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Journal articles on the topic 'Vocal trios with orchestra'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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1

Vashchenko, Olena. "Towards a tradition: the evolution of Ph. Glass’s music theater." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (2023): 7–25. http://dx.doi.org/10.34064/khnum1-67.01.

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Statement of the problem. The music theater of Ph. Glass is an important part of both the work of the composer himself and the musical culture of the 20th – 21st centuries, which is confirmed by the constant interest of researchers. However, it has been discovered unevenly, and the late operas of Ph. Glass remain almost unlit, which does not provide an opportunity to follow evolution of this genre. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the genre metamorphosis of the opera in Ph. Glass’s music theater based on the analysis of th
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2

Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.

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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra,
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3

Ryzhinsky, Alexander S., and Xiaoyong Shao. "Choir as "vocal orchestra" in contemporary Russian composers’ legacy." Ученые записки Российской академии музыки имени Гнесиных 3, no. 50 (2024): 29–41. http://dx.doi.org/10.56620/2227-9997-2024-3-29-41.

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The article presents the first analytical description of a new trend in the development of contemporary Russian music — creation of compositions for solo instrument and choir as a "vocal orchestra". Analysis of 20th century works (A. Schoenberg, A. Lurie, L. Nono, D. Ligeti) allows the authors to conclude that there are general grounds for the emergence of the phenomenon of "vocal orchestra", and also to understand more deeply the originality of its embodiment in the works of modern Russian composers — A. Tchaikovsky, E. Podhaits, K. Bodrov. On the basis of the considered compositions of recen
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4

TSYKINA, Yuliya Yu., and YU YONG. "The influence of Huang Zi's vocal art songs on the development of Chinese vocal music." Service plus 18, no. 3 (2024): 147–55. https://doi.org/10.5281/zenodo.14510143.

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This article examines the role of the songs of Huang Zi (1914-1938) in the development of Chinese vocal music. It notes that during his short life, the composer produced some 100 works in a variety of genres, including vocal works, including a hymn to the national flag of the Republic of China, and symphonic works. A prominent composer and teacher, he is the founder of the first all-Chinese orchestra, the Shanghai Orchestra, and the founder of the system of modern music education in China. The aim of this study is to demonstrate the role of Huang Zi's songs in the development of Chinese vocal
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Rakochi, Vadym. "Mutual Influence of The Orchestra and Concerto Principle in The 16th – First Half of The 17th Centuries." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 49–63. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233112.

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The interaction between the evolution of the orchestra and the concerto at the end of the late 16th — first half of the 17th centuries has been considered. Three levels of interaction are revealed. The first one is the basso continuo. There is little attention paid to the importance of this technique for the formation of the orchestra: the impact on the formation of instrumentalists’ collectives through the appearance of a homophonic way of presentation; combining different forces of sound of instruments; strengthening the bass line as a solid foundation for the entire vertical structure. The
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6

Rovner, Anton А. "Finland, a Vocal Symphony for Soprano, Tenor and Large Orchestra." ICONI, no. 4 (2020): 100–111. http://dx.doi.org/10.33779/2658-4824.2020.4.100-111.

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My composition Finland is a vocal symphony for soprano, tenor and large orchestra set to the text of the early 19th century Russian Romantic poet Evgeny Baratynsky. The main idea behind this composition involves the combination of two contrasting approaches to musical composition: composing an abstract, independent musical work built on purely musical laws of structure and development and, on the other hand, writing a dramatic, programmatic work, the aim of which is to express emotions, to interpret and depict the subject matter of the literary text. The musical composition consists of six mov
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7

E.E.EMANUEL. "THE USE OF MODERN TEACHING METHODS IN THE PROCESS OF TEACHING "CONCERTMASTER SKILLS"." SCIENCE AND INNOVATION IN THE EDUCATION SYSTEM 1, no. 6 (2022): 46–48. https://doi.org/10.5281/zenodo.7303333.

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The subject "Concertmaster skills" at the Music Academic Lyceum aims to prepare students of piano departments for independent work as concertmasters. During the training, students should get acquainted with the best examples of folk art, vocal and instrumental music; gain skills and abilities to accompany soloists, have an idea of the range, tessitura of vocal voices and instruments of a symphony orchestra, their specific features; read from a sheet and transpose simple works. To solve these problems, it will be useful to use modern teaching methods.
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8

Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 2 (2023): 237–40. http://dx.doi.org/10.53830/vckz2369.

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Review of vocal music by two American composers: Scott Wheeler, “Dreams, Lies & Love Songs” and Juliana Hall, “Setting Sails,” twelve song settings of Emily Dickinson poems for soprano, mezzo, or tenor. British composer Jacques Cohen’s “Love Journey,” seven song settings for voice and piano, and for string orchestra, on poems from James Joyce’s “Chamber Music.”
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9

Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.

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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 197
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10

Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.

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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of
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11

Braun, Michael. "Bartóks originale Vokalmusik Gemeinsamkeiten in Textwahl, Textbehandlung und Stil." Studia Musicologica 53, no. 1-3 (2012): 199–210. http://dx.doi.org/10.1556/smus.53.2012.1-3.15.

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The inventory of Béla Bartók’s original vocal compositions produces a heterogeneous impression: as regards to scoring, form, the derivation of the text, and the attitude of expression, the opera Bluebeard’s Castle, the two collections of songs opp. 15 and 16, Cantata profana for Soli, Choir and Orchestra, and the a cappella series Elmúlt időkből (From Bygone Times) and Twenty-Seven Two- and Three-Part Choruses apparently do not form a homogeneous group. However, they do share the common characteristic of being born as original music out of pre-existing texts. Stylistic features and peculiariti
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12

Gajić, Milica. "Marking the jubilee of the National Theatre in Belgrade: 150 years since its founding: Czech music and musicians on the stage of the National Theatre in Belgrade until 1914)." New Sound, no. 52-2 (2018): 149–60. http://dx.doi.org/10.5937/newso1852149g.

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This year's jubilee of the National Theatre in Belgrade is an opportunity to remind ourselves of the presence and contribution of Czech musicians at that institution. We meet them as members of the orchestra, bandleaders, authors of operas, operettas, and stage music, and, to a lesser extent, as vocal soloists in numerous works of stage music and chamber musicians. Many of them showcased their concert activities on the stage of this institution, including even some who were internationally renowned musicians at the time.
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13

Stefanovic, Ana. "Traditional vocal music as a reference in contemporary Serbian art song." Muzikologija, no. 20 (2016): 151–70. http://dx.doi.org/10.2298/muz1620151s.

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The article examines the relation between traditional vocal music and contemporary compositional poetics in Serbian art song, created in the last two decades. The special relationship between the ?eastern? Balkans inheritance and ?western? compositional practices which characterized Serbian music throughout the 20th century is considered in a contemporary, post-modern context and within a particular genre framework. The status of the reference itself, as well as of referential relationships, are examined through examples taken from three works: Dve tuzbalice (1997) for soprano, viola and piano
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14

Коробов, Ф. П. "Benjamin Britten’s vocal cycles for high voice and string orchestra: pages of the history of creation and performance of works." Музыкальное искусство Евразии. Традиции и современность, no. 2(15) (June 30, 2024): 30–36. http://dx.doi.org/10.26176/maetam.2024.15.2.003.

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Статья посвящена изучению истории создания и исполнительским интерпретациям вокальных циклов Бенджамина Бриттена, написанных для сопрано и струнного оркестра – «Озарения», «Серенада», «Ноктюрн», «Спит алый лепесток». В исследовании раскрываются и уточняются факты об истории создания указанных произведений, конкретизируется круг образов и содержание. В результате изучения сценической истории данных опусов делаются выводы о том, что вокальные циклы композитора для высокого голоса и струнного оркестра в первой трети XXI века заново открываются отечественному слушателю и вводятся в концертную прак
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15

Movchan, Larisa Anatol'evna. "The specifics of teaching the techniques of conducting gesture in the "Choral conducting" classroom." PHILHARMONICA. International Music Journal, no. 1 (January 2024): 18–32. http://dx.doi.org/10.7256/2453-613x.2024.1.69898.

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The profession of conductor is one of the most important musical specialties in the world. The conductor plays the role of the head of the orchestra or choir, is responsible for the accuracy and expressiveness of the sound of the work, and serves as an intermediary between the author and the performer. The nature of the music and the performance interpretation depend on the correct work of the conductor. There is an educational side to the conductor's work. The choirmaster, engaged in teaching, solves a number of educational tasks. The article examines the specifics of teaching conducting gest
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16

Ushanova-Rudko, Iryna. "Performance Interpretation of Miroslava’s Vocal Part in The Golden Hoop Opera by Borys Lyatoshynsky." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(1) (June 13, 2023): 186–91. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283149.

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The performance interpretation of Miroslava’s vocal part in The Golden Hoop opera by Borys Lyatoshinsky was considered. The leading role of this character in the development of the overall concept of the opera was clarified. Myroslava’s vocal part was analyzed at different moments of its formation: during the exposition in the first picture, the unfolding and development of the heroine’s vocal intonations in the third and fifth pictures, and during the qualitative transformation of her melody at the final stage of the formation of the image in the sixth and eighth pictures. The intonation spec
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17

Jones, Stephanie. "Mark Andre, Wunderzaichen. Oper Stuttgart." Tempo 72, no. 286 (2018): 87–88. http://dx.doi.org/10.1017/s0040298218000463.

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On the 13 May 2018, under the beautiful, celestial, fresco ceiling of the city's opera house, the highly acclaimed Oper Stuttgart produced a captivating revival of composer Mark Andre's Wunderzaichen (2008–2014; Wunder, ‘miracle’, and Zaichen, old German for ‘sign’). The protagonist, ‘Johannes’, is a ‘speech role’, and André Jung met the challenge with a modest, yet rigorous, intellect. Julia Bauer, as ‘Maria’, displayed a sensitive and virtuosic vocal ability. The orchestra, under the baton of Sylvain Cambreling, mastered the majestically complex signatures of Andre's soundworld with commenda
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18

Putri, Ana Dilla. "PENERAPAN TEMATIK NYANYIAN MANTAU KE DALAM BENTUK LAGU DUA BAGIAN “MANTAU”." Melayu Arts and Performance Journal 4, no. 1 (2021): 21. http://dx.doi.org/10.26887/mapj.v4i1.1070.

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AbstrakKesenian Mantau merupakan salah satu kesenian tradisi yang tumbuh dan berkembang di daerah Kecamatan Bangko Kabupaten Merangin Provinsi Jambi yang berbentuk nyanyian atau vokal tradisional yang dibawakan oleh satu orang penyanyi. Selain mempunyai vokal yang mempuni, penyanyi Mantau mesti memiliki kemampuan dalam menyampaikan syair-syair lagu yang tersusun dalam bentuk pantun secara spontan sesuai dengan keadaan atau kejadian setempat. Selain itu, terdapat keunikan dalam kesenian Mantau yang mana karakteristik dari melodi Mantau yang cenderung memakai material mixolidya modes dinyanyikan
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19

Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.

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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and
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20

Bogdanova, E. D. "Mieczysław Weinberg’s Requiem. In a Dialogue with the Canon of the Genre." Art of Music, no. 1 (June 2024): 332–79. http://dx.doi.org/10.51678/2307-5015-2024-30-332-379.

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Mieczysław (Moisei) Weinberg’s Requiem opus 96 for soprano solo, boys’ choir, mixed choir and orchestra, based on poems by Dmitry Kedrin, Federico García Lorca, Sara Teasdale, Munetoshi Fukagawa and Mikhail Dudin, is a large-scale composition close to both cantata and oratorio in terms of its genre. It represents some essential features of the composer’s vocal and symphonic style. The work was not performed in the composer’s lifetime and has never become a subject of musicological research. The author analyzes the work’s structure and thematic material, its system of leitmotifs and semantics i
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Manulkina, Olga. "The Rite of Beauty: an introduction to the music of Leonid Desyatnikov." Tempo, no. 220 (April 2002): 20–24. http://dx.doi.org/10.1017/s0040298200009025.

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Leonid Desyatnikov is one of the most successful Russian composers of his generation and one of the most distinctive and individual on the contemporary Russian scene. He represents a rare instance of a contemporary composer in his mid-forties who has had all his works performed, some of them on many occasions. In the West, his music has been played by the Deutsche Sym-phony and the Leipzig Gewandhaus Orchestra. His vocal cycle Five poems by F. Tyutchev has been performed recently in London and Aldeburgh. Beginning in the mid-1990s, Gidon Kremer became the main champion of Desyatnikov's music;
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22

Tarasov, Sergei Vasilevich. "Chamber and Vocal Creative Work of Joseph Haydn. Part 1." Pan-Art 2, no. 4 (2022): 103–13. http://dx.doi.org/10.30853/pa20220020.

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The purpose of this research paper is devoted to the still little-studied problem of identifying the relations between the vocal and instrumental factors in Haydn’s music. The ideas of the domestic and foreign scholars about Haydn’s creative work are being expanded and enriched with new data. In the paper the historical meaning of Haydn’s creative work in the ХХI century is defined not only by his innovative sonata-symphonic forms and the formation of the major classical genres of symphony, concert for a solo instrument with orchestra, quartet and sonata but Haydn’s significant contribution to
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23

Glosemeyer Petrone, Robin, and Scott Pfeiffer. "A space for teaching opera performance." Journal of the Acoustical Society of America 151, no. 4 (2022): A210. http://dx.doi.org/10.1121/10.0011072.

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Within an academic context, learning and practice of performance is as important as the performance itself. The Brockman Hall for Opera at Rice University’s Shepherd School of Music has been designed to wrap the vocal performer with an intimate and immediate response without sacrificing envelopment achieved though reverberant energy. The result is a stage that allows the vocalist to stretch their sound to meet each of the 600 audience members while honing their skills of articulation. Orchestra musicians’ training is expanded in a pit that can support a wide repertoire from the baroque to a gr
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24

Domagała, Jarosław. "Teaching qualities in piano works by Henryk Pachulski in the context of the development of piano technique in children and youth. Part 1." Notes Muzyczny 2, no. 16 (2021): 59–86. http://dx.doi.org/10.5604/01.3001.0015.5488.

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Henryk Pachulski (1852-1921) – a Polish composer, pianist, and teacher. He graduated from the Warsaw Institute of Music, having studied piano with Rudolf Strobl. His harmony and counterpoint teachers were Stanisław Moniuszko and Władysław Żeleński. After that, he studied piano at the Moscow Conservatory with Nicolai Rubinstein and then Pawel Pabst. He learnt harmony from E. L. Langer, then Anton Arensky with whom he also had a special course in counterpoint. In 1886 he started his teaching career at the Moscow Conservatory, which lasted over 30 years. He also performed as a pianist in Moscow,
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25

Chiforisin, Galina. "Fantasy on a theme by G. Enescu for clarinet and orchestra by Oleg Negruţa." Arta 32, no. 2(AAV) (2023): 36–40. http://dx.doi.org/10.52603/arta.2023.32-2.05.

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In the present study, we propose to identify the structural elements of sound discourse, as well as their manifestation in the concept of the work Fantasy on a theme by G. Enescu for clarinet and orchestra by Oleg Negruţa. The author’s compositional records include vocal, instrumental chamber, concert and symphonic music. Most of his creations are attributed to concert and chamber music. The work that we are going to analyze serves as proof of the novelty of the genre, form and elements of writing. Fantasy as a genre represents an instrumental or orchestral work with a fairly free architecture
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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.

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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment musi
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27

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 (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, textur
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Довжинець І. Г. "ГАСТРОЛІ ІТАЛІЙЦІВ В СУМАХ: ПОГЛЯД ЧЕРЕЗ СТО РОКІВ". World Science 2, № 10(50) (2019): 33–37. http://dx.doi.org/10.31435/rsglobal_ws/31102019/6728.

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 The article focuses upon analysis of tour performances of the Gonzalez brothers Italian opera company in provincial Ukrainian town Sumy in the beginning of the XX century. It is noted that musicians` coming was an event which was actively discussed in local press. Each performance had reviews of educative and at the same time critical character. The musical observer described vocal qualities of the artists, their technique, stage effect, orchestra sounding, emotional energy of the shows in details. Basing upon the analysis of these materials the level of touring Italian op
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Dumnic, Marija. "The creation of folk music program on Radio Belgrade before World War Two: Editorial policies and performing ensembles." Muzikologija, no. 14 (2013): 9–29. http://dx.doi.org/10.2298/muz1314009d.

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This paper deals with the establishing of the organizing models, on one side, and with folk music and its aesthetic characteristics in the interwar period, on the other. This problem significantly contributed to the present meaning of the term ?folk music? (?narodna muzika?). The program of Radio Belgrade (founded in 1929) contained a number of folk music shows, often with live music. In order to develop folk music program, numerous vocal and instrumental soloists were hired, and different bands accompanied them. During that time, two official radio ensembles emerged - the Folk Radio Orchestra
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Todd, R. Larry, Felix Mendelssohn, Michael Pilkington, and Christian Rudolf Riedel. "Elijah: An Oratorio for Soprano, Alto, Tenor and Bass Soli, SATB, Orchestra and Organ, Opus 70. Vocal Score." Notes 50, no. 2 (1993): 745. http://dx.doi.org/10.2307/898515.

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31

Xiong, Yahuan. "Musical symbolism in the mirror of vocal performance poetics (on the material of Lesia Dychko’s vocal cycle “Moods”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, no. 69 (2023): 87–103. http://dx.doi.org/10.34064/khnum1-69.04.

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Statement of the problem. Vocal performance is an impotent component of the national dimension of Ukrainian musical culture, it is not only choral, but also the solo singing. Currently, it is singers who are often raising the bar of interest in the composer’s person. Getting to know the meaning-making mechanism of symbolism owing to the isolation of the singing-gender component of the vocal image focuses the urgency of the topic at a practical level. In our case, it is the timbre-image of the soprano as the personification of “Ukrainian femininity”. The originality of female chamber and vocal
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32

Narselina, Puput Meinis. "Analisis Bentuk Musikal dan Struktur Lagu Tanah Airku Karya Ibu Soed Aransemen Joko Suprayitno untuk Duet Vokal dan Orkestra." PROMUSIKA 6, no. 1 (2019): 31–40. http://dx.doi.org/10.24821/promusika.v6i1.1825.

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Analisis dalam musik adalah pembelajaran untuk menemukan beberapa elemen – elemen musik yang pada prinsipnya meliputi semua aspek dari musik antara lain; melodi, harmoni, ritme, dinamika, dan bentuk musik. Karya tulis ini merupakan analisis bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk format duet vokal dan orkestra. Metode penelitian ini merupakan jenis metode penelitian kualitatif dengan pendekatan musikologis kepada arranger. Metode tersebut meliputi tinjauan historis, analisis bentuk musikal dan struktur aransemen. Penelitian ini bertujuan untu
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Warnet, Victoria. "Verbal Behaviors of Instrumental Music Teachers in Secondary Classrooms: A Review of Literature." Update: Applications of Research in Music Education 39, no. 1 (2020): 8–16. http://dx.doi.org/10.1177/8755123320924827.

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The purpose of this article was to review and synthesize research literature on the verbal behaviors of secondary school band and orchestra teachers in their classrooms. A comprehensive search of four journal indices was conducted, which resulted in 35 studies that met the inclusion criteria and were therefore included in this review. A wide range of results were found with regard to teacher talk. A comparison of rates of teacher talk suggests that teachers used more verbal instruction when working with younger and more inexperienced ensembles. Additionally, novice teachers used more teacher t
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PAVLIV, Yarema. "СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)". Bulletin of the Lviv University. Series of Arts Studies 280, № 20 (2019): 133–46. http://dx.doi.org/10.30970/vas.20.2019.10646p.

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Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed
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CAZAN, Florinel-Ciprian. "THE SECULAR CREATION OF COMPOSER GHEORGHE DANGA." International Multidisciplinary Scientific Conferences on the Dialogue between Sciences & Arts, Religion & Education 6, no. 6 (2022): 60–68. http://dx.doi.org/10.26520/mcdsare.2022.6.60-68.

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Gheorghe Danga is a well-known composer in our church for his religious works. A large part of his creațion includes many secular and patriotic compozițions. This article aims to detail this aspect, starting with the compozitions of his teenage years, since he begun to compose since the age of 16-17. He composed many reference folklore works that are sung a lot in our country and even in othersat various festivals or choral competitions. Also, patriotic compozitions had a special place in his work, the most important being the „Choral suite 190”, the largest among his creațions, a work who cap
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Duarte, Marina H. L., Ernesto P. Caliari, Yasmin P. Viana, and Luciana B. Nascimento. "A natural orchestra: how are anuran choruses formed in artificial ponds in southeast Brazil?" Amphibia-Reptilia 40, no. 3 (2019): 373–82. http://dx.doi.org/10.1163/15685381-20191079.

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Abstract Choruses are commonly observed phenomena in both terrestrial and aquatic environments and are the product of species vocalizing contemporaneously usually at dawn and dusk. This study analyzes the composition and temporal distribution of anuran choruses at a recently built artificial pond in Southeast Brazil. Data were collected using Passive Acoustic Monitoring devices set to record 24-hours per day, seven days a month, throughout an entire year (October 2016 to September 2017). A total of eight species participated in the studied choruses: Boana albopunctata, Boana faber, Boana lundi
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Chelaru, Cătălina. "Stylistic Reflections on Soprano Maria Slătinaru Nistor's Vocal Interpretation of the Lieder by Robert Schumann and Richard Wagner." ARTES. JOURNAL OF MUSICOLOGY 30, no. 29-30 (2024): 223–41. http://dx.doi.org/10.35218/ajm-2024-0013.

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The article aims to highlight the artistic personality of soprano Maria Slătinaru Nistor, born in Iași on May 25, 1938. A student of the distinguished opera and lied professor and soloist Arta Florescu, Maria Slătinaru Nistor shone on the world's greatest lyrical stages, both in Italian repertoire (as an incomparable Leonora in Verdi's Il Trovatore, earning accolades from audiences and music critics in Verdi's Aida, later portraying an impetuous and striking Floria Tosca in Puccini's opera, a role played over 250 times, as well as taking on Mimi in La Bohème, Liu and Turandot in Puccini's epon
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Hatsenko, Halyna, Nataliia Kovmir, and Vadym Yurchuk. "Stage Performance of Pop Song: Set of Expressive Means in Contemporary Performance Practices." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 2 (2024): 170–82. https://doi.org/10.31866/2616-7581.7.2.2024.316731.

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The art of pop singing includes not only vocal art but also a complex of expressive means, among which the performer’s acting skills play a prominent role; the extent to which additional expressive means are used depends on the performer’s individuality, the semantic, figurative, emotional and stylistic originality of the song. The purpose of the research is to describe the set of expressive means that a singer can use when creating an artistic image and performing a pop song on stage (vocal art, acting and the singer’s image (stage image), theatricalisation and scenography of a musical piece,
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Bohatyriov, Volodymyr. "The strategy of historically oriented orchestration of M. Verbytskyi’s play “Pidhiriany”." Aspects of Historical Musicology 35, no. 35 (2024): 9–29. http://dx.doi.org/10.34064/khnum2-35.01.

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Statement of the problem. The historical circumstances that influenced Ukrainian culture throughout the XIX–XX centuries have given rise to the contemporary challenge of accessing musical scores, particularly original scores or orchestral voices of music theatrical works and orchestral compositions. Even the presence of copies of piano arrangements, individual instrumental parts, or segments of complete scores in private or state archives does not afford a comprehensive evaluation of the creative output of Ukrainian composers from the past nor enable its broad presentation to the public. This
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Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.

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During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with differe
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Hash, Phillip M. "The Universal Teacher, by J. E. Maddy and T. P. Giddings (1923)." Journal of Research in Music Education 58, no. 4 (2010): 384–410. http://dx.doi.org/10.1177/0022429410385869.

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The Universal Teacher for Orchestra and Band Instruments ( UT), a class method by Joseph E. Maddy and Thaddeus P. Giddings published by the Conn Musical Instrument Company in 1923, was the subject of this study. Research questions focused on (1) details surrounding the writing and publishing of the UT; (2) philosophical, psychological, and pedagogical principles behind the method; (3) the influence of the UT on class teaching and subsequent books; and (4) implications of this research for modern practice. Maddy and Giddings wrote the UT from 1920 to 1922 while teaching summer methods courses t
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Badrajan, Svetlana, and Larisa Sprincean. "The process of folklorization in contemporaneity: the popular style songs of the composer Dumitru Gheorghiță." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(46) (December 2024): 15–22. https://doi.org/10.55383/amtap.2024.1.02.

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Dumitru Gheorghiță (1917-1987) is a distinct personality of the musical culture of Bassarabia. He established himself as an instrumental performer (accordion, trumpet player) and as a composer. He did fundamental studies in the field of music during the interwar period at the Unirea Conservatory in Chisinau (1927-1933). His creation includes symphonic works, pieces for folk music orchestra, choral pieces, lyrical songs, for children, etc. Vocal and instrumental folk music had a special place in his activity as an accordionist and composer. We are particularly interested in his folk-style songs
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BEARD, DAVID. "The Shadow of Opera: Dramatic Narrative and Musical Discourse in Gawain." Twentieth-Century Music 2, no. 2 (2005): 159–95. http://dx.doi.org/10.1017/s1478572206000259.

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The opera Gawain (1991; revised 1994 and 1999) brought together Harrison Birtwistle and the poet David Harsent in a reworking of the late fourteenth-century narrative poem Sir Gawain and the Green Knight. That Birtwistle asked Harsent to make a large number of alterations to his original libretto has already been documented. The present article, which draws on the sketching processes of both librettist and composer, reveals the nature and the ramifications of those changes. The discussion is particularly concerned with the contradictions and multiple narrative layers that resulted from the Har
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Cukic, Ognjen, Aleksandar Milenkovic, Jelena Sotirovic, and Milanko Milojevic. "Organ preservation surgery for laryngeal cancer in a brass instrument player: A case report." Vojnosanitetski pregled, no. 00 (2023): 39. http://dx.doi.org/10.2298/vsp230622039c.

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Introduction. Modern treatments for early glottic carcinoma achieve high rates of local control and long-term survival, but side effects can have a substantial impact on a patient's quality of life. Little available research is present on the effects of organ-preservation therapy in musicians, highlighting the challenge of balancing functional outcomes with occupational demands. Case report. We present the successful surgical treatment of a mid-membranous left vocal fold squamous cell carcinoma (T1a) in a professional trombonist with a history of smoking. Due to suboptimal exposure during init
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Turintseva, Alexandra B. "Camillo Everardi’s Pedagogical Repertoire at the Saint Petersburg Conservatory (1870–1888)." Contemporary Musicology 9, no. 1 (2025): 105–29. https://doi.org/10.56620/2587-9731-2025-1-105-129.

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This article, drawing on archival sources, attempts to reconstruct the pedagogical career of Camillo Everardi (1825–1899) at the Saint Petersburg Conservatory, where he taught for 18 years — from 1870 to 1888. For a long time, the primary reasons for his dismissal were believed to be his adherence to the traditions of the Italian and French vocal schools and their respective repertoires, his alleged “discrimination” against Russian music, his emphasis on opera at the expense of concert and chamber works, and, consequently, the purportedly inadequate preparation of his students for professional
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Pedneault-Deslauriers, Julie. "Webern’s Angels." Journal of Musicology 32, no. 1 (2015): 78–114. http://dx.doi.org/10.1525/jm.2015.32.1.78.

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Anton Webern’s Two Songs, Op. 8 on Poems by Rainer Maria Rilke (1910-1926) stand at the intersection between the composer’s spiritual ideals involving a fascination for angels, his personal circumstances at the time of the songs’ composition, and the literary influences of Weininger, Balzac, and especially Rilke. The Lieder absorb the Rilkean notions of transcendence and “intransitive love,” themes developed in the novel The Notebooks of Malte Laurids Brigge, the source of Webern’s texts. According to Rilke, lovers access the higher spiritual realm of angels by forsaking (rather than yearning
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Lam, Do Thi. "Some Characteristics in Light Music Performance Towards Sustainable Development in Vietnamese Cultural Identity." Journal of Lifestyle and SDGs Review 4, no. 2 (2024): e02464. http://dx.doi.org/10.47172/2965-730x.sdgsreview.v4.n02.pe02464.

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Objective: The goal is to introduce readers to the characteristics of pop music performances, to clarify more about pop music singing (mainly Rock-Pop), the differences compared to normal singing, in this article the author wants to introduce some characteristics in the way of performing pop music songs. Method: The study uses two main groups of methods: theoretical research and practical research to evaluate the overall data. In which, the focus is on observation and pedagogical experiments. Results: Research results have shown that, with special attention to novelty, uniqueness, and strong i
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Anderson, Martin. "London, Royal Opera House, Covent Garden: Lorin Maazel's ‘1984’." Tempo 59, no. 234 (2005): 45. http://dx.doi.org/10.1017/s0040298205280300.

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I have had occasion to be sniffy about Lorin Maazel's music in these pages before (Tempo No. 218), not least because of its sheer lack of profile, of any hint of individuality. So it was with exceedingly modest expectations that I took my seat for his first opera, 1984, the world-première run of which began on 3 May. Even so, I was disappointed: no ditchwater is as dull. The basic problem is the absence of any discernible personality in what Maazel writes: the musical language of1984 is a thin gruel boiled up from left-over Prokofiev, Copland, Bartók, Ravel, Janáček, whatever was lying around
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STOCKIGT, JANICE B., and MICHAEL TALBOT. "TWO MORE NEW VIVALDI FINDS IN DRESDEN." Eighteenth Century Music 3, no. 1 (2006): 35–61. http://dx.doi.org/10.1017/s1478570606000480.

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Two further unknown sacred vocal compositions by Vivaldi, a Dixit Dominus and a Lauda Jerusalem, have turned up in a collection that has already witnessed two similar discoveries in recent decades: that of the former Saxon Hofkapelle, today in the Sächsische Landesbibliothek / Staats- und Universitätsbibliothek Dresden. Like their predecessors, the newly discovered works were acquired between the mid-1750s and early 1760s from the copying shop of Iseppo Baldan in Venice, who falsified the attribution on the title page to make the composer Galuppi instead of Vivaldi. Whereas the Lauda Jerusalem
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Jasinski, Christopher M., and Robert Celmer. "Effect of musical instrumentation on perception of reverberation in simulated listening environments." Journal of the Acoustical Society of America 153, no. 3_supplement (2023): A109. http://dx.doi.org/10.1121/10.0018332.

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The reverberance of a performance venue is often characterized by an important metric, reverberation time. In order for architects, acousticians, and performers to better understand the value of knowing and predicting the reverberation time in different spaces, the just-noticeable-difference (JND) is often cited. The established JND for reverberation time is approximately 5% of the reference reverberation, noted in the standard ISO 3382-1. This value was determined using impulsive sound, meaning it may not provide a complete picture for applications related to music. This study aimed to evalua
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