognizing the genre nature of a work and discovering the cultural, historical and communicative ties necessary for its understanding. Thus, the purpose of this article is to reveal the peculiarities of stylistic modifications of baroque genres in the Ukrainian violin repertoire of the early XXI century and to propose methodological guidelines for analyzing the diversity of interpretations of the genre invariant under the influence of the historically actual style. The complex of the analytical methods (analysis, synthesis, induction, deduction, comparative studies), as well as the historicaltypological and the prognostic approach was used in this research. Results of the research. The examples of stylization of baroque genres prove that in the postmodern stylistic dimension the intention to genre-stylistic allusions to the historically known is an important factor in the expression of the cultureforming ties of distant eras with modernity. Quite often, the very name of the genre used by the composer gives an orientation towards the perception of the range of corresponding historical and stylistic associations. The method of stylizing baroque genres and their rethinking thanks to new means of musical expression (specific melodic development, a special character of sound production and articulation, etc.) gives vivid artistic results. The samples examined demonstrate a variety of interesting author’s solutions based on the involvement of a historical genre model. Thus, Hanna Leonova’s Toccata (2010) is quite consistent with the genre image oftoccata as a “motor” piece. However, we note that the genre form of toccata is by no means associated (at least for today) with the actual violin repertoire, especially with the miniature, since it primarily existed in clavier music (recall, in particular, the clavier toccatas by J. S. Bach), and a row of the samples has a magnificent solemnity of sound and compositional monumentality. Nevertheless, the author found the opportunities to implement the “toccata” style, hinting at the genesis of this genre (etymologically – from “touch”, “sort out”), thanks to the compositional and performance specifics – improvisation, stability of rhythmical “motor” movement and high virtuosity. In “Sarabanda” by Vitalii Manik (2013) we observe only partial keeping of the three-beat meter normative for the chosen genre model, however, with a polyphonic presentation adequate in relation to the primary stylistic modus; in “Minuet” by Oleksii Voitenko (2003) – the stylistics of “music to dance”, but within the compositional boundaries of sonatina without the developing part. Victor Telichko’s “Partita” (2011) demonstrates cyclicality and reliance on dance elements, quite characteristic of the baroque version of this genre, but embodied in Ukrainian folk material. Avoiding quotations, the author preserves the melodic-rhythmic structure of folk-song material and creates his own thematic complex. At the same time, the use of a solo violin in this work is fully consistent with the traditions of the Baroque era, namely, Bach’s partita model; that is why a kind of allusion to the genre invariant arises. That is, applying allusions to baroque genres in violin miniature, contemporary Ukrainian composers demonstrate at least two approaches: the first is stylistic adequacy to the genre invariant (in its baroque version); the second is its actual stylization with the introduction of either a certain stylistic context, or an individual author’s compositional idea. Conclusions. Thus, the new conceptualization of the violin miniature requires an appropriate research approach, the basis of which is the semantic method of analyzing the genre invariant in musical works-stylizations, which has proven its fruitfulness in the postmodern era. Since the method of stylization always provides for a special relation to the genre invariant, the constancy of which has the ability to accumulate ever new typifying meanings, only a combination of analytical discourses that take into account both the genesis of the genre form and its stylistic modifications can form theoretically verified analytical models that are useful, among other things, in the learning process, contributing to the development of the musical consciousness of the recipient – the performer and the listener.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum2-49.05.
Full textAbstract:
Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.
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Mits, Oksana. "The genre of the piano miniature in the creative work of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 136–48. http://dx.doi.org/10.34064/khnum1-50.10.
Full textAbstract:
Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One of the key genres of piano music by composer is a miniature. The miniatures that were created by M. Moszkowski during his life, reflects the evolution of his individual style, clearly representing his creative method, aesthetics and piano performance features. However, the question of the genre of miniatures in the work of M. Moszkowski has not been considered by the researchers yet. Thus, there is a need for scientific analysis of M. Moszkowski’s piano miniatures in the context of the general stylistic norms of his creative work. The purpose of the article is characterization of stylistic features and attempt to classify of M. Moszkowski’s piano miniature in view of the role of this genre in the Polish composer’s creativity. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. The desire to realize the fundamental principles of scientific knowledge, comprehensiveness and concrete historical approach to the study of the target problem requires the combination of musical analysis with historical-cultural, stylistic generalizations, considering piano works by M. Moszkowski in the unity of historical, ideological, stylistic and performing problems involving the conceptual apparatus of theoretical musicology and the theory of pianism. Results. The vast majority of piano pieces by M. Moszkowski are miniatures. According to their place in the performing practice, miniatures are differentiated into concert-virtuoso, pedagogical, household directions. According to the internal genre typological features, they are divided into etudes, dance pieces (waltzes, mazurkas and polonaise serve as confirmation of the musical-historical experience of romantic composers) and others. In the palette of the latter are scherzo, capriccio, fantasia-impromptu, musical moments, arabesques, barcarole, lyrical pieces – that is, almost the whole arsenal of the most common types of miniatures of the Romantic era. The analysis of piano miniatures reveals the composer’s individual attitude to tradition, free choice of figurative and stylistic priorities by him. Under consideration are the piano cycles “Spanish dances” op. 12, “Arabesque” op. 61, the piece-fantasia “Hommage à Schumann” op. 5, Suite for 4 hands “From all over the World op. 23” and other miniatures that were creating throughout the life of the composer. These samples of the salon style of the late XIX century became a kind of generalization of creative searches of the previous constellation of composers – salon performers. Throughout his life, M. Moszkowski repeatedly turns to ancient forms and finds for creation of his miniatures an entirely new impulse: the small forms of the Baroque age. By rethinking, “romanticizing” them, the composer creates his own modifications of the genre models of ancient music in such works as “Canon” (op.15, op. 81, op. 83), “Rococo” op. 36, “Burre” op. 38, “Siciliana” op. 42, “Gavotte” (op. 43, op. 86), “Fugue” op. 47, “Sarabande” op. 56, “Prelude and Fugue” op. 85, as well as numerous “Minuets”. The latter carry out the traits of the aesthetics of the gallant style. Since 1900, Moszkowski prefers etudes. The arsenal of techniques he uses in these works is rich and diverse and emphasizes the artistic qualities of these compositions. Sometimes Moszkowski interprets the genre of the etude very freely: as a substitute for another genre (“Two miniatures” op. 67), as part of the cycle-diology (“Etude-Caprice” and “Improvisation”, op. 70), etc. Modern pianists seldom perform the piano music by Moszkowski. At the same time, the pieces represent a very interesting material that clearly reflects the originality of the musical language of the late romantic pianists, to which Moszkowski belonged. Perhaps, performers confused by the overload of musical material with various technical difficulties. The composer used a wide range of romantic pianistic means. The typical stylistic feature of his music is improvisation, based on the tradition of a brilliant piano style of performance with a romantically impulsive change in emotional states. The performance seems to be more unattainable, because the composer’s bold innovation in virtuoso texture is combined with a refined romantic manner of writing. This circumstance explains the fact that the works by Moszkowski were forgotten for many years. And only now, at the beginning of the twenty-first century, when many values and priorities are revised, art salon style and Moszkowski’s compositions are becoming of great interest. Conclusions. The piano “workshop of miniatures” is the most important component of the composer’s legacy of M. Moszkowski, reflecting the peculiarity of the author’s aesthetic position – cultivating a positive mood, elegance, refinement, virtuosity as signs of ownership of the instrument. It is these aesthetic principles – the feeling of Beauty as preciosity, delicacy, non-conflict state of reality – formed his attitude to the genre of miniatures. M. Moszkowski’s piano miniatures marked by the features of virtuoso style creating associations with the music of F. Chopin and R. Schumann. Chopin’s influences can be traced in the choice of genres of miniatures – among them there are waltzes, polonaises, impromptu, etudes, scherzo and barcaroles. However, for M. Moszkowski, as a composer of Polish origin, was simply necessary to be “native” to the musical heritage of F. Chopin. At the same time, the “similarity” of certain techniques to Chopin’s in the piano works by Moszkowski, always appears in the updated version without duplicating the original sources. The influence of R. Schumann is manifested in the dominance of melodious lyric and playful scherzo’s spheres, the tendency toward the characteristic images and the cycling of pieces, often combined with a certain artistic idea, specified by the programmatic subtitles or by the suite principle. Moszkowski’s piano works are perfect in a form, in possessing of specifics of the piano texture and the richness of figurative thinking. Moszkowski’s miniatures represent a very high level of piano skills, technically, they often require the ability to have a good command of the instrument, but technical difficulties submit to a vivid, meaningful image. Piano miniatures by M. Moszkowski became a significant contribution to the development of Western European art of the second half of the nineteenth and early twentieth centuries. The numerous piano pieces by the composer, distinguished by high artistic qualities, today should rightfully take a worthy place in the concert practice of modern pianists.
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Sun, Bo. "The parameters of co-creation: a performing look at “The Six Romances for the Words by A. S. Pushkin” by G. Sviridov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 76–88. http://dx.doi.org/10.34064/khnum1-50.06.
Full textAbstract:
Formulation of the problem. The development of the concept of “co-creation” is proposed as the necessary condition for the interaction of subjects in the system: the composer – the poet – the performer-singer. The spiritual duality of the poet and the composer becomes a meeting place with its performer. The triple reflection I=I=I is captured in the structure of the artwork. Its result is the content of the category “the author’s concept”; this is an important parameter of the artist’s “entry” into the composer’s text, which is relevant for the analysis of a vocal composition. The theme of the poet’s influences on the composer (spiritual duality), who addressed Pushkin from a different “historical distance”, is at the “epicentre” of the development of the problems of the performing interpretation. The current most important task is to tie together the musicological tradition and the performing look at it. Analysis of recent publications on the topic. From the point of view of the spiritual analysis of the vocal style of G. Sviridov, A. Tevosyan heard a lot and recorded a lot in his work “The Book about Sviridov”. It is necessary to use the epistolary part of “Sviridov-logy”: the memoirs of the singers about the composer directly indicate the phenomenon of “community” as the evidence of their spiritual kinship. The knowledge of this actualizes the work by G. Sviridov in the context of the modern performing practice (including that of the foreign-language singers studying in Ukraine). The article involves such research methods as structural-functional (parameters of the composer’s text), semantic (the poetic symbolism of Pushkin’s texts), and interpretative (performing features). The purpose of the article is to reveal the content of the concept of “co-creation” as a system of objectively existing and interrelated parameters that are amenable to modelling and interpretive analysis. The early vocal cycle of G. Sviridov “The Six Romances for the Words by A. Pushkin” (1935), which received the absolute recognition and fame, was chosen as the material for the analysis. Presentation of the main text. The parameters of co-creation as the necessary condition for the interaction of subjects in the system of “the composer – the poet – the performer-singer” are divided into the internal and external ones. The phenomenon of the authorship, the poetic word, the vocal letter, the premiere performance, the aura of vocal intonation, and integrity are the internal parameters of the vocal style. The socio-cultural (external) parameters ensure the quality of communicative processes in the changed conditions of communication among the subjects of vocal creativity: the time of history, “here and now”, and the time of performance. The composer’s creative process began with melody and singing: he perceived the world through the prism of melody. Sviridov composed using the instrument, sang, trying one, then the other. Even his instrumental compositions are imbued with melodic current (for example, “The Little Triptych”). The main thing for the composer is the voice, which means the vocal. The phenomenon of Sviridov was best revealed by his interpreter, the pianist and researcher M. Arkadiev: “’Not me, but because of me’, – this is the inner experience of creative consciousness.” The word for Sviridov’s creative credo is the key. The composer formulated it the following way: “The artist is called to serve, as far as he can, to the disclosure of the Truth of the World. In the synthesis of Music and the Word this truth can be concluded.” G. Sviridov subtly and with understanding approached the interpretation of the poetic images created by A. Pushkin, his versification. The melody of romances emphasizes the expressiveness of the text, corresponds to its concise and clear form. Each romance is a complete piece of music. Through all the romances one cross-cutting theme passes – the theme of the poet’s loneliness, embodied in a series of reflections of the lyrical hero and the pictures of the nature. The performing musicians who perform the entire cycle are faced with the problem of the integrity of drama, which is adequate to the author’s concept. “The Six Romances for the Words by A. Pushkin” by G. Sviridov is a very repertoire composition: many beginning talented singers learn the laws of the classics of the 20th century with these romances. However, it is very difficult to find the reference execution in the electronic access. Of course, the art of the unsurpassed Dmitry Khvorostovsky claims this role. The contrast between his performance of the romance “Approaching Izhora” and the young interpreters of this immortal music is especially striking. Conclusions. The national image of the world in “The Six Romances for the words by A. Pushkin” by G. Sviridov turns out to be the highest stylistic parameter of the author’s concept of the composition. Against the background of globalization processes in the culture of the 21st century, the value of the national dimension of the meaning of music is increasingly recognized. The musical parameters are revealed on the following levels: melodic and articulation, metro rhythm and tempo-rhythm, texture-harmonic hearing and dramaturgy of the whole. In order to build a continuous line of the development of the cycle, it is important to realize its semantic connections, correctly evaluate all the structural, functional and genre-style parameters of the composition
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Popova, Liudmyla, and Olha Protsenko. "Genre and style features of creative heritage by Mark Karminskyi: educational and methodological aspects." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 65–79. http://dx.doi.org/10.34064/khnum2-19.04.
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Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for his music and its successful functioning in the pedagogical process, in particular, in children’s music schools. The purpose and objectives of this study – to consider the artistic and aesthetic orientation of the creative heritage by M. Karminskyi and identify its distinctive features, focusing on the genre and style aspect of his works for children and youth and their methodological significance in pedagogical practice. Research methods are based on general scientific principles of systematization and generalization. The most important role was played by the interdisciplinary approach to the analysis of the composer’s creative heritage from the standpoint not only of musicology, but also of history, culturology, and pedagogy. For reflecting the spiritual atmosphere, where the composer’s talent was formed, the historicalbiographical approach was of great importance. Research results. The way of formation of M. Karminskyi’s individuality, development of his innate musical inclinations to successful realization of talent is crowned with creation of compositions of various genres, both largescale – partitas, operas, music to performances, and chamber – vocal-choral and instrumental miniatures, among which the piano music for children and youth audiences appealed to the style of Ukrainian folklore occupies a significant place. Ukrainian literature, in particular, works by Taras Shevchenko, Lesia Ukrainka, and Ivan Franko, which were carefully studied by M. V. Karminskyi as a student of the Faculty of Journalism at V. N. Karazin Kharkiv State University, had a significant influence on the formation of the composer’s worldview and aesthetic priorities. Probably, it was the love for literature that determined the programmatic narrative nature of M. Karminskyi’s compositions. However, the love for music itself prevailed: M. Karminskyi continued his studies at the Kharkiv Conservatory in the class of Professor D. Klebanov possessed in perfection by the musical artistic heritage and was able to transfer creatively this knowledge to students. M. Karminskyi’s later applied the skills acquired from him in his work. In those years, the Kharkiv School of Composition stood out among other music unions of Ukraine with a high level of creative competence: composers sought their own way and artistic individuality, creating a modern musical language. However, even in this highly educated environment, the personal potential of Mark Veniaminovich, his highly artistic taste and erudition rose. Mark Veniaminovich is sometimes called “the knight of the country of childhood” thanks to his brilliant compositions for children. The composer speaks to the children’s audience with the help of intonations and artistic techniques available to the child’s worldview, but he does not adapt to the child, but teaches him to develop thinking, show strong emotions. Pupils like program music with interesting content that evokes familiar associations, specific ideas. Therefore, in many of his works M. Karminskyi turns to the literary basis, clear concrete and dynamic images, heightened emotionality (“Steppe, steppe...”, “Autumn Day”, “Lyrical intermezzo”, etc.). Such approach motivates children not to perform works abstractly and mechanically, but to bring their own emotions and understandings into them. M. Karminskyi uses clear three-part or couplet forms that contain repetition (the plays “Favorite Tale”, “Ancient History”, “Merry Trumpeter”, etc.), he is characterized by conciseness of melodic phrases. The texture is convenient for children’s hands: parallel intervals, counterpointing voices, organ points of the lower voice, melodic figurations and harmonic degrees sustained in the middle line, register dynamics are used. These and other techniques promote students’ technical capabilities by developing mobility and finger strength. Continuing the traditions of the Ukrainian singing school, M. Karminskyi pays a lot of attention to the techniques of cantilena performance, forcing students to master the art of playing the pedal, which requires careful sound control. Piano ensembles, unique in their poetic beauty, were created by the composer at the end of his not too long life. These plays use themes from the music to the play “Robin Hood”, and the musical images of the pieces are extremely clear even in the names: “Old Grandfather Kohl”, “Lady Tambourine”, “Road to the Temple”, “Crazy Waltz”. M. Karminskyi, feeling a passionate interest in theatrical action with its playful moments and the task of embodying specific images, created music for performances. The radio production “Robin Hood” with the participation of the country’s leading artists, based on the poems of the famous Scottish poet R. Burns translated by S. Marshak and imbued with romantic sublimity, lyricism and sincerity, received a special resonance; it contains expressive melodies that are quickly memorized. In 1978, the company “Melody” released a stereo disc “Robin Hood” with a recording of this radio show. The variety of artistic tasks of the ensemble music of M. Kaminskyi leads to the formation of a variety of pianistic skills. The predominance of playful, moving images in plays develops motor technic and synchronization in performing. The meter and the rhythm of the works are complicated using the measures 6/8, 9/8 or size change in one work: 2/4; 3/4; again 2/4; then 4/4. This technique allows you to transmit movement and free breath of a musical phrase. Karminskyi actively uses chords from fourths and fifths intervals characterized the repertoire of Ukrainian bandura players. Conclusions. The composer gave the children a lot of strength and inspiration, creating music for them in accordance with high moral and ethical criteria and filled with vivid emotions, theatricality, and visible concrete imagery. Miniatures for the children’s choir, the master’s piano pieces have a high spiritual meaning and are among the best achievements of Ukrainian children’s musical literature. The piano music of M. Karminskyi is marked by a tendency to search for a new national style: the composer does not quote folk melodies, creating original musical images in the spirit of folklore. The multi-genre works of M. Karminskyi embody the eternal themes of good and evil, love and death, betrayal and fidelity with the emotional strength inherent in his music, demonstrating the composer’s deep erudition and human decency, originality, uniqueness of his personality and his talent.
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Kucher, L. I. "Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 108–21. http://dx.doi.org/10.34064/khnum2-14.08.
Full textAbstract:
Background. This article continues a series of works by the author on the study of the history of educational activities in the field of opera art in Ukraine. On the basis of archival materials, the chronology and features of the educational process in the Opera Studio of the Lviv State Conservatory named after M. V. Lysenko (now the Lviv National Music Academy) are recreated in the important period of formation of the principles of studio working on the education of an opera singer. Relying on his own many years of experience as a teacher and a researcher, the author gives estimates of the role of the departments of solo singing and opera training of the Conservatory involved in the educational process. The material on the history of the Opera Studio performances from its foundation to the end of the last century has been systematized. The results of the study. From the time of the Opera Studio foundation under the Lviv State Conservatory named after M. V. Lysenko, the artistic oversight of this training subdivision was belonging the teachers of the Solo Singing Department. The lack of creative contact between two departments of the vocals faculty, the Solo Singing and the Opera Training Departments, was leading to the shortcomings in education of opera singers. Due to the impossibility to cover all senior students with practical training in performances, they were engaged in fragments of opera in opera classes. To the end of 1973 the separate best pieces of the opera classes was shown several times, using different stages and concert venues. However, O. Hrytsak, who was appointed the Head of the department of Opera Training in the end of academic year 1973–74, resolved that the opera classes will only be focused on junior students of the Conservatory, as per curriculum. With his appointed the new round of Opera Studio’s activity started. Ukraine’s Honored Arts Worker Oleksandr Hrytsak (1924–2001) joined to Opera Training Department in the position of senior lecturer. Prior to joining the Conservatory, O. Hrytsak worked as a conductor in Lviv Opera Theater, where he released tens of opera and ballet performances. He managed to establish a creative atmosphere in the teachers’ team. When educating an actor singer, O. Hrytsak believed his main task is to teach him/her a self-guided work, since no further growth can be possible for a young musician without such a habit. While working at the studio, O. Hrytsak staged the numerous pieces of West European and national classics, having contributed a lot to popularization of modern music (“Anna Snegina” by V. Agafonnikov, “Mususi” by O. Taktakishvili, “The Dawns Here Are Quiet” by K. Molchanov…). In his article entitled “Both Vocalist and Actor” published in “Muzyka”(“Music”) journal (1985, no. 4 ), the author displays his deep knowledge of modern education’s focus on training of actor singers at opera training departments of higher musical schools. His belief that vocals students should not only master a spectrum of vocal and stage skills, but general culture as well, seems relevant to us. O. Grytsak recommended thorough elaboration of “Speech Culture”, “Dance” and “Stage movement” curricula. In 1977, a 5th-year student I. Kushpler (later People’s Artist of Ukraine) was chosen to play the part of Don Giovanni in the opera by W. Mozart. The performance was shown two times during the year with no further shows in the next year. This was a vivid example of how the absence of full-time soloist results in rare demonstration of opera performances of the Studio. It educational practice of Lviv Opera Studio used to happen that working on some performance made it entirely impossible to work on other ones, though it was emphasized that the attainment of high results of operation requires increase in the number of performances. For example, in 1977, during rehearsals of “Ten Days That Shook the World” opera by M. Karminsky, wherein the students’ choir and Opera Studio orchestra participated, no performances were shown of the Studio. Sure, such a practice cannot be deemed a good training. But as early as in academic year 1979–80, at the joint meetings of solo singing and opera training departments, their teachers expresses the opinion that the level of professional training in the Opera Studio grew considerably versus prior years. Fifteen performances were shown during that year, with “Nocturne” by M. Lysenko and “Sotnyk” by M. Verykivsky (conductor O. Hrytsak, director O. Huy) having been renewed. The repertoire continued extending with new pieces – “Zagrava” by A. Kos-Anatolsky, “Mususi” by O. Taktakishvili. Among that period’s prominent interpretations, one can mention the “Iphigenia in Tauris” by K. Stetsenko commemorating its author’s 100th jubilee, with further TV version release (1982). Since 1985, “Zaporozhets za Dunayem”, the opera by S. Hulak-Artemovsky returned to the studio’s repertoire. In 1989, the Opera Studio staged “Kupalo”, opera by A. Vakhnyanin, which is Western Ukraine’s first musical piece based on opera drama principle, as revised by M. Skoryk (conductor O. Hrytsak, stage director F. Strygun). The opera was chosen by the Studio to celebrate the 50th anniversary of Ukrainian lands’ reunion and Lviv State Conservatory foundation. The performance was broadcast on Ukrainian radio. Being the leader of talented and experienced experts such as directors V. Dubrovsky, O. Huy, A. Lymerev, choirmaster M. Telishevsky, O. Hrytsak fruitfully conducted the education of young actors. Despite pecuniary burdens, each year the studio staged new performances, in which vocals students acquired their professional experience. He revived the studio’s activity, having tuned up the regular practical training of the vocal department students. Summing it up, it is fair to say that O. Hrytsak’s management of the department allowed boosting discipline and regularity of training of opera singers and revived the Opera Studio under Lviv State Conservatory. However, the lack of material resources (the need for the rental of premises for rehearsals, lack of singer staff for performances etc.) and creative misunderstandings between the departments of the Conservatory engaged in operatic training were becoming the cause of some flaws in the organization of the educating process of the opera singers. In the same time, one cannot but highlight such a positive factor in Lviv Opera Studio activity, as its constant addressing to the heritage of Ukrainian composers.