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1
Carnovale, Norbert, Gunther Schuller, and Robert Waddell. "Concerto for Trumpet and Chamber Orchestra." Notes 43, no. 3 (March 1987): 679. http://dx.doi.org/10.2307/898222.
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Joković, Jelena. "The trumpet in a woman's hand in contemporary Serbian traditional and popular music: The case of the "Danijela" trumpet orchestra from Arilje." New Sound 53, no. 1 (2019): 171–93. http://dx.doi.org/10.5937/newso1901171j.
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Trumpet orchestra "Danijela" belongs to the type of mixed gender orchestra, in which the women is the leader in men surroundings. This orchestra today mainly plays musical arrangements of the popular music, from folk to pop and rock, jazz and Latin. Danijela and her orchestra do not try to copy already existing interpretation, but they are doing their best to give to their music their personal touch in different musical securements, whether formally or in arrangements. Danijela, herself says that there are not essential difference between male and female trumpet orchestra, all, actually, depends on the personal impact. This personal impact is due to the musical education which helped Danijela's orchestra to, especially in harmony and articulation add its style to already existing interpretation. Regarding the performing of tracks which belong, by its style, to the repertoire of southeast Serbia, it is notable, especially in the aspect of articulation and ornaments marching to the style definitions of the trumpet music in West Serbia, which is general equal for all trumpet orchestras in West Serbia, which play the repertoire of the other trumpet places especially southeast Serbia. This ensemble takes part in most different kind of media, which promotes, not only this orchestra, but also the idea of women's leadership, and the fact, also that the women (in this case a young girl) can play the instrument which up to recently, was considered to be only for men. At the very end, we may conclude that today in Serbia there is no more radical difference in gender regarding musical instruments, the epithet 'male' or 'female' is not explicit any more, as it was before when men had priority. Of course, the prejudices still exist, but they are not any more so important and they are easily overcome, especially if performers get good critics from the audience for their work, no matter what instrument is in question.
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Senghor, Léopold S., Melvin Dixon, and Leopold S. Senghor. "To New York (for jazz orchestra and trumpet solo)." Callaloo 13, no. 1 (1990): 18. http://dx.doi.org/10.2307/2931593.
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Horez, Iulian. "16. Trumpet and Orchestra Concert in D Major by Georg Philipp Telemann in Interpretation Vision of Wynton Marsalis and Rafael Méndez." Review of Artistic Education 19, no. 1 (April 1, 2020): 134–39. http://dx.doi.org/10.2478/rae-2020-0016.
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AbstractLike most baroque concerts, the Concerto for trumpet and orchestra in D major by Georg Philipp Telemann raises particular problems of interpretation. It is a concert written in the head register of the trumpet, with frequent references in the acute register. I should mention that the head register of a trumpet depends on its size. At a normal trumpet in and flat (and not piccolo), the acute register is from do (and flat from the first octave) to the next do ascendant. The head register continues from do2 to do3. In the trumpets in do, re, mi flat, fa, sol, the principle remains the same, with a variability depending on the size of the trumpet, except that in the acute record the other notes correspond to that of the flat, but the upper limit is generally the same.
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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (June 16, 2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.
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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.
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Cleman, Tom, and Wallingford Riegger. "Variations for Violin and Orchestra." Notes 45, no. 3 (March 1989): 617. http://dx.doi.org/10.2307/940825.
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Burk, James M., Elliott Carter, Ursula Oppens, Michael Gielen, and David Schiff. "Piano Concerto; Variations for Orchestra." American Music 6, no. 1 (1988): 114. http://dx.doi.org/10.2307/3448359.
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Lv, Fangrui, Donglin Zou, Na Ta, and Zhu-Shi Rao. "Improvement of lubrication performance of water lubricated polymer bearing via enlarged axial end bearing diameter." Industrial Lubrication and Tribology 71, no. 4 (May 7, 2019): 564–72. http://dx.doi.org/10.1108/ilt-09-2018-0332.
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Purpose The purpose of this paper is to improve the lubrication performance of a water-lubricated polymer bearing with axial grooves, especially enlarge the minimum film thickness. Design/methodology/approach The bearing diameter is enlarged near the axial ends of the journal, with axial openings of a trumpet shape. A numerical model is developed which considers the proposed trumpet-shaped openings, bush deformation and grooves. The generatrix of the trumpet-shaped opening is assumed to be a paraboloid. Three different variations are covered, and the influences of the trumpet-shaped openings’ parameters on the bearing performance are analyzed. Findings The appropriate trumpet-shaped openings at the axial ends effectively increase the minimum film thickness, and the impact of trumpet-shaped openings on load carrying capacity is very small or even negligible. For the water-lubricated polymer bearing with axial grooves analyzed in this paper, the appropriate trumpet-shaped openings increase the minimum film thickness from 0.53 to 11.14 µm and decrease the load carrying capacity by 2.48 per cent. Practical implications The results of this study can be applied to marine propeller shaft systems and other systems with polymer bearings. Originality/value This paper has presented an approach for significantly increasing the minimum film thickness of a water-lubricated polymer bearing. A study on the performance improvement of water-lubricated polymer bearings with axial grooves is of significant interest to the research community.
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Riera, Ramon. "Variations for Multidisciplinary Orchestra on a Theme by Schopenhauer." International Journal of Psychoanalytic Self Psychology 4, no. 3 (June 30, 2009): 401–4. http://dx.doi.org/10.1080/15551020902995371.
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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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Haimo, Ethan. "Redating Schoenberg's Passacaglia for Orchestra." Journal of the American Musicological Society 40, no. 3 (1987): 471–94. http://dx.doi.org/10.2307/831677.
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Schoenberg's never completed Passacaglia for Orchestra has occupied a significant position in the history of the development of his twelve-tone method. This fragment was thought to date from 1920-that is, before any of Schoenberg's completed serial compositions-but, significantly, it seems to anticipate compositional procedures and techniques from a later period in Schoenberg's serial development. The fragment was given the date of 1920 because on one page Schoenberg dated the manuscript. However, that date was not clearly written. In this study it is shown that the Passacaglia dates not from 1920, but from 1926, and that it is not an independent composition, but a first draft for the Variations for Orchestra.
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MacDonald, Calum. "Popov's First Symphony." Tempo 59, no. 231 (January 2005): 80–81. http://dx.doi.org/10.1017/s0040298205270079.
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DE SOUZA, RODOLFO COELHO. "The use of Brazilian folk instrument sounds in a concerto for computer and orchestra." Organised Sound 10, no. 1 (April 2005): 31–36. http://dx.doi.org/10.1017/s1355771805000646.
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Original and transformed samples of berimbau, cuica and zunidores sounds, instruments typical of Brazilian folk music, as well as synthesised sounds that emulate spectro-morphological variations of the sounds of these instruments, were assembled into the library of electronic sounds used in Coelho de Souza's Concerto for Computer and Orchestra. This approach had strong implications for the cultural identity of the piece and for the strategies of integration of the computer with the orchestra.
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Vass, George. "Gloucester Cathedral: Variations on ‘Down Ampney’." Tempo 59, no. 231 (January 2005): 52. http://dx.doi.org/10.1017/s0040298205290058.
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Commissioned by the Three Choirs Festival and performed there for the first time on 13 August by the Philharmonia Orchestra under Martyn Brabbins, these variations on Vaughan Williams's hymn tune ‘Down Ampney’ (so named after the village of the composer's birth), were surprising individual successes. The overall shape of the work, arch-like with a slow-fast-slow-fast-slow structure, was suggested by John McCabe, celebrating his 65th birthday year and featured composer at this year's Three Choirs. McCabe, joined in this collaborative effort by Robert Saxton, James Francis Brown, David Matthews and Judith Bingham, also sensibly requested that the orchestration be limited to double woodwind, modest brass and percussion sections, harp and the usual strings.
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Johnson, Bret. "American Music." Tempo 57, no. 226 (October 2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.
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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.
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Johnson, Bret. "George Rochberg." Tempo 60, no. 235 (January 2006): 35–36. http://dx.doi.org/10.1017/s004029820624004x.
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ROCHBERG: Symphony No. 2; Imago Mundi. Naxos 8.559182.ROCHBERG: Symphony No. 5; Black Sounds; Transcendental Variations. Naxos 8.559115.ROCHBERG: Violin Concerto (revised and extended version). Peter Sheppard Skaerved (vln). Naxos 8.559129. All three discs Saarbrücken Radio Symphony Orchestra c. Christopher Lyndon-Gee.
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Macías, Claudia, Itzalá Rabadán, and Ilhuicamina Servín. "Analysis of the variations in frequency for a trumpet B‐flat to use “mute”." Journal of the Acoustical Society of America 128, no. 4 (October 2010): 2282. http://dx.doi.org/10.1121/1.3507994.
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Johnson, Bret. "Ernst Toch’s symphonies." Tempo 60, no. 235 (January 2006): 43–44. http://dx.doi.org/10.1017/s0040298206300046.
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TOCH: Complete Symphonies. Rundfunk-Sinfonieorchester Berlin c. Alun Francis. Three CDs, available separately: Nos. 1 and 4: cpo 999 774-2; Nos. 2 and 3: cpo 999 705-2; Nos. 5, 6 and 7: cpo 999 389-2.TOCH: Piano Concerto No. 1, op. 38; Peter Pan, op. 76; Pinnochio Overture; ‘Big Ben’ Variations, op. 62. Todd Crow (pno), NDR Hamburg Symphony Orchestra c. Leon Botstein. New World Records 80609-2.
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Prendergast, M. D. "The Wedza–Mimosa platinum deposit, Great Dyke, Zimbabwe: layering and stratiform PGE mineralization in a narrow mafic magma chamber." Geological Magazine 128, no. 3 (May 1991): 235–49. http://dx.doi.org/10.1017/s0016756800022081.
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AbstractThe Wedza–Mimosa platinum deposit is a loosely stratiform PGE-rich sulphide zone (MSZ) set within a complexly layered, shallow synclinal sequence of pyroxenites and gabbros. Both the MSZ and its host rocks display systematic stratigraphic, lithological and compositional variations between the margins and the axis of the deposit. A well preserved marginal facies is characterized by discordant layering, stratigraphic complexity, evidence of non-equilibrium crystallization, magmatic erosion and extensive pegmatoids, as well as by irregular MSZ development and metal contents. The principal transverse variations and marginal phenomena are interpreted in terms of the high transverse heat flux and heat gradient caused by the narrow trumpet-like cross-sectional structure of the original magma chamber, the magma replenishment process, the angular relationship between the chamber floor and the stratified magma, and the increase in magma density caused by the onset of plagioclase crystallization.
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Höstman, Anna. "I COULDN'T MAKE A PIECE AS BEAUTIFUL AS THAT: A CONVERSATION WITH ALLISON CAMERON." Tempo 72, no. 286 (September 6, 2018): 17–30. http://dx.doi.org/10.1017/s0040298218000323.
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AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini amplifiers, crackle boxes, toys and keyboards, in collaboration with Éric Chenaux, the Draperies, Ryan Driver, Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald, Stephen Parkinson and Mauro Savo, among other musicians. In that same year she became Artistic Director of Toronto's experimental ensemble Arraymusic, a position she held for five years. In 2007, she founded the Allison Cameron Band with Eric Chenaux and Stephen Parkinson, and in 2009, the trio c_RL with Nicole Rampersaud (trumpet) and Germaine Liu (drums). Allison has experimented with graphic and notational scores that will soon be gathered and published as a collection. Additionally, she is the winner of the 2018 KM Hunter Award for music in Ontario.
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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (January 2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.
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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.
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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.
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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.
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Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.
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Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at least four other orchestral compositions of substantial scale, and the Third and Fourth String Quartets. All of these have contributed to his continuing high profile in the American musical scene. When one surveys Lees's entire corpus of music over the last four decades, one sees an impressive range of works, achievements and awards. Such pieces as the Violin Concerto (1958), Third Symphony (1969) and Concerto for String Quartet and Orchestra (1965), all commercially recorded, stand out as landmarks not only of his own music but of postwar American music generally. His style has continued to evolve in recent years and whilst his hallmark is still his adherence to form and structure, he has become more concerned with orchestral sonority and, without becoming explicitly programmatic, practises his art within an ever-widening sound spectrum and colouristic palette. He has always possessed a strongly individual personality, and the ‘Lees Sound’ is unquestionably unique, even through his exposition and development of musical ideas-and the technique of continual evolution which he favours at present-derive, at source, from his most important early musical teacher: George Antheil.
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Sowińska-Fruhtrunk, Iwona. "Difference and Repetition as the Aspects of Representation in Arnold Schoenberg’s Variations for Orchestra Op. 31." Kwartalnik Młodych Muzykologów UJ, no. 37 english issue (2018): 125–69. http://dx.doi.org/10.4467/23537094kmmuj.18.024.9168.
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Prip, Emanuela-Fabiola. "Valentin Timaru – The Concerto for Violin and Orchestra. The Ratio of Combining Formal Principles within the Genre." Artes. Journal of Musicology 21, no. 1 (March 1, 2020): 96–106. http://dx.doi.org/10.2478/ajm-2020-0006.
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AbstractThe Concerto for Violin and Orchestra (1976) uses aesthetic and stylistic features often found in Valentin Timaru’s compositions: the Romanian musical-folkloric expression, the modal-diatonic and the modal-chromatic language, the free chromaticism, the improvisational nature, the musical articulations with generative purpose, the cyclic thinking and structuring, the preoccupation with the musical form, the proportion and the alternance of the forms used within the genre, as well as the juxtaposition of different formal principles in one part. The four constitutive movements (Lamento, Melopoeia, Variations, and Epilogue) are connected through the thematic interdependence (parts I and IV), the abandonment of the classical formal structure (the sonata form) and the attacca connections.
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Buana, Utari Arsy. "BENTUK PENYAJIAN LAGU OEMAR BAKRIE DI MARCHING BAND SWATAMI PADA GEBYAR PENDIDIKAN NASIONAL KABUPATEN LABUHANBATU UTARA." Grenek Music Journal 7, no. 1 (January 3, 2018): 92. http://dx.doi.org/10.24114/grenek.v7i1.8790.
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The results showed that one form of emotional expression that is channeledthrough the music and therefore, the group marching band Swatami onarranemen songs Oemar Bakrie brought by Marching band Swatami using threecategories of instrument, namely: instrument Percussion in tone (Glockenspiel,vibraphone, Xylophone, Marimba), brass instruments (trumpet, Mellophone,Baritone, Tuba), and percussion (Senar drum, tenor drum, bass drum, cymbals).Choosing songs Omar bakrie for in the arrangements with the shape Marchingband. Bakrie Oemar tempo songs using 163 has 51 bars and has two variations ofthe melody, the melody forms A and B. Form benuk melodic presentation of thesong sung by Oemar Bakrie Swatami Marching band is a form of selfappreciation for issuing arts talent. Using costumes and makeup of their pridethat seemed interesting and luxurious for a show. Using display / position playersmake this show the higher thevalue of his art.
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Nakra, Teresa Marrin, and Brett F. BuSha. "Synchronous Sympathy at the Symphony." Music Perception 32, no. 2 (December 1, 2014): 109–24. http://dx.doi.org/10.1525/mp.2014.32.2.109.
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This study compared the emotional intensities of a conductor and audience during a concert of the Boston Symphony Orchestra. The affective state of the conductor was estimated unobtrusively with a wearable electrocardiogram, and audience participants self-reported their affective states with manual slider boxes. Results indicated that: 1) the conductor’s heart rate variations were temporally aligned with structural patterns in the musical scores; and 2) these variations strongly correlated with the average emotional intensity measurement of the audience. Four consecutive musical selections yielded significant positive correlations (p < .001; r = .86, .84, .48, .61), demonstrating a temporally related emotional intensity shared between the conductor and audience during the performance. Although a causal relationship was not determined, some evidence supported induction as the mechanism of emotional communication. These results suggest possible methods for better understanding the affective experiences of conductors, the reactions of listeners to various stimuli, and the interactions between audiences and musicians during concerts.
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Geringer, John M., and Michael D. Worthy. "Effects of Tone-Quality Changes on Intonation and Tone-Quality Ratings of High School and College Instrumentalists." Journal of Research in Music Education 47, no. 2 (July 1999): 135–49. http://dx.doi.org/10.2307/3345719.
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We investigated the effects of variations in tone quality on listeners' perception of both tone quality and intonation. University music and nonmusic major instrumentalists and high school students participating in instrumental ensembles served as listeners ( N = 116). High-quality digital samples of clarinet, trumpet, and trombone tones were used. The original tone quality of each instrument was manipulated to produce experimental stimuli of “bright” and “dark” relative to the unaltered tone quality. Results indicated that the more inexperienced instrumentalists rated stimuli that were relatively “brighter' in tone quality as sharper in intonation, and conversely, stimuli of relatively ”darker' tone quality were judged to be flatter in intonation. For the brass instruments, listeners judged the unaltered and bright tones as better in tone quality than tones that were relatively dark. However, for the clarinet tones, the bright tone quality was judged to be worse than unaltered or dark-quality stimuli.
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Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (June 21, 2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.
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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for a quarter of a century, until three years after the composer's death. Yet these cases pale into insignificance compared to the treatment meted out to the concerto that Paul Hindemith wrote for Wittgensein in 1923.
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Huebner, Steven. "‘Striptease’ as Ideology." Nineteenth-Century Music Review 1, no. 2 (November 2004): 3–24. http://dx.doi.org/10.1017/s1479409800001336.
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Vincent d'Indy's Istar (1897), a set of variations for orchestra, commands attention for its unusual ground plan: the variations proceed from complex textures to simple ones. Analysis reveals how certain melodic and harmonic details unfold at larger structural levels. Istar's symmetries and organic construction are set in the context not only of previous variation sets but also of Debussy's Prélude à l'après-midi d'un faune, a symphonic poem of similar dimensions that was premiered shortly before d'Indy composed his piece. Resemblances between the two works suggest that d'Indy may have intended Istar as a response to Debussy. Juxtaposition of Debussy and d'Indy provides insight into the different connotations of modernity at the fin de siècle. Istar's programme and compositional strategies reflect d'Indy's firm historicism and commitment to tradition. Yet the work was received as experimental and daring in its day. In its materials Istar paradoxically illustrates a ‘backward progression’: its stylistic allusions move backward in time, yet the tonal direction aims forward towards the concluding tonic. Such idiosyncrasies provide insight into d'Indy's aesthetics and ideology, which sought to conflate commitment to progress with adherence to Faith.
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Bueno, José Lino Oliveira, Érico Artioli Firmino, and Arno Engelman. "Influence of Generalized Complexity of a Musical Event on Subjective Time Estimation." Perceptual and Motor Skills 94, no. 2 (April 2002): 541–47. http://dx.doi.org/10.2466/pms.2002.94.2.541.
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This study examined the variations in the apparent duration of music events produced by differences in their generalized compositional complexity. Stimuli were the first 90 sec. of Gustav Mahler's 3rd Movement of Symphony No. 2 (low complexity) and the first 90 sec. of Luciano Bério's 3rd Movement of Symphony for Eight Voices and Orchestra (high complexity). Bério's symphony is another “reading” of Mahler's. On the compositional base of Mahler's symphony, Bério explored complexity in several musical elements—temporal (i.e., rhythm), nontemporal (i.e., pitch, orchestral and vocal timbre, texture, density), and verbal (i.e., text, words, phonemes). These two somewhat differently filled durations were reproduced by 10 women and 6 men with a stopwatch under the prospective paradigm. Analysis showed that the more generalized complexity of the musical event was followed by greater subjective estimation of the duration of this 90-sec. symphonic excerpt.
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Lesovichenko, Andrey. "B. Britten’s “Guide to the Orchestra”: to the Question of the Unity of the Artistic and Pedagogical Aspects of the Composer’s Plan." Musical Art and Education 7, no. 4 (December 30, 2019): 65–81. http://dx.doi.org/10.31862/2309-1428-2019-7-4-65-81.
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The article presents an analysis of one of the most interesting orchestral compositions intended to familiarize listeners of symphonic concerts with instruments – compositions by Benjamin Britten “Guide to the orchestra. Variations on Purcell’s theme” The composer created his opus in such a way that it could be played in educational programs. At the same time, the composition has a great artistic value. This allows us to consider it in purely musical and pedagogical aspects. The problems of the variation cycle as a dynamically developing flow of diverse images are determined by intonation segments emanating from the theme borrowed from Henry Purcell, in which the initial idea of the master of the XVII century is deeply rethought. The pedagogical task is connected with the demonstration of the timbres of all instruments in solo, ensemble, orchestral sounds, expressing different semantic facets of the original theme, transformed in the process of development into its own antipode. B. Britten found an organic solution to the problems. The article outlines the options for the use of this work in music lessons in secondary school and in the system of additional musical education in the study of instruments of the Symphony orchestra. For this purpose, the comparative characteristics of the performance of the “Guide” by major conductors of different generations are involved, including the interpretation of the composition by the author of the music, which can be assessed a reference. The characteristic of the film for which the music and contemporary videos of the performance of Britten’s opus are written is given.
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McBurney, Gerard. "Brian Elias's recent music." Tempo, no. 174 (September 1990): 12–18. http://dx.doi.org/10.1017/s0040298200019392.
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In the past ten years a remarkable change has come over Brian Elias. He has turned from being a miniaturist to being a composer on a symphonic scale and with symphonic aspirations. Not that he has written any work with so self-conscious a title as ‘symphony’ – at least, not yet. But in these few years he has given us two extended cycles for voice and symphony orchestra, a large-scale single-movement orchestral work that must certainly be called symphonic, a set of 49 Variations for piano inspired by Beethoven's set of 32 in C minor, and now an orchestral ballet in progress for Kenneth Macmillan and the Royal Ballet. All these, and some impressive chamber works too, have come from a composer whose earlier reputation was based on a tiny scattering of compositions including a rarified solo soprano piece (based on a particularly obscure bit of Browning), a piece for solo violin, and the microscopic Five Piano Pieces for right hand alone.
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Asaulyuk, I. O., and A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания." Health, sport, rehabilitation 5, no. 1 (March 30, 2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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Shevtsova, Anastasiya Vladimirovna. "Genre evolution of the Russian viola repertory." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 70–84. http://dx.doi.org/10.7256/2453-613x.2020.4.32769.
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The research object is Russia’s repertory heritage including compositions for viola by the composers of the 20th century. The works are considered from the viewpoint of a direct impact on their appearance of the brightest representatives of the Russian viola school V.V.Borisovsky, F.S. Druzhinin and Yu.A. Bashmet. The analysis is based on pieces devoted to V.V. Borisovsky (Sonata for viola and Piano by V. Kryukov and S. Vasilenko, “Songs of the Dead” and Rhapsody for viola and piano by A. Veprik, A suite for viola and piano by V. Gaigerova) and to Yu.A. Bashmet (A liturgy for a large orchestra and a solo viola “Bemoaned by the Wind” and “Styx” for viola, choir and orchestra by G. Kancheli), and the works by F.S. Druzhinin (Sonata for solo viola and Variations for solo viola). The works are considered from the position of a player’s influence on the composers’ interest in the solo manifestation of viola and its gradual development. The author defines the term “character-performer” corresponding with the image of a violist of the 20th century. The author denotes the new features of solo viola repertory as a result of the work of the above mentioned violists: the acknowledgement of a uniqueness of a viola voice, the establishment of a viola as a bright concert instrument, the expansion of a used range of a viola, the revelation of a mystic component of a viola timbre, the definition of a unique unifying ability of a viola timbre, a full technical liberation of an instrument, and the need for a co-author thinking of a player.
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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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Bonus, Alexander. "Johann Nepomuk Hummel, Trumpet Concerto in E major, piano reduction and parts, edited by Michael Kube (Munich: G. Henle Verlag, 2009), viii+68pp. - Johann Nepomuk Hummel, Concerto for Trumpet and Orchestra in E major (Partitur Nr. 15119), and Version in E flat Major (Partitur 15118), edited by Michael Kube (Wiesbaden: Breitkopf & Härtel, 2010), iv+48pp." Nineteenth-Century Music Review 9, no. 2 (December 2012): 379–87. http://dx.doi.org/10.1017/s1479409812000407.
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Casado, Santiago. "Studying friction while playing the violin: exploring the stick–slip phenomenon." Beilstein Journal of Nanotechnology 8 (January 16, 2017): 159–66. http://dx.doi.org/10.3762/bjnano.8.16.
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Controlling the stick–slip friction phenomenon is of major importance for many familiar situations. This effect originates from the periodic rupture of junctions created between two rubbing surfaces due to the increasing shear stress at the interface. It is ultimately responsible for the behavior of many braking systems, earthquakes, and unpleasant squeaky sounds caused by the scratching of two surfaces. In the case of a musical bow-stringed instrument, stick–slip is controlled in order to provide well-tuned notes at different intensities. A trained ear is able to distinguish slight sound variations caused by small friction differences. Hence, a violin can be regarded as a perfect benchmark to explore the stick–slip effect at the mesoscale. Two violin bow hairs were studied, a natural horse tail used in a professional philharmonic orchestra, and a synthetic one used with a violin for beginners. Atomic force microscopy characterization revealed clear differences when comparing the surfaces of both bow hairs, suggesting that a structure having peaks and a roughness similar to that of the string to which both bow hairs rubbed permits a better control of the stick–slip phenomenon.
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A.C.F. "Recordings: Poul Ruders Edition, Volume Three, Paganini Variations Guitar Concerto No. 2Recordings: Poul Ruders Edition, Volume Three, Paganini Variations Guitar Concerto No. 2, The City in the Sea for Contralto and Orchestra, Anima Cello Concerto No. 2. David Starobin, guitar; Michaela Fukacova, cello; Mette Ejsing, contralto; Jan Wagner, conductor; Odense Symphony Orchestra. Bridge Records, 2002, $14,99." American String Teacher 53, no. 3 (August 2003): 122. http://dx.doi.org/10.1177/000313130305300356.
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Lochhead, Judy. "Black Sounds; Cantio Sacra; Phaedra. By George Rochberg. Boston Modern Orchestra Project, Gil Rose, conductor; Mary Nessinger, mezzo-soprano. Naxos 8.559120, 2002. Symphony No. 5; Black Sounds, Transcendental Variations. By George Rochberg. Saarbrücken Radio Symphony Orchestra, Christopher Lyndon-Gee, conductor. Naxos 8.559115, 2003. Symphony No. 2; Imago Mundi. By George Rochberg. Saarbrücken Radio Symphony Orchestra, Christopher Lyndon-Gee, conductor. Naxos 8.559182, 2005." Journal of the Society for American Music 1, no. 3 (July 17, 2007): 397–403. http://dx.doi.org/10.1017/s1752196307070150.
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Ozsvárt, Viktória. "Interactions between symphonies and film music in the œuvre of László Lajtha." Studia Musicologica 58, no. 2 (June 2017): 239–53. http://dx.doi.org/10.1556/6.2017.58.2.6.
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In the case of Hungarian composer and ethnomusicologist László Lajtha (1892–1963) discovering the manifold potentials in a symphonic orchestra linked strongly with the composition of works for stage and screen. Nevertheless, it clearly makes sense to examine the long-term relations Lajtha had with the film as a genre, by searching for common features in the structure of his music composed for films and his symphonies. Much of the musical material in Lajtha’s Third Symphony is similar to those he used in his 1948 film music for Murder in the Cathedral. The similarity gains more complexity if one takes into consideration that the Third Symphony was marked by the composer as the starting point in a monumental, five-fold symphonic cycle composed through the 1950s. The article makes an attempt to explore the thematic and motivic relationship between the Third Symphony, the Variations and the film score Murder in the Cathedral by analysing the musical material and the structure, and by searching for correlation between the audible and visual effects of the music Lajtha used in the movie scenes. This kind of examination may offer a new perspective on the sources of inspiration that shaped Lajtha’s workmanship and it also gives some important information about his way of thinking about music.
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Matthews, David. "Deal Festival: Pavel Novák." Tempo 58, no. 227 (January 2004): 59–60. http://dx.doi.org/10.1017/s0040298204250057.
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In describing the performance of three extraordinary pieces by the Czech composer Pavel Novák, I have to begin by declaring an interest in my capacity as Artistic Director of the Deal Summer Music Festival, at which he was a featured composer. Novák was born in Brno in 1957, and has achieved a high reputation in Moravia, where he is now acknowledged to be the leading composer of his generation. He is not yet well known outside the Czech Republic, although the Schubert Ensemble have commissioned three pieces from him – Lord, We Seek the Song of the Chosen for piano trio (1991); Royal Funeral Procession to Iona for piano quintet (1995); St Mary Variations for piano quartet (2000) – and have played them in Britain and abroad. Novák's teacher, Miloslav IÎtvan, was a pupil of Janáček's pupil Jaroslav Kvapil, and Novák, more than any other composer in Moravia, seems the true inheritor of the Janáček tradition. That tradition remains a vital force in Brno, partly because Janáček is the most local of composers and his music still, and in a vital way, haunts his home town with its Janáček Academy (where Novak studied), and the Janáček Theatre (where Novak played the oboe for a number of years in the opera orchestra) at which Janáček's operas are performed as nowhere else, players and singers alike attuned to the Moravian dialect; partly through the continuing vitality of Moravian folksong, whose spirit and melodic contours inform Novák's music as they did Janáček's.
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Rickards, Guy. "SKALKOTTAS: 36 Greek Dances (with alternative versions of Nos. II/8–9 & III/6); The Return of Ulysses. BBC Symphony Orchestra c. Nikos Christodoulou. BIS-CD-1333/1334. SKALKOTTAS: Concerto for 2 violins1–3; Quartet for oboe, trumpet, bassoon & piano2,4–6; Concertino for oboe & piano2,4; Concertino for trumpet & piano2,5; Tango and Fox-trot for oboe, trumpet, bassoon & piano2,4–6; Sonata Concertante for bassoon & piano2,6. 1Eiichi Chijiiwa, Nina Zymbalist (vlns), 2Nikolaos Samaltanos (pno), 3Christophe Sirodeau (pno), 4Alexeï Ogrintchouk (ob), 5Eric Aubier (tpt), 6Marc Trenel (bsn). BIS-CD-1244." Tempo 58, no. 227 (January 2004): 78–80. http://dx.doi.org/10.1017/s0040298204300069.
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Gorbal, Y. M. "Professional Training of Military Musicians in Ukrainian Lands at the Turn of the XIX–XX Centuries." Culture of Ukraine, no. 71 (April 2, 2021): 75–81. http://dx.doi.org/10.31516/2410-5325.071.09.
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Abstract. The Armed Forces of Ukraine have strong traditions of musical bands that date back to princely and Cossack times. The task of their orchestras is to boost the morale of servicemen, to strengthen the power of the Ukrainian army by means of musical arts, as well as to perform at festive events (both at the local and the state level). However, despite the importance and diversity of creative and educational activities of the Military Orchestra Service of the Armed Forces of Ukraine, no comprehensive study of historical aspects of the functioning of music and military bands in national musicology has been conducted.
The purpose of the article is to analyze the historical process of the formation of traditions of professional training of members of military musical bands at the turn of the XIX–XX centuries in the Ukrainian lands, as well as ceremonial and social functions of their concert activity.
Research methodology. The overview is based on historical, structural and systemic methods.
Results. Traditions of military orchestral training in Ukraine have deep historical roots and are based on multicultural principles. Traditions of performance and training in military musical bands of the Armed Forces of the independent Ukraine were formed on the basis of the three lines of continuation: princely and Cossack musicartistic formations and bands of the time of liberation movements (LUSR — Legion of Ukrainian Sich Riflemen, UIA — Ukrainian Insurgent Army), which represent their direct national line; Russian military orchestras with the participation of Ukrainian specialists; and multinational Austrian and Polish military music bands in Ukrainian territories. All of them together formed the basis on which the Ukrainian military and musical tradition was based, absorbing all the most relevant and productive aspects of the experience gained.
Novelty. The activity of centers in which members were trained for existing military orchestral groups in the Ukrainian lands, as well as ways in which such training was performed, and the development of professional training of musicians were considered.
Practical significance lies in the consideration of prospects for further detailed study of the functioning of separate bands, their repertoire, instruments, ceremonial and social functions, achievements of particular individuals in the field of performance, pedagogy and conducting.
Conclusions. In the activity of military orchestras in the Ukrainian lands at the turn of the XIX–XX centuries we can see a combination of militaryceremonial and social palaceconcert functions, wide involvement of all segments of the society in concert touring, which completely dictates the rich repertoire. From LUSR schools and guilds, professional training of musicians was gradually transformed into the activities of specialized training units at the military formations, cadet schools and trumpet schools, institutions at music societies and professional music training in conservatories.
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Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.
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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and vocal performances. O. Nazarenko strived for performing activity, and therefore he chose the direction of creative work as a soloist-accordionist of the Kharkiv Regional Philharmonic (1962–1967), where together with solo performances he began professional concertmaster activity, working in various genres (vocal, dance and original). After graduating from the conservatory, O. Nazarenko paid much attention to the technique of reading from a sheet of works for piano, studied professional accompaniment to soloists, gained experience in concertmaster’s work to learn the new repertoire with artists. At the Department of Folk Instruments, students and teachers competed with each other in better technique of reading from a sheet, transposition into any key, play a tune by ear, improvisation, and skillfully translation the piano texture into accordion. According to the professor’s words, in order not to lose his performance skill during the tour and to maintain the technical level, he tried to practice even on a bus. He played accordion technical exercises with ready-made chords and fragments from masterpiece works (G. Diniku “Romanian round dance”, introduction to the opera “Ruslan” by M. Glinka); always worked on the plastic of his right hand. Most often, the acquaintance with the musical text took place during the move or a short time before the concert. Soloists-vocalists gave piano notes and indicated in what key they were comfortable to sing. Thus, the accordionist had to analyse the texture without an instrument, sing the melody in the required key with his inner ear, and transpose the musical material. O. Nazarenko tried to enrich the instrumental accompaniment with texture (counterpoint, melodic undertones) in order to move away from the primitive form (bass-chord support). The intention to complicate the accordion part made O. Nazarenko to improve his skills constantly in the selection of means of expression, intonation, the search for timbre diversity, all means which create true artistic values. Accompanying the soloists, the artist paid special attention to the thinning of the sound, imitating stringed instruments. While accompanying a group of brass instruments of a symphony orchestra (trumpet, trombone), he tried to convey the effect of “spaciousness”, equalling the techniques of sound production of brass instruments. Thus, performing a popular song of the Great Patriotic War “At Nameless Height”, O. Nazarenko imitated the replicas of the trumpet signal, and in the song “Buchenwald’s alarm” his performance gained maximum tension, sharpening and concentration in the transmission of bells. The world-famous song for the musical of the same name “Hello, Dolly” accompanied by O. Nazarenko gained a swing accent due to the alternation of the first and fourth parts of the bar and bright intonation. The material for accompaniment in the original genres (acrobats, jugglers, tightrope walkers, illusionists) was Latin American tunes (“Malagenya”, rumba “Valencia”), music for movies (“Serenade of the Sunny Valley”), personal improvisations. Between 1967 and 1987, the Union of Composers of Ukraine had author’s concerts-meetings, where among soloists were present the artists from the Philharmonic, the Opera House and teachers from the Institute of Arts. Well-known composers of Kharkiv such as G. Finarovsky, O. Zhuk, T. Kravtsov, F. Bogdanov, I. Kovach, N. Yukhnovska, O. Litvinov, G. Faintukh, V. Zolotukhin selected the soloists and completed the concert program. In general, during the whole period devoted to concertmaster’s activity, O. Nazarenko performed with more than a hundred soloists-vocalists of academic (bass, baritone, soprano, mezzo-soprano) and folk singing, as well as with numerous instrumentalists. Conclusions. Fruitful work on improving his own professionalism made the master a famous concertmaster-accordionist of Kharkiv. Collaboration with talented artists filled the emotional and intellectual state of the young musician, a rich palette of genres allowed the musician to think more widely and go beyond academism. The variety in the choice of means of expression enriched the technique of reading from a sheet, transposing and transition a piano works into an accordion. The expansion of the dramatic functions of the accordion accompaniment, the arsenal of means of expression contributed to the formation of a new type of ensemble based on the cocreation (equality / subordination) of its participants. This determined the active role of the accordionist concertmaster at all stages of the development of the interpretation plan: from the search for a key idea to its implementation on the concert stage. Working as an accompanist influenced not only his performing skills, but also Nazarenko’s work as a composer. Thanks to the personality of O. Nazarenko, the concertmaster activity of a whole generation of accordionists reached a qualitatively new professional level, and the profession of accompanist became popular among the younger generations working in this complex performance format.
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Gritten, Anthony. "MARKEVITCH: Complete Orchestral Music, Vol. 3. Rébus; Hymnes. Arnhem Philharmonic Orchestra, c. Christopher Lyndon-Gee. Marco Polo 8.223724. Complete Orchestral Music, Vol. 4. Lorenzo il Magnifico; Psaume. Lucy Shelton (sop), Arnhem Philharmonic Orchestra c. Christopher Lyndon-Gee. Marco Polo 8.223882. La Taille de l'Homme. Lucy Shelton (sop), Arnhem Philharmonic Orchestra c. Christopher Lyndon-Gee. Marco Polo 8.225054. Piano Works. Variations, Fugue, and Envoi on a Theme of Handel; Stefan le Poète. Kazuoki Fujii (pno). Pavane ADW 7217." Tempo 57, no. 223 (January 2003): 68–70. http://dx.doi.org/10.1017/s004029820321007x.
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Ilienko, M. M. "The «virtus» problem in musical performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 138–54. http://dx.doi.org/10.34064/khnum1-54.09.
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The article is devoted to consideration of a virtuosity phenomenon (from Latin virtus – virtue, talent) in musical performing. It is stated that this phenomenon and research approaches to it compose an entire musical area in today’s performing musicology which has been actively developing during the last two or three decades both abroad and in Ukraine. The given research underlines strong connection of a performing virtuosity with other phenomena and categories dealing with the problem under consideration. First of all, it is thinking of a musician-interpreter acting as an authentic co-author of a piece of music as well as his/her style, the so-called “stylish performance” (according to L. Gakkel), which employs music expression as the main feature of its semantics from the point of affecting audience. The article observes stages of formation of performing art, which are closely related to the evolution of musical thinking, and distinguishes instruments that were taking the lead at different historical periods. Therefore, all these factors together stipulate scientific originality of the suggested research. It is noted that traditionally the concept of “virtuosity” in performing art, as a rule, reflects only one aspect of artistic process – the technical one which is connected with professional skills of a musician. As if behind the scenes there remains a philosophical and aesthetic background of virtuosity leading to praxeology – the science about forms of human activity. From this perspective, “activity” is linked to “freedom” and makes up a dialectical pair with it. In other words, the freer a performer is, the higher level of his “mastery of doing” (according to T. Cherednichenko) is, and the more widely he understands the category of virtus, which came to Baroque music from the theatrical theory of affects. It was during this time that the “class” of professional virtuoso performers was formed, which makes Baroque “concert style” basically different from the Renaissance one in which the performers – choristers and orchestra members – were “anonymous”. Each performing school – epochal, national, regional, authorial – develops its own performing standards, determined by the peculiarities of musical thinking under different historical or “geographical” conditions. As a result of these processes, paradigmatic attitudes of musical thinking emerge in the form of its social communicative and artistic determinants, generating one or another type of musical culture, including its performing aspect. It is proved that musical performing was most influenced by evolution of semantic ideas which serve as a basis for epochal stylistic systems: 1) in Antiquity there prevailed an “idea of a number” which dealt directly with cosmological harmonia mundi (the leading instruments were plucked string ones – lyre, cithara as well as aulos; 2) in the Middle Ages influenced by the ideas of Antiquity the Christian idea of Divine Universe was prevailing, and performing culture-bearers were anonymous choristers performing Gregorian chants and their first adaptations; 3) Renaissance period with its idea of humanization of art puts a focus on the image of a virtuoso creator that combines the roles of a performer and a composer (the leading instruments here are organ and clavier in combination with voices and bowed string instruments); 4) Baroque period with its cult of theory of affects is notable for the image of a virtuoso performer that combined in-depth knowledge and high-class technique (the range of instrumental timbres was being expanded significantly – up to the usage of most instruments of then-orchestra with the focus on bowed string instruments as well as some brass ones – flute, trumpet, oboe); 5) Classicism which replaced Baroque clearly differentiated composers and performers giving a strong preference to the first ones (there could be observed a variety of performance specializations from the point of instruments: traditional bowed string instruments and a clavier were enriched with both woodwinds and brass winds). In the era of Romanticism, there can be observed a new synthesis of composer’s and performer’s intentions in the creation and representation of musical compositions of various genres and forms, compliant with the Baroque era to some extent. The style of “creative virtuosos” was formed, and it replaced the style of “playing creators” (according to N. Zhaivoronok), which constitutes the main (epochal) division in the formation and evolution of the virtus phenomenon in music: it becomes universal and can reveal itself in three versions – composer’s, performing, and mixed. The latter one includes two styles, distinguished by the emphasis on the components – composer-performer or performer-composer style (according to V. Tkachenko). As for music of the most recent period (XX – the beginning of XXI century) with its stylistic pluralism, it does not feature complicated intertwining of all variants of the phenomenon virtus that needs to be dealt with separately in terms of individual styles – composer’s and performer’s as well as their combination.
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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.
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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of the first production. The opera was directed by David Pountney, the renowned opera director, while an international team of young singers and celebrated artists assisted the co-production. The opera was played three times in Amsterdam. Winfried Maczewski conducted the Amsterdam Nieuw Ensemble whereas Daniel Hoyem Cavazza conducted the Wiener Kammeroper on twelve performances. The Viennese premier of Zora D. opened the season of celebrations, thus marking the 50th anniversary of the Wiener Kammeroper. The libretto, based on the script for a TV film by Dusan Ristic, was co-written by Isidora Zebeljan, Milica Zebeljan and Borislav Cicovacki. Speaking of genre, the libretto represents a m?lange of thriller, melodrama and mystery, with elements of fiction. The opera consists of the prologue and seven scenes. The story, set in the present-day Belgrade, also goes back to the 1930?s and the periods interweave. The opera was written for four vocalists: the soprano, the baritone, and two mezzo-sopranos. The chamber orchestra has fifteen musicians. The story: One summer day in 1935, Belgrade poetess Zora Dulijan mysteriously disappears. Sixty years later, Mina, an ordinary girl from Belgrade, quite unexpectedly becomes part of an incredible story, which gradually unravels as time goes by. Led by a dream (recurring night after night, with some vague verses about poplar trees and contours of a mysterious woman with a silver scarf being all that Mina remembers) she sets out to solve the mystery that seems to haunt her for no apparent reason. Part of the secret is also an invisible force, which Mina uses to gradually piece together the story of a great love that was brutally brought to an end 60 years ago and now seeks fulfillment. At the same time, Vida, a woman in her 80s, who has just returned to Belgrade from a long exile, begins to feel tortured and haunted by ghouls from the past, the very same she has been trying to escape all those years. Mina, desperate to solve the mystery, and Vida, in search of final rest and redemption, meet to disclose to us the answer and tell us what really happened to Zora D. The leading characters of the opera, whose main attribute is illusiveness, undergo transformation that is something rarely found in opera literature. This quality of the characters and the story, as well as the absence of a real drama in the libretto, matches the specific idea of a contemporary opera. Unlike composers who insist on giving characters psychological quality, thus reducing their emotions to clich?s for reasons of clarity, Isidora Zebeljan demonstrates a need for a completely different type of opera. Her idea is to have an opera which focuses on the sensual exploits of music itself. This is the very type of opera sought after by Isidora Zebeljan. The first and most striking feature of her music is a very unique melodic invention. Opera Zora D. could be described as a necklace of thickly threaded music pearls. Microelements of the traditional music from Serbia (Vojvodina), Romania and the south of the Balkans give her melodies a very special quality. Those elements, however, have not been taken over in their entirety, nor do they exist in the form that would link this music to any particular type of folk music. Music elements of the traditional music, incorporated in the music expression of Isidora Zebeljan, provide additional distinctiveness and the colour, while being experienced as an integral part of Zebeljan?s creative being which carries within itself the awareness of the composer?s musical roots. Melodic elements of the opera expressed in such a manner give form to vocal parts, which require of performers great musicality and perfect technique without compromising the nature of their vocal expression. Specific chords with a diminished fifth, resulting from the use of folk music scales with augmented second, give the opera a distinct harmonic quality. The rhythmic and metric components of music are complex, naturally stemming from the melody and are characterized by a mixture of rhythms and changeable metrics. The rhythmic patterns of percussion are incorporated in the whole by parallel lining up of melodic and rhythmic layers, so that they produce sonorous multiplicity. Very often the rhythmic elements have characteristics of a dance. The chamber orchestra consists of flute (piccolo and alto), clarinet and bass-clarinet, saxophone (soprano and alto) bassoon, French horn, trumpet, harp, piano, percussion, and string quintet. By providing specific orchestration and coloring, Isidora Zebeljan manages to completely shift the real dramatic suspense from words to music particularly the orchestra, thus causing various emotional states to quickly change. Speaking of structure, the opera represents an infinite sequence of melodies. Although rarely, melodic entities have, in some places, the form of arias. There are no real recitatives in the entire opera. Each segment of the opera belongs to a corresponding melodic section of the stage that they are part of. The extraordinary quality of the music in Zora D. lies in the music surprise that it provides, which is an element of the composer?s language and style rarely seen in the music literature but is a symbol of a special talent. Emotional states are not merely evoked through particular musical clich?s, the unusual origin of which may be found in the exceptional parallel quality of states stemming from the very music. The listener, in his or her initial encounter with the music of the opera, will never hear dark and disconsolate music when tragic and dramatic happenings are taking place. Listening to the music will, however, help them feel the sound layer of the tragedy that is present in the offered sound. They will not follow it consciously but, instead, they will be leaded to the exact emotional stimulus that they will not be able to defy rationally. Such a music expression we call a music fiction. Artistic team involved in the first production of Zora D. has discovered a HVS technique, which helps shifting elements of scenography, from one set into the next, very efficiently and effectively. Isidora Zebeljan?s opera Zora D. represents a great success of Serbian music on the international scene, and undoubtedly the greatest success of Serbian opera. Her music liberates listeners from the compulsion of reflecting upon the content they are listening to. Instead, her music compels them to feel.
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Maksym, Trianov. "CREATIVE PORTRAIT OF VOLODYMYR DOTSENKO AS EXPRESSION OF THE CONCEPT OF UNIVERSALISM." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 150–65. http://dx.doi.org/10.34064/khnum2-22.09.
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The contemporary national Ukrainian art of guitar performance is actively growing. In the latest decades it is experiencing a veritable takeoff. One of the primary objectives of modern musicology is to extensively study the phenomenon of Ukrainian guitar art, specifically its regional variations. The establishment of regional schools of guitar and study of prominent artists deserve detailed research. The article examines the multifaceted creative individuality of Volodymyr Dotsenko, the founder of professional school of classical guitar in Kharkiv. His artistic image is firstly pondered in the light of universalism. Such major areas of the artist’s interest are explored as conducting, teaching practice, research and socio-educational activity, which all lie in close conjunction with each other and contribute to the universalistic image of a modern musician. A specific focus is made on the early development of artistic universalism in Dotsenko, which begins in the early days of his professional activity. The article shows how the quality of education and upbringing contributes to shaping a multifaceted creative individuality. The analysis of Dotsenko’s performance style displays such universalistic features as a deep understanding of the interpretative idea core, stylistic and technical immaculacy in performance of guitar pieces from diverse styles, exquisite taste in selection of conceptual concert programs. Afresh approach to the teaching of guitar performance and years of experience in training firstclass performer laid groundwork to a corpus of academic methodical literature, which fully conveys the principles of comprehensive universalist development of a musician. Dotsenko’s teaching and scholarly activities are characterized by deep understanding of the technical aspects of classical guitar performance, a highly academic approach, extensive knowledge, precise turn of phrase, and colorful imagery. Meanwhile, Dotsenko’s organization skills brought about the creation of a unique ensemble: the Kharkiv guitar orchestra, as well as a number of academic and practical conferences and classical guitar contests. All of these events heavily contributed to further development of Ukrainian guitar art. Dotsenko is an example of Ukrainian creative elite, a unique musician, professor, academic, and social activist. The universalist traits characteristic of his artistic individuality, can be observed in every field of his creative output and are the main qualitative feature of his personality.
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Zeng, Yong, Lianmei Yang, Zuyi Zhang, Zepeng Tong, Jiangang Li, Fan Liu, Jinru Zhang, and Yufei Jiang. "Characteristics of Clouds and Raindrop Size Distribution in Xinjiang, Using Cloud Radar Datasets and a Disdrometer." Atmosphere 11, no. 12 (December 21, 2020): 1382. http://dx.doi.org/10.3390/atmos11121382.
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Observation data from March to May 2020 of the Ka-band millimeter-wave cloud radar and disdrometer, located in Xinjiang, a typical arid region of China, were used to study the diurnal variation of clouds and precipitation, raindrop size distribution (DSD), and the physical parameters of raindrops. The results showed that there are conspicuous diurnal changes in clouds and precipitation. There is a decreasing trend of the cloud base height (CBH) from 05:00 to 19:00 CST (China Standard Time, UTC +8) and a rising trend of CBHs from 20:00 to 04:00 CST. The cloud top height (CTH) and the cloud thickness show a rising trend from 03:00 to 05:00 CST, 12:00 to 14:00 CST, and 20:00 to 01:00 CST. The diurnal variation of clouds is mainly driven by wind and temperature closely related to the topography of the study area. There are three apparent precipitation periods during the day, namely, 02:00–09:00 CST, 12:00 CST, and 17:00–21:00 CST. The changes in the physical parameters of raindrops are more drastic and evident with a lower CBH, lower CTH, and higher number of cloud layers from 12:00 to 21:00 CST than other times, which are closely related to day-to-day variations of systems moving through, and incoming solar radiation and the mountain–valley wind circulation caused by the trumpet-shaped topography that opens to the west played a secondary role. The DSD is in agreement with a normalized gamma distribution, and the value of the shape factor μ is significantly different from the fixed μ value in the Weather Research and Forecasting (WRF) Model. The rain in arid Xinjiang had a higher concentration of raindrops and a smaller average raindrop diameter than the rain in other humid regions of the Central and Southeast Asian continent. In the Z−R (radar reflectivity–rain rate) relationship, Z=249R1.20 is derived for stratiform rain, and it is significantly different from humid regions. Using Z/Dm (mass–weighted mean diameter) and R, a new empirical relationship Z/Dm=214R1.20 is established, and improvement is obtained in rain retrieval by using the Z/Dm−R relation relative to the conventional Z−R relation. Additionally, the Nt−R, Dm−R, Nw−R, and Nt−Nw relationships with larger differences from humid regions are established by fitting the power-law equations. These results are useful for improving the data parameters of microphysical processes of WRF and the accuracy of quantitative precipitation estimation in arid regions.