Artículos de revistas sobre el tema "Arranged Bassoon with orchestra"

OBJECTIVE: Bassoonists seem to have a high recorded prevalence of performance-related upper limb symptoms. Yet, the background for their symptoms has not been established. This study aimed to diagnose and treat the pathology that caused severe upper limb symptoms in a bassoon/contrabassoon musician in order to allow him to continue his professional career in a symphony orchestra. METHODS: A detailed neurological bedside examination was undertaken and targeted physiotherapy offered. RESULTS: The physical examination demonstrated weakness, atrophy, and nerve trunk soreness, indicating an affliction of the posterior interosseous nerve (radial tunnel syndrome) or its muscular branches. The risk factors during bassoon playing are comparable to those reported from industrial exposures. The patient was able to resume playing after treatment by nerve mobilisation.

Background. The article deals with the interaction of the constructive evolution of the instrument and the development of bassoon performing of the 16–17 centuries. The aesthetics of that time was associated with the search for new expressive means, realization of which could be ensured by new instruments with rich and expressive sound. One of such instruments is bassoon; it was during the Baroque era when the bassoon took its shape and the sound image we know today. Thanks to technical evolution, the instrument acquired new artistic capabilities and new sound quality. A new repertoire was formed; bassoon became the part of such instrumental genres as sonata and concerto, it was firmly fixed in the score of the symphony orchestra. In music science, there are a number of studies devoted to wind instruments, the most significant of which are researches by G. Abadzhyan, V. Apatskiy L. Belenov, V. Berezin, V. Bohdanov, N. Volkov, V. Gromchenko, Yu. Dolzhikov, V. Kachmarchyk, V. Lebedev, V. Popov, I. Pushechnikov, Yu. Usov, and A. Kiziliayev. There are works, which focus on the bassoon, its history, expressive and technical capabilities (G. Abadzhyan, V. Apatskiy, V. Bubnovich, N. Karaulovsky, S. Levin, V. Leonov, V. Popov, V. Starko, Anthony Baines). It is worth noting the rather important and comprehensive work by V. Apatskiy “Bassoon from A to Z”. There are numerous scientific publications of international woodwind performers associations, such as the International Double Reed Society, the Australian double reed community, the British double reed community, the Japan bassoon society, the Finnish double reed community. The purpose of the article is to reveal the specifics of the relationship between the structural improvements of the bassoon and the performance on the bassoon in the period of 16–17 centuries. Achieving this goal will help to perform tasks such as a historical overview of the development of the bassoon in the Baroque era and identify the relationship between constructive changes, artistic possibilities, repertoire potential (including the genre palette of the instrument) and composer work for the bassoon of this period. The presented article is a material used in the candidate’s dissertation, which is devoted to a wide range of issues of performance on the bassoon from the origins to the present. Methodology. The main research methods are historical, organological and performing. The historical method is associated with the characterization of the historical conditions of origin and development of the bassoon; the organological method is necessary to establish the connection between the constructive changes of the instrument with the new quality of its sound; the performing method helps to reveal new tendencies in bassoon performance of the 16–17 centuries from the new repertoire to the functional purpose of the instrument. Research results. Around the middle of the 17th century, fundamental changes occurred in the construction of the bassoon. They were caused by the need to regulate the overall tuning system of the instrument in such a way that it could participate in joint music-making with other instruments, as well as by the desire to make the instrument more portable. At the turn of the 16–17 centuries, in the process of bassoon chromatization as the result of complication of composer creativity, fundamental changes were made in the design of the instrument: new “chromatic” holes and valves, as well as fork fingering appeared. It was all connected with the formation of certain musical and aesthetic needs and developed along with them. So, the evolution of the bassoon 16–17 centuries led to such qualitative changes in the sound of the instrument as: softness of the tone, pitch control, expansion of the working range, great power of sound, ease of playing the instrument. The above-mentioned factors entailed fundamental changes in the composers’ attitude towards the instrument. The bassoon enters a more complex functional level in the works of various music genres (interlude to the comedy “La Pellegrina” by Girolamo Bargalia, “Sacrae symphoniae” by Giovanni Gabrieli, “Messa a 4 voci et Salmi” by C. Monteverdi, “Fantasy for basso continuo” by Bartolome deSelma-i-Salaverde, sonata “Lamonica” by PhilipFriedrich Bodekher, nine sonatas for solo bassoon and basso continuo by Giovanni Antonio Bertoli, sonata for two bassoons by Philipp Friedrich Buchner, opera “Il pomo d’oro” by Antonio Cesti, singspiel “Seelewig” by Sigmund Theophil Staden). The role of Antonio Vivaldi in the formation of the concerto, including concerto for bassoon, is difficult to overestimate, and thirty-nine Vivaldi’s concertos for bassoon are evidence of that. The creative work of Antonio Vivaldi affected Johann Sebastian Bach, who wrote bassoon parts in his works of different genres. George Philippe Telemann, Bach’s contemporary, is known for a large number of pieces with bassoon parts. Conclusions. Constructive changes resulted in the arrival of the bassoon to a new timbre, figurative-intonational, genre, and performance level. Meanwhile, there is a linear rather than reciprocal relationship between the above-mentioned levels. On the one hand, there is a direct dependence in the evolution of bassoon performance: new constructive features – technical capabilities of the instrument – more individual timbre character – new expressive possibilities – solo parts – solo pieces. On the other hand, all this creates new requirements both for the performer and for the instrument, which brings the situation back to the need for further search. The results of this research can be used in further studies devoted to the history and theory of bassoon performance in the historical, organological and genre-stylistic directions.

Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity

In the Kazakh educational process today, in addition to the generally recognized arrangements and treatments of world music classics and original works for viola, national music adapted for viola is actively involved. There are several collections of works for viola edited, arranged and processed by such authors as A.Nurbayeva, E.Liberchuk, Ya.Fudimana, N.Sagimbayeva, D.Makhmud. The musical literature presented in these collections is widely used at different levels of education – by students of music schools, colleges and even universities of the republic, which is mainly due to the limited repertoire. The article deals with the transcription of N.Karimov's «Kuy» for violin and chamber orchestra by M. Sagatov as one of the first experiments in interpreting the sound of dombra kuy in viola music.

The research object is the sacred music of a well-known Norwegian composer Henning Sommerro (born 1952), one of the bright components of his multifaceted creative work. The present article is the first work within the Russian scientific literature analyzing this aspect through the prism of one of the key works of the composer. The authors are also the first to introduce the complete musical score of the composition into the scientific discourse. Along with the recordings, it helps to understand how the composer manages to successfully combine the liturgical and secular components, the poetical and musical texts, and how they outline the modern musical directions. The research subject is the musical drama and expressive means of the “Partisan Requiem” (2000) by Sommerro performed by the combined Russian-Norwegian choir (Murmansk, 2019). The research shows that the composer keeps the graphic structure of the historically formed model of the genre. Owing to the musical expressive means and “citation”, demonstrating the postmodernist practices of the composer, the genre becomes recognizable, denoting the important “memory spaces”. At the same time, in terms of drama, Latin and Norwegian texts are “arranged” according to the internal connection, the monologue inclusions of the narrator are often accompanied with a reduced orchestra, whose timbre and color, on the one hand, thematically unite the Norwegian texts with the graphic and musical sphere of the composition, and on the other hand, deepen the understanding of the ideas underlying them. The briefness of poetic verses strengthens the importance of each of them; they are rhythmically linked to liturgical texts thus helping to create a single lexical and musical fabric of the composition by means of a complex interaction of the choir, the orchestra, the soloists and the actor-narrator.   

<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>

AbstractWomen composers' concerts, arranged by Phyllis Fergus, were held for Eleanor Roosevelt at the White House in 1934 and 1936. They featured music by members of the National League of American Pen Women—an organization for writers, artists, and composers—and were part of a substantial agenda proposed by Fergus, its music director and later president, to achieve national recognition for its composer members. Drawing on Fergus's scrapbooks and documentation in the FDR Library and Pen Women's archives, this article explores the events that Fergus helped to organize, including concerts in Miami, Chautauqua, and Chicago, the latter played by members of the Women's Symphony Orchestra. White House appearances by Amy Beach helped emphasize the League's professional status, and the nationalistic tone of its publicity, urging audiences to “Buy American” during the Depression, worked to distract from age-old assertions of women's lack of creativity. However, the musicales for Roosevelt, who received the composers socially rather than as paid professionals, reinforced women's domestic position, and financial restraints limited most League programming to the genres typically associated with female composers. Despite its separation from a male mainstream, the NLAPW was nonetheless a significant force in promoting women's music in the 1930s.

Zoltán Kodály became seriously interested in Transylvanian folk music when he had learnt about the results of Béla Bartók's collecting fieldworks in Székelyföld. The wealth of old-style tunes and classical ballads, and – above all – the recognition of the importance of pentatony inspired Kodály to take part personally in the exploration of Székely folk music. Székely musical folklore obviously intrigued him both as an ethnographer and as a composer. He collected nearly 600 tunes in 15 Székely localities in the Gyergyó Basin, the valley of the Kászon stream, and Bukovina. He arranged 66 of these melodies within such compositions as e.g. the Dances of Marosszék, the musical play The Spinning Room, Hungarian Folk Music (57 ballads and folk songs for voice and piano), Székely Lament for mixed voices, Bicinia Hungarica, Kádár Kata and Molnár Anna (both with chamber orchestra accompaniment), and Pentatonic Music. Apart from his own collection, he also used those of some of his contemporaries. The paper discusses the specificities of Kodály's techniques of arrangement. His inspiring advice for younger folklorists had an essential role in triggering the in-depth investigation of Central Transylvanian folk music.

MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

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.

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.

The subject matter discussed in the text is a symphonic poem by Ferenc Kovač (KOVÁCS, 1948) titled “Ratna poema” (The War Poem) arranged for piano and tamburitza orchestra. The premiere performance of the piece by the pianist Slađana Marić and The Grand Tamburitza Orchestra of Radio-Television of Vojvodina, conducted by F. Kovač, was held on 24th of May, 2011 in Novi Sad, Serbia. The main purpose of this research was to discuss this unique music piece in contemporary piano and tamburitza orchestra repertoire. Methodology was based on soft or research interview and analytical approach. The main conclusion was that, in general, this orchestral work with a solo piano, is a unique combination of memorable tunes, solid construction, and vivid orchestration. The analytical interpretations offered in this paper may be the first guidance for future interpretation or performance of the piece. Keywords: Kovač (Kovács) Ferenc; Musical analysis and performance; Piano Repertoire; Tamburitza Orchestra.

Over the past decade, the arsenal of original compositions for the accordion has considerably expanded, but a significant place among the performing repertoire is the genre of translation of works from the repertoire of other instruments, ensembles or orchestras for the accordion. Since the translation of the orchestral repertoire with account of the timbre features of the accordion, has not yet become the subject of musicology research, the task is to elucidation of the main principles of this genre. The combined analysis of translations and executive-methodical recommendations become the basis for a deep understanding of the ideological conception, stylistic features and rethinking of the timbre transformations, and therefore the quality of the performance of the work itself.Translation works for the accordion from the repertoire of the Ukrainian folk instruments orchestra has favorable conditions for many parameters, as demonstrated by Y. Oleksiv "Ukrainian fantasy". The timbre specificity - the existence of a large number of different instrumental groups and voices in the orchestra is successfully transmitted in the accordion translation due to a number of timbre registers of the instrument, the diversity of which allows the most complete transfer of orchestral coloration. The author takes into account the slight difference in the sound of the right and left keyboards of the accordion and demonstrates it in an advantageous applying for translation, creating the effect of a multi-timbre "dialogue". The techniques of playing on the accordion fully reproduce the dynamic gradations of the orchestral sound, as the characteristic feature of such orchestra is a chamber. The author simulates the techniques of sound formation and the specifics of various orchestral instruments. The bandura pinch, the overtones dulcimer "echo", the reed pipe glissando, the violin detache and the articulation variety of instrumental composition of the orchestra composer transmits using a detail palette. Perfect constructive features of the accordion allow you to successfully adapt the multi-layer orchestra texture. In the accordion translations of orchestral compositions, the epic and poetics of folk melodies are transmitted as clearly as possible. This work is aimed at deeper understanding of the content and expressiveness of translated works by the performers. The research can be an impetus for transmissions and their research on the repertoire of the chamber ensemble for the accordion, as well as the translation of pieces for the accordion.

<p class="SammaryHeader" align="center"><strong>Abstract</strong></p><p><em>The motto of PGRI Palembang University is that the campus advances with quality. Then a need for faculties to make a stragi in providing encouragement and motivation to the academic community to carry out the tri dharma of higher education. (FKIP) Palembang PGRI University through its highest leadership in the faculty gave a letter of assignment to work on the Mars song FKIP PGRI Palembang University to one of the music art lecturers in the performing arts education study program named Silo Siswanto, M.Sn. Then the Mars song was finished on July 23, 2018 and was launched on July 31, 2018 in the FKIP University of Palembang PGIP judicial event held at the Science Center building at the PGRI University in Palembang. Regarding the form in the Mars song, of course, this song has pieces of melody that are often known by the term phrases or musical sentences that make up the song. while the accompaniment music is arranged in an orchestra format. The formulation of the problem. (1) What is the form of Mars FKIP University PGRI Palembang song. (2) How is the accompaniment of Mars FKIP Palembang PGRI University music with orchestra format. The results of the discussion FKIP march song has a poly metric musical form where the antecedent phrase and consequent phrase do not have the same number of bars for example period C has 9 bars consisting of the phrase d 4 bars and the phrase e 5 bars.</em></p><p><strong><em>Keywords :</em></strong><em> Song Form</em><em>, Mars Song, Orchestra</em></p><p align="center"><strong>Abstrak</strong></p><p><em>Motto Universitas PGRI Palembang yakni kampus melaju dengan mutu. Maka suatu kebutuhan bagi fakultas-fakultas membuat suatu stragi dalam memberikan dorongan dan motovasi kepada civitas akademika untuk melaksanakan tri dharma perguruan tinggi. (FKIP) Universitas PGRI Palembang melalui pimpinan tertingginya di fakultas memberikan surat tugas untuk penggarapan lagu Mars FKIP Univesitas PGRI Palembang kepada salah satu dosen seni musik di prodi pendidikan seni pertunjukan bernama Silo Siswanto, M.Sn. Kemudian lagu Mars tersebut selesai dibuat tanggal 23 juli 2018 dan di launching pada tanggal 31 juli 2018 dalam acara yudisium FKIP Universitas PGRI Palembang bertempat di gedung Science Center Universitas PGRI Palembang. Mengenai bentuk dalam lagu Mars tersebut, tentunya lagu ini memiliki potongan-potongan melodi yang sering dikenal dengan istilah frase atau kalimat musik yang membentuk lagu tersebut. sedangkan musik iringannya diarransemen dengan format orkestra. Adapun rumusan masalahnya. (1) Bagaimana bentuk lagu Mars FKIP Universitas PGRI Palembang. (2) Bagaimana musik iringan lagu Mars FKIP Universitas PGRI Palembang dengan format orchestra. Hasil pembahasan Lagu mars FKIP memiliki bentuk musik poli metrik dimana frase antecedent dan frase consequent tidak memiliki jumlah birama yang sama misalnya periode C memiliki 9 birama yang terdiri dari frase d 4 birama dan frase e 5 birama.</em></p><strong><em>Kata kunci </em></strong><strong><em>:</em></strong><em> Bentuk Lagu, Lagu Mars, Orkestra</em>

Käesolev Eesti hilisstalinismiaegset džässi käsitlev artikkel väidab, et dualistlik mudel avalik/privaatne on ebapiisav džässi kui kultuurilise praktika mõistmiseks nõukogude ühiskonnas ning vaatleb kultuuri toimivana kolmes sotsiaalses ruumis – avalikus, mitteformaalses avalikus ja privaatses. Avalikus riigipoolse kontrolli all olevas sfääris eksisteeris džässikultuur avalikus meedias ja riiklike džässorkestrite tegevuses. Mitteformaalses avalikus kultuuriruumis tegutsesid džässmuusika huvilistest koosnevad amatöörorkestrid. Kõige privaatsemana, avalikkuse eest suhteliselt varjatud kujul arenes džässikultuur fanaatikutest sõpruskondade seas, kes muusikat kuulasid ja selle üle teoretiseerisid; samuti oli privaatne muusikaliste oskuste omandamine mitteformaalse õppimise kaudu. The article aims to discuss the significance of jazz culture in Estonia during the late Stalinist era. In order to explicate the functioning of jazz as a cultural practice, the private/public division is employed while it is suggested that employing a ternary typology in which culture is seen as functioning in the public, the informal public and the private cultural spaces are best suited for conducting the analysis. The division makes it possible to: (1) show how jazz as a cultural practice functioned in Soviet sociocultural space; (2) to approach jazz culture as a whole, simultaneously creating a differentiation between different forms of jazz as a cultural practice; (3) to determine to which extent Soviet power succeeded in the regulation/ideologisation of jazz culture; and (4) to avoid a dualistic mode of thought that would oppose the private and the public.Jazz culture existed in two forms in the state-controlled public sphere. One of them comprised the discourse of public media and the other consisted of state jazz orchestras. The discourse of public media is discussed on the basis of the articles that were published on the topic of jazz in the cultural weekly Sirp ja Vasar (Hammer and Sickle). It is in the journalistic discourse that the dynamics of the anti-jazz activities of the state authorities of the late Stalinist era appear as the most obvious; jazz gradually disappeared from the public scene as the political climate changed. In journalistic coverage, jazz was primarily turned into a tool of the ideological battle with the West that was led by pro-Soviet rhetoric and stayed separate from the actual music scene.There were two state jazz orchestras during the period observed – the Jazz Orchestra of the Estonian State Philharmonic and the Jazz Orchestra of the Estonian Radio, and these functioned as part of the Soviet system of regulated and controlled cultural activities. The orchestras followed an all-Union pattern of institutionalisation according to which professional orchestras would be affiliated with local concert organisations and radio broadcasters. The sphere of activities of the orchestras was limited by their institutional affiliation. While the jazz orchestra of the philharmonic was a collective that mostly offered entertainment on all-Union concert tours, the Jazz Orchestra of the Radio was broadcast live twice a day in the 1940s. The orchestra reform that reflected the change in the ideological paradigm influenced the activities of both orchestras, bringing along changes in their names, repertoires and rosters.The amateur orchestras active in the informal public sphere belonged to a cultural scene that was relatively less strictly regulated in comparison with the public sphere. The activities of amateur orchestras were institutionalised as well – generally, they would be affiliated with an institution and were thus guaranteed space for rehearsals, some of the musical instruments and professional leadership. The orchestras were obliged to perform on state holidays and at events arranged by the host institution. Still, amateur collectives had a considerably greater freedom as concerned the organisation of their activities in the field of music. An important mode of activities was playing on dance nights; the moonlighting or haltura performances, as playing at dances was colloquially called by the musicians, constituted an important source of additional income for them. The activities of amateur orchestras were less strongly influenced by the changes related to the anti-jazz campaign of the late-1940s. Although obligatory ballroom dances were included, also “forbidden” pieces stayed in the repertoire; neither were saxophones excluded from among the orchestras’ instruments. Inventiveness, ritualization, humour and an ability to manoeuvre around in order to enact their musical goals were of vital importance in the daily lives of the musicians.The example of the collective named Swing Club can illustrate the activities of musicians in the private sphere – among a circle of friends who were musicians and jazz fanatics. In a society that was anything but supportive of jazz, a microenvironment was built up in order to gain new knowledge and hone the existing skills in which discussions of music took place and musical experiments were made. Under the circumstances of Soviet scarcity, Estonian musicians had no access to records and radio and were the primary source of music. It was with the help of the radio that information was obtained about the latest trends in music and new repertoire was acquired. The main method of learning music was imitation, which is a typical mode of learning in the practice of jazz.On the one hand, the ternary division of the private and the public enables us to see how jazz could exist in the Soviet sociocultural space; on the other hand, it makes it possible to approach jazz culture as a whole and speak of its different forms of manifestation. The journalistic discourse that traditionally should function as a reflection of and on the jazz scene rather turned into a mirror of the political situation under late Stalinism. Jazz became a tool in the battle against America and capitalism. As musical culture, jazz mostly appeared in two forms; as entertainment-oriented concert music and dance music. Considering the traditionally practical and theory-avoidant nature of both jazz as well as jazz musicians, Estonian jazz was exceptional due to the intellectualisation of the music in theoretical discussions. As an evidence of this tendency, the almanac of the Swing Club is a unique document that also deserves attention in a broader context of jazz history in general. Late Stalinism can be considered politically the most intolerant period in Estonian jazz history, when disappearance was immanent for the whole of jazz culture. Yet this did not happen, as also shown in the present article. Although jazz had been virtually obliterated from the state-controlled public sphere by 1950, it still survived on the more private, less controlled cultural scenes. The thoughts of Ustus Agur expressed in an interview concerning the activities of the Swing Club in the late 1940s and early 1950s can serve as proof of this:We were rehearsing underground in the very sense of the word. As luck would have it, the control was not strict and we never had to cross paths with the officials. The director of the Sakala House of Culture, Fred Raudberg, supported our activities. Although he was a communist and aware of what we were doing, he protected us and helped us to keep our activities in secret. And he was honest. He was red on the outside and white on the inside – ’a radish’ as we would say in those times.The situation in which jazz had disappeared from the public scene, yet lived on in private spaces can be referred to as a Soviet paradox. Aleksei Yurchak speaks of Soviet life as a paradoxical simultaneous existence of positive and negative values (Yurchak 2006: 10). In the case of jazz, we can figuratively speak of its simultaneous existence and non-existence – although jazz was forbidden, it could not be silenced.