Articles de revues : « Composers, biography »

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Milin, Melita. « Monographs on composers as a musicological genre ». New Sound, n^o 56-2 (2020) : 92–107. http://dx.doi.org/10.5937/newso2056092m.

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Monographs on composer may considerably diverge from one another, depending on their authors' fundamental views concerning the way and extent to which biographical data should be used in relation to music analysis. So as not to lapse into mere music Biographik, a monograph should encompass the life and works of its subject in a complementary way-with all the necessary contextualization - and bring them into a meaningful relationship in a well thought-out and critical manner. That ideal goal should be pursued, although usually the result is a more or less successful hybrid of a biography and music analysis.

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May, Brittany Nixon, Amy Baird Miner et Terrell A. Young. « Biography Breaks in the Music Classroom ». General Music Today 32, n^o 2 (17 décembre 2018) : 24–30. http://dx.doi.org/10.1177/1048371318814910.

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Children’s picture book biographies on composers and musicians can prompt powerful music learning experiences. Biography breaks are the reading aloud of a picture book biography and the questions or activities the teacher engages students in while and after reading the book. In the music classroom, biography breaks can be used with children of all ages to introduce students to composers, musicians, music elements and concepts, music vocabulary, music genres and styles. Biography breaks provide a groundwork for discussing the historical, social, and cultural context of music, as well as a catalyst for engaging students in meaningful music experiences creating, performing, responding to, and connecting with music.

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Citron, M. J. « Composers in the Movies : Studies in Musical Biography ». Music and Letters 88, n^o 1 (25 octobre 2006) : 171–75. http://dx.doi.org/10.1093/ml/gcl078.

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York, Steven. « Composers in the Movies : Studies in Musical Biography (review) ». Notes 62, n^o 4 (2006) : 979–81. http://dx.doi.org/10.1353/not.2006.0080.

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Shcheslavskaya, Maria, et Anastasia Dunaeva. « THE ART OF THE COMPOSER YRII DUNAEV : TRADITION AND MODERNITY ». Ученые записки Российской академии музыки имени Гнесиных, n^o 45 (2023) : 32–48. http://dx.doi.org/10.56620/2227-9997-2023-2-45-32-48.

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The subject of the study is the creative path of composer Yuri Alexandrovich Dunaev (1937– 2022). The article presents: the biography of the composer, the characteristics of his work, as well as a description of the memorial evening at the Moscow House of Composers on December 15, 2022. Musicological analysis was chosen as the main research tool. The author applies a holistic analysis to the study of several works and gives a general description of his work. Previously, the composer's work did not become the subject of consideration. On the example of Yu.A. Dunaev, one can draw a conclusion about the viability of the classical tradition, as well as show how it is refracted in the work of this author.

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Drewniak, Janusz. « Problem autorstwa melodii polskiego Te Deum milenijnego. Spojrzenie retrospektywne i aktualne wyniki badań ». Ruch Biblijny i Liturgiczny 63, n^o 4 (31 décembre 2010) : 327. http://dx.doi.org/10.21906/rbl.181.

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The millennium hymn Te Deum has been known and sung in Poland for over forty years. The author of this dissertation presents the complicated circumstances revolving around the creation of this hymn. The inspiration were incorrect notes about the composer of the hymn, which had been published in song-books. In past years it lead people to believe that Te Deum was composed by the priest Antoni Chlondowski. The author, who based his research on that of Maria Wacholc, opposed the idea that the priest Chlondowski had composed the hymn. This article presents analysis of the composing style and the biography of the priest Chlondowski, which contradict his authorship. Next, in the following part of this article the author presented some facts which helped him to find the authentic composers. According to the author of this dissertation the authentic composers of Te Deum were Józef Furmanik and Franciszek Wesołowski. The aim of this article is to emphasize the necessity of the correction of the mistaken information about the composer in the song-books which will be published in the future.This article has the following structure: Te Deum in the history of the Catholic Church; Polish language version of Te Deum used in the liturgy in the XXth century; Polish millennium Te Deum; The controversy around the authorship of the priest Antoni Chlondowski; The controversy around the authorship of Franciszek Wesołowski; The authentic composers – Józef Furmanik and Franciszek Wesołowski.

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Kálló, Krisztián. « Katalin Incze G. : Portrait af a Composer ». Studia Universitatis Babeş-Bolyai Musica 67, n^o 1 (30 juin 2022) : 9–19. http://dx.doi.org/10.24193/subbmusica.2022.1.01.

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"The aim of our study is to examine a complex issue, namely, the scarcity of female composers as a phenomenon, highlighting several historical and social factors that have led to the peculiar situation of our present time: women’s social role has been discriminated against, and they have been excluded from the artistic world. For the longest time in history, art was the privilege of men. This situation has in some ways improved and changed, but to this day, when we talk about composers, we almost certainly think of men. This study analyses the biography and work of Katalin Incze Gergely, a prominent figure in Cluj’s musical life, a composer, conductor, and music director, while also highlighting the fate and role of contemporary women composers in the musical field. The important stages and milestones of her career are mentioned; her relationship with music gives us an insight into what it means to be a woman composer today in a world that once prevented women from pursuing their creative aspirations. Keywords: Katalin Gergely Incze, female composer, composing, contemporary music "

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Li, Yang. « The creative interaction of composers Zhou Wenzhong and Edgar Varese ». Культура и искусство, n^o 6 (juin 2024) : 179–87. http://dx.doi.org/10.7256/2454-0625.2024.6.70845.

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The subject of the study is the mutual influence of the compositional ideas of the Chinese-American composer Zhou Wenzhong and the French-American composer Edgar Varese. Edgar Varese, known as a composer and innovator who had a significant influence on the concepts of the post-war avant-garde, was also a brilliant teacher. One of his students was Zhou Wenzhong. Subsequently, Zhou Wenzhong became the editor of Warez's works, his biographer, an indispensable assistant and keeper of the archive. The article presents the facts of Zhou Wenzhong's biography, special attention is paid to the study of the composer's period of study with Varez, the trajectory of his influence, and the pedagogical principles that he adhered to in his teaching. Zhou Wenzhong needed to assimilate the innovations of Varese, form his own compositional style, based on the cultural traditions of China, forming points of intersection with the ideas and concepts of the avant-garde in cross-cultural interaction. The work has an interdisciplinary character, mediated by a key trajectory – the problem of the interaction of musical cultures of the East and the West. The author relies on source-based, analytical, comparative, historical and theoretical methods. Zhou Wenzhong (1923-2019) is one of the most influential and major American-Chinese composers. Despite the importance of this person, his work is still unexplored in Russian musicology, and therefore, filling this gap in the history of the development of new compositional trends in Chinese music, which marked the beginning of the phenomenon of the "New Wave" (after 1978), seems extremely relevant and important. The scientific novelty of the study is associated with the introduction into scientific use of information about the American period of Zhou Wenzhong's work – the time of his studies with Edgar Varese.

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Mishchanchuk, Natalia. « Mykola Lysenko in the intellectua communications of the Shevchenko Scientific society ». Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 42 (12 janvier 2024) : 255–67. http://dx.doi.org/10.32626/2309-2254.2023-42.255-267.

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The article reflects the cooperation of the outstanding Ukrainian composer M. Lysenko with the Shevchenko Scientific Society (SSS) in Lviv. The study aims is to try to determine the nature and essence of the composer’s intellectual communications within an academic institution. The research methodology built on the principles of historicism, system and comprehensiveness. Comparative, problem-chronological, historical-typological, logical, structural-systemic, analytical and generalizing methods used. The scientific novelty of the article consists in the integral reproduction of the page of M. Lysenko’s intellectual biography, connected with his musicological activity as part of the Ethnographic Commission of the Shevchenko Scientific Society. Conclusions. An important aspect of the composer's intellectual biography was his collaboration with the National Academy of Music in Lviv (1873 – 1912). The communication, based on the commonality of scientific research interests and worldviews, maintained an ideological connection with the interpersonal connections of M. Lysenko within the framework of the predecessor of the academic institution – the Shevchenko Literary Society. The intensity and dynamism of scientific interaction was strengthened by the negative manifestations of the cultural and national policy of the Russian tsar, censorship restrictions of Ukrainian life in Trans-Dnieper Ukraine in the second half of the 19 th and early 20 th centuries. The meaningful content of the composer's cooperation with the National Academy of Music was his activity as part of the Society's Ethnographic Commission, publishing and organizational contacts, direct participation in information practices, scientific, cultural, educational projects of the institution. M. Lysenko participated in writing textbooks for Ukrainian schools in Galicia, reviewing the works of young composers, organizing ethnographic field research, anniversary and commemorative events. The significant role of the educational activity of the artist in the formation of a positive cultural image of Ukraine at the international level.

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Klimas, Agnieszka. « Modernization of biographical narratology : Reflections on Arnold Zweig’s artistic novella Symphonie Fantastique ». Germanica Wratislaviensia 145 (8 mars 2021) : 19–28. http://dx.doi.org/10.19195/0435-5865.145.4.

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This article is devoted to the German-Jewish writer Arnold Zweig’s (1887–1968) biographical novella Symphonie Fantastique (1943), told from the perspective of a young musicologist participating in World War II, applied to the life and work of French composer Hector Berlioz. Arnold Zweig not only writes the biography of one of the most prominent French composers for Harold Breton, but he also confronts the Vichy Regime. The aim of this article is to capture the technique of Arnold Zweig, who combines history and the identification of an artist with a given object.

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Bowan, Kate. « Living between Worlds Ancient and Modern : The Musical Collaboration of Kathleen Schlesinger and Elsie Hamilton ». Journal of the Royal Musical Association 137, n^o 2 (2012) : 197–242. http://dx.doi.org/10.1080/02690403.2012.717467.

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AbstractMusicology has recently re-evaluated the nature, form and purpose of musical biography, reflecting a broader ‘biographical turn’ in the humanities. This article takes up recent challenges to move beyond the traditional model of the ‘life and works’ of ‘great’ composers and joins the search for new paradigms of musical biography. The lives of the Australian microtonal composer Elsie Hamilton (1880–1965) and the British music archaeologist Kathleen Schlesinger (1862–1953), and their collaboration, which spanned three decades, are offered as a case study that demonstrates the importance of international and transnational networks for comparative musicology and modern music, and reveals the role of women as critical agents of scholarship and cultural transmission. It also lays bare the considerable influence exerted by the fin de siècle occult revival upon the search for new modalities of musical expression. It is an example of how a biographical approach allows an expansive examination of a mentalité and can bring together a range of discourses to reveal unrecognized connections and relationships.

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Hill, John. « ‘Blurring the lines between fact and fiction’ : Ken Russell, the BBC and ‘Television Biography’ ». Journal of British Cinema and Television 12, n^o 4 (octobre 2015) : 452–78. http://dx.doi.org/10.3366/jbctv.2015.0280.

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Working for the BBC arts programmes Monitor and Omnibus during the 1960s, Ken Russell was responsible for a series of biographical films based on the lives of painters and composers. Tracing the development of Russell's work from Prokofiev (1961) and Elgar (1962) through to Bela Bartok (1964) and The Debussy Film (1965), the article examines how Russell's incorporation of elements of drama into the arts documentary generated arguments, both within the BBC and beyond, about the legitimacy of mixing ‘fact’ and ‘fiction’ in such works. These debates focused, in particular, on the use of ‘dramatic reconstruction’ and subjective ‘interpretation’ and the ‘fairness’ of the films’ treatment of the artists and composers with which they dealt. As a result of its unusually explicit representations of sex and violence, Russell's film about the composer Richard Strauss, Dance of the Seven Veils (1970), took these arguments to a new level. Through an examination of the responses that the film generated, the article concludes that, due to the degree to which the programme departed from BBC norms of documentary practice and the related values of ‘impartiality’ and ‘good taste’, it became a work that tested the very limits of what the BBC then considered it possible to transmit.

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Dumitrescu, Theodor. « Who Was “Prioris” ? A Royal Composer Recovered ». Journal of the American Musicological Society 65, n^o 1 (2012) : 5–65. http://dx.doi.org/10.1525/jams.2012.65.1.5.

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Abstract Research into the musical establishments of the French royal court during the reign of Louis XII (1498–1515) must contend with a severe lack of basic documentation from the musical chapels of Louis and Queen Anne of Brittany. A hitherto unexplored resource helping to fill this lacuna is offered by the archives of Blois, the principal urban base of the peripatetic royal households in the early sixteenth century. New archival records shed light on the activities of leading singers and composers of the court, among them the enigmatic royal chapelmaster “Prioris,” occasioning a complete revision of the composer's biography. A new story emerges: Prioris turns out to be not the “Johannes Prioris” known from the secondary literature—who likely never existed—but the Blois canon Denis Prieur (Dionisius Prioris), who had already served Louis XII for many years before his accession. The new outline of Prioris's biography reveals a career and life rooted in the Loire Valley, a localized and institutionalized view supported by a reexamination of the musician's compositional output and significant new musical evidence.

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Kimber, Marian Wilson. « The "Suppression" of Fanny Mendelssohn : Rethinking Feminist Biography ». 19th-Century Music 26, n^o 2 (2002) : 113–29. http://dx.doi.org/10.1525/ncm.2002.26.2.113.

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The idea that Felix Mendelssohn prevented his sister, Fanny Hensel, from publishing her compositions is central to biographical representations of her, including Franççoise Tillard's Fanny Mendelssohn (1992) and Gloria Kamen's Hidden Music (1996). This story can be traced to nineteenth-century publications by male members of the Mendelssohn family and their desire to portray both siblings according to socially acceptable gender roles. Such origins challenge the assumption that the story of Fanny Hensel's "suppression" represents a modern feminist reinterpretation of her life. Instead, current treatment of Hensel relies on common biographical models for male composers; in her lack of a public career, she fits the Romantic stereotype of the neglected, suffering genius. The retelling of the "suppression" of Fanny Hensel represents a "story" in itself - a rescue plot in which modern women rediscover Hensel and somehow "save" her from historical neglect. This feminist recovery relies on the assumption that Hensel was forgotten, overlooking the numerous publications between 1830 and 1920 in which she appears. Centering Hensel's biography on her brother's influence rather than on her eventual publication of her music oversimplifies the larger historical situation for women composers, replacing the manifold issues surrounding gender and class with a single male villain. The difficulties encountered in telling the story of Hensel's life reveal a need for a feminist biography that balances an understanding of larger cultural constraints with recognition of individual female agency.

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Kateryna Pavelko. « THE CULTURAL COMMENTARY METHOD IN STUDY OF A COMPOSER'S CREATIVE BIOGRAPHY (BY THE EXAMPLE OF M. GLINKA’S MEMOIRS HERITAGE) ». World Science 2, n^o 6(46) (30 juin 2019) : 14–18. http://dx.doi.org/10.31435/rsglobal_ws/30062019/6565.

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The history of formation of the cultural commentary principle, an effective scientific method used in study of various texts, is discussed in the article. The current experience in its use in literary criticism, musicology and musical culturology is analyzed herein. The own definition of this method is offered. Prospects for this methodological tool in researches of the composers’ creative biographies are specified by the example of studying the memoir heritage of M. Glinka. Referring to the cultural commentary while studying M. Glinka’s memoirs involves many different sources for proper understanding of the described details of the composer’s life, which at first sight are not related to his creative activity. This approach helps expand the selection of facts for commenting and include information, earlier left beyond vision of musicologists and culturologists. Commenting on the outstanding composers’ memoirs is a peculiar way of knowing the musicians’ personality, an opportunity to dive deeper into the past, to find meanings hidden under the surface of the text.

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Stępień-Kutera, Kamila. « Musical lives : Portraits of composers in biographical novels ». Chopin Review, n^o 2 (27 avril 2023) : 62–79. http://dx.doi.org/10.56693/cr.112.

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The biographical novel, currently so popular among readers and authors alike, only recently acquired its status as an emerging literary genre: the process of its separation from the historical novel as more broadly conceived can be dated to the second half of the twentieth century. It is also worth remembering that the biography itself, as one of the types of scholarly text belonging to the field of history, only became the subject of more serious theoretical considerations during the first decades of the twentieth century. The biographical novel, combining – in various ways – historical reality with the author’s creativity, affords a unique opportunity to get inside the lives of its protagonists. Relatively few of the most outstanding works in the genre are devoted to composers, but a number of them open up fascinating vistas for study. In my reading of Thomas Mann’s Doctor Faustus, Julian Barnes’s The Noise of Time, Josef Škvorecký’s Scherzo capriccioso. Veselý sen o Dvořákovi and Jean Echenoz’s Ravel, I endeavour to show how the authors build a credible image of their characters. The present study forms an anacrusis to further reflection.

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Kupets, Lyubov A. « Where does Russian Music Begin ? The Case of Mikhail Glinka in the Biographical Series of “The Lives of Wonderful People” ». Music Scholarship / Problemy Muzykal'noj Nauki, n^o 1 (2022) : 143–55. http://dx.doi.org/10.33779/2782-3598.2022.1.143-155.

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Since the second half of the 19th century, the figure of Mikhail Glinka has become the dominant one for constructing the total history of Russian music and understanding the significance of other Russian composers. Among the multitude of historical and theoretic research works pertaining to Russian musicology, especially noteworthy is the publication of the musician’s biography in the popular scholarly series “The Lives of Wonderful People” for the period of 1892– 2019. A long-term analysis of the author’s narratives in the historical and cultural context revealed the mechanisms of cultural recycling in the interpretation of Glinka’s personality and work: the phenomenon of “forgetting” and the effects of “double recycling” and the “personal approach.” Several models of biography are traced, the features of which resonate with the historical, cultural, and political guidelines of the era as well as with the professional preferences of the authors of these books. The book about Glinka written during the Silver Age of Russian culture presents a kind of a “life guide,” which peculiarly conflates the Victorian biographical canon and the psychological essay bearing a positivist accent. The Soviet image of the composer was being formed gradually, becoming fixed in the 1940s and 1950s. In its case, both the tendency to visualize narratives associated with the influence of the cinematograph (from the “novel about the composer” to the “movie plot for the young generation”) and the ideological partisanship in Glinka’s biography (the maximal approach to the canons of socialist realism) become characteristic feature. In the 21st century the leading principle in designing the image of the composer is the demythologization of the Soviet canon and the fundamental orientation towards the Internet public consisting primarily of the generation of millennials.

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Melita, Milin. « A composer’s inner biography a sketch for the study of influences in Ljubica Maric’s oeuvre ». Muzikologija, n^o 4 (2004) : 61–82. http://dx.doi.org/10.2298/muz0404061m.

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Attempting to investigate works of music through frank examination of possible influences is a delicate thing, sometimes maybe dangerous - as has been suggested by Jonathan Cross in his book, The Stravinsky Legacy. While the originality of a composer may appear to be threatened with such types of critique, for musicologists it is important to draw upon a deeper appreciation for how a composer searched for his/her own creative voice. The music of Ljubica Maric (1909-2003), one of the most important Serbian composers of the 20th century, has been chosen to demonstrate how composers need different influences during different phases of their maturation and how they deeply integrate them in order to create an individual utterance. Ljubica Maric first studied composition with Josip Slavenski at the Belgrade Music School (1925-29), and continued her studies with Josef Suk at the Master School of the Prague Conservatory (1929-32) where she obtained her diploma. Finally, she took Alois H?ba?s course in quarter-tone music at the same institution from 1936 to 1937. The works she composed during the 1930?s were characterized by a radical will to break ties with traditional, mainly romantic music, so she chose to be influenced by the free atonal pre-dodecaphonic works of Arnold Schoenberg. Following World War II, she introduced some changes of expression that were more in keeping with links from the past. Her music became tonally stabilized, and thematic-motivational developments were rediscovered, resulting in an expression that became milder. But the changes need not necessarily be linked exclusively to the post-war climate of socialist realism. Rather, the previous style may have met up with some type of impasse - the sort that confounds or ultimately transforms an artist. For Ljubica Maric, however, it appears she was never truly satisfied with her first post-war works (1945-1950). What is certain is that she composed nothing during the several years that preceded her first masterpiece, the cantata The Songs of Space (1956). It is however worth examining whether or not they were really "dry years". It is certain that for Ljubica Maric, they were fresh discoveries of Serbian traditional singing, both folk and church, poetic and artistic treasures of the Middle Ages - but she also revived earlier experiences (from the pre-war decade) that she had rejected at the time, mainly the music of Stravinsky, Bart?k and Slavenski. Although those influences can be detected in the score of The Songs of Space, the work has a strong individual imprint, an identity of its own. In the works that followed, The Passacaglia for orchestra and in several compositions belonging to the cycle Musica octoicha (Octoicha 1, The Byzantine Concerto, Ostinato super thema octoicha, The Threshold of Dreams) original traits of Ljubica Maric?s poetics became even more pronounced. The last works that she produced (in the 1980?s and 1990?s) are all for instrumental soloists or chamber ensembles. They continue with, and refine the main characteristics of the earlier ones. Ljubica Maric?s evolvement thus presents a search for originality of expression that was reached only after a process of selective assimilation and creative transformation of tradition had been fulfilled - but not until any "anxiety of influences" had been abandoned. It has been shown that Ljubica Maric, like other artists needed to be ready to be influenced, in order to absorb such influences in a creative way.

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Tuchapets, Andriy. « Viola Compositions in the Context of Alexander Levkovich’s Creation ». Часопис Національної музичної академії України ім.П.І.Чайковського, n^o 2(55) (16 juin 2022) : 96–110. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266550.

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The article examines compositions for solo viola of the modern Ukrainian composer O. Levkovich. Their exceptional significance for the composer’s creation as well as for the solo viola repertoire is emphasized and substantiated. Also it has been revealed the complete absence of the musicological researches devoted to this problem. This factor determines the obvious relevance and scientific novelty of the article. Its main objective is to involve the listed viola compositions into the musicological circulation, which, on the one hand, can become an additional tool for their popularization, and on the other will promote a broader view of the creative portrait of O. Levkovich. In the process of writing our article, we used a set of different scientific methods, the main of which are: historical and biographical (when selecting information about the composer’s biography, studying the circumstances of his works creation); structural and intonation analysis (in the analytical section), as well as comparative (in various comparisons). A parallel is drawn between the compositional and dramaturgical features of his viola works and the viola works of other composers, in particular D. Shostakovich. The author determined the objectivity of the manifestation of the composer's thinking in the creating viola works. The uniqueness of his composer's thinking and strongly expressed non-standard individuality, which are manifested both in the compositional and formative structure of viola works, and in the intonation and melodic features of their sound, have been proven. The conclusion is that the basis of the compositional and dramaturgical features of the interpretation of the Oleksandr Levkovych’s alto works are the deep philosophical reflections of the artist, the tendency to approach the sound of the instrument to the human voice, as well as its muted and melancholic timbre, which is consonant with the composer's worldview — the most acceptable for his musical expression. Prospective directions for further research into the specificity and characteristic features of the interpretation of Oleksandr Levkovych's alto works are suggested taking into account his individual compositional style.

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Sycheva, Galina Sergeevna. « Erkki Melartin : Life Marked by Death, Music for Life ». PHILHARMONICA. International Music Journal, n^o 1 (janvier 2023) : 12–17. http://dx.doi.org/10.7256/2453-613x.2023.1.43863.

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The research object of this article is Finnish musical culture. The subject of the study is the life and work of composer, teacher, conductor, and educator Erkki Melartin (1875–1937). The purpose of the article is to recreate the personal and creative portrait of Melartin as one of Finland’s most outstanding musicians during the first half of the twentieth century. The author examines in detail the composer's biography in close connection with all types of his activities and describes the main directions of the composer's creativity. The author pays special attention to Melartin's administrative activities as the head of the Helsinki Music Institute (now the Sibelius Academy), his conducting, and his pedagogical work. The main conclusions of the study are that Erkki Melartin made a tremendous contribution to the development of culture and musical professional education in Finland; his impressive compositional heritage (with many influences of other composers and Karelia folklore) has bright and distinctive features; Melartin is the author of the first national opera (Aino) and the first large-scale national ballet (Blue Pearl). Among his students: Aarre Merikanto, Yrjö Kilpinen, Vyane Raitio, Ilmari Hannikainen, Uuno Klami, Sukho Ranta, and Helvi Leiviskä —those who later formed the elite of the Finnish School of Composition in the twentieth century. The article, a first in Russian musicology, publishes detailed information about the composer's life, work, and social activities. The main conclusions of the study: Erkki Melartin made a tremendous contribution to the development of culture and musical professional education in Finland; his impressive compositional heritage (with many influences of other composers and folklore of Karelia) has bright and distinctive features; E. Melartin is the author of the first national opera ("Aino") and the first large-scale national ballet ("Blue Pearl"). Among his students: Aarre Merikanto, Jurje Kilpinen, Vyane Raitio, Ilmari Hannikainen, Uuno Klami, Sulho Ranta and Helvi Leiviska – those who later formed the elite of the Finnish school of composition of the twentieth century. The article for the first time in Russian musicology publishes detailed information about the life, work and social activities of the composer.

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Acquah, Emmanuel O., John F. Annan et Godfred Sackey. « The Africanism in Two Selected Works of C.W.K Mereku : A Formalistic Viewpoint ». European Journal of Humanities and Social Sciences 2, n^o 3 (8 juin 2022) : 83–94. http://dx.doi.org/10.24018/ejsocial.2022.2.3.239.

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The arrival of the Europeans in brought about formal education of the Western world into the then Gold Coast. In the area of Music, the Western theory of Musical practices were introduced and implemented. The introduction of the Western theory of musical practices deeply affected the early Ghanaian composers such that early compositions were in the framework of Western music education, which affected the use of indigenous Ghanaian cultural and traditional practices. However, in the spirit of nationalism, a crusade of Ghanaian indigenous music traditions was initiated in the early twentieth century by Ephraim Amu and it was supported by many composers who followed. Using Euba’s creative ethnomusicology as the underpinning theoretical framework, the writers seek to examine the composer, C.W.K Mereku, investigating into his academic biography. The study again appreciates Africanism through the formalist viewpoint of two of his works: Ghanamamma (People of Ghana) and Atentenata (Atenteben Sonata), exploring the Ghanaian traditional and indigenous elements, and how he used them in his compositions. This study uses purposive sampling method and focuses on interview and document analysis as instruments for data collection. The two compositions of the study reflect Mereku’s conscious usage of the Ghanaian indigenous elements as source materials to express his identity and the awareness of his thematic intercultural activities.

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Sysolyatina, Sofiya V. « “Jephthah’s Daughter” by Amy Beach : the Biblical World in the Words of a Woman ». ICONI, n^o 2 (2019) : 59–67. http://dx.doi.org/10.33779/2658-4824.2019.2.059-067.

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The article examines from the positions of musical content by means of analysis of the musical and poetical the composition “Jephthah’s Daughter” by Amy Beach, an American composer of the late 19th and early 20th century, a member of the “Boston six” — a group of American composers of the turn of the century, also known as the New England School, among which Amy Beach was the only woman. “Jephthahʼs Daughter” is a concert aria for voice and orchestra, which is interesting in the context of the composer’s musical legacy, as well as an exemplary composition of its era. The aria is devoted to the Biblical subject matter or, more precisely, the well-known Old Testament plot of the sacrifi ce of the daughter of the Israelite judge Jephthah. Besides the analysis of the musical fabric, the article examines the author’s approach to the subject of the principle of the choice of the material and the work with the textual sources — the Biblical story and the French poem, which comprised the basis of the aria’s text. As a result, the conclusion is arrived at about the composer’s artistic intentions and about the conceptual component of the work. The article contains information about Amy Beach’s biography, her artistic approach, her attitude to religious subject matter and social problems of the society contemporary to her, in particular, the issues of equal rights for women.

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Sycheva, Galina Sergeevna. « Erkki Melartin : life marked death, music for life ». PHILHARMONICA. International Music Journal, n^o 2 (février 2023) : 33–40. http://dx.doi.org/10.7256/2453-613x.2023.2.40870.

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The object of research of this article is the Finnish musical culture. The subject of the study is the life and work of composer, teacher, conductor and educator Erkka Melartin (1875-1937).The purpose of the article is to recreate the personal and creative portrait of E. Melartin as one of the outstanding musicians of Finland in the first half of the twentieth century. The author examines in detail the biography of the composer in close connection with all types of his activities, gives a description of the main directions of the composer's creativity. The author pays special attention to the administrative activities of E. Melartin as the head of the Helsingfors Music Institute (now the Sibelius Academy), his conducting and pedagogical work. The main conclusions of the study: Erkki Melartin made a tremendous contribution to the development of culture and musical professional education in Finland; his impressive compositional heritage (with many influences of other composers and folklore of Karelia) has bright and distinctive features; E. Melartin is the author of the first national opera ("Aino") and the first large-scale national ballet ("Blue Pearl"). Among his students: Aarre Merikanto, Jurje Kilpinen, Vyane Raitio, Ilmari Hannikainen, Uuno Klami, Sulho Ranta and Helvi Leiviska – those who later formed the elite of the Finnish school of composition of the twentieth century. The article for the first time in Russian musicology publishes detailed information about the life, work and social activities of the composer.

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Bodurian, Agota. « Komitas – An Icon in Armenian Music ». Musicology Papers 35, n^o 1 (1 novembre 2020) : 82–92. http://dx.doi.org/10.47809/mp.2020.35.01.07.

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Although the 150th anniversary of the birth of the great Armenian composer, Komitas – celebrated with great respect in Armenian communities everywhere – took place last year, we believe that the importance of the work of this icon in Armenian music deserves and must be mentioned in any period. The author of this study has been concerned with the issue of Armenian music for a long time. During the in-depth studies in the field, the conviction of the need to talk about Armenian music – very little known in Europe – and about its famous representatives, of which the most important was and still is Komitas, was strengthened. At the same time, studying the life and work of this outstanding composer, the similarity of his life and career with that of Bartók Béla, sometimes even surprising, arose several times, despite the great geographical distance that separated them. In this article we will try to briefly present the biography and creation of the great Komitas, as well as some parallel elements in terms of life, research and works of the two composers, musicologists and ethnographers. Belonging to the same generation of musicians, they dedicated their lives to collecting, researching and processing authentic folk music, being concerned not only with the folklore of their own nation, but also with the music of neighbouring peoples. The activity and research of the two present remarkable similarities, and through their compositional activity they both succeeded in opening new perspectives, decisive for their descendants, the generations of composers of the twentieth century.

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Kostrzewski, Brett. « Rome after Josquin ». Journal of Musicology 38, n^o 1 (1 janvier 2021) : 67–108. http://dx.doi.org/10.1525/jm.2021.38.1.67.

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The “Roman period” of Josquin des Prez resulted in a small but impressive body of work, and the Missa La sol fa re mi has been received as one of the most substantial and finest members of this corpus. Closer inspection of the transmission of this mass, however, suggests that despite its copying at the Sistine Chapel before 1500, there is reason to situate it instead among the problematic and derivative copies of Josquin’s music made at the papal chapel after his departure. I argue that rather than originating from the composer’s tenure in Rome, the Missa La sol fa re mi entered the papal chapel repertoire as part of an influx of music by composers associated with the French royal court surrounding the Italian campaign of King Charles VIII in 1494–95. Decoupling the Missa La sol fa re mi from Josquin’s tenure at the papal chapel raises new possibilities surrounding his works-chronology, biography, and milieu.

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Gevorkian, Armen. « Valery Bryusov and the musical world of Russia in the late 19th — early 20th centuries (Introduction) ». Literary Fact, n^o 15 (2020) : 213–36. http://dx.doi.org/10.22455/2541-8297-2020-15-213-236.

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While there are many studies on biography, literary work, and the epistolary heritage of V.Ya. Bryusov, his connections with the musical world of Russia in the late 19th — early 20th centuries remain on the periphery of research interest. Significantly less attention was paid to the historical and literary study of the poet’s personal and creative contacts with composers, music critics, and musicologists. In the late 19th — early 20th centuries V.Ya. Bryusov’s poetry as a source of musical compositions attracted composers of various creative and aesthetic principles, from realistic to modernist, each of whom found in Bryusov's works related images, themes and motifs. Today, the names of more than thirty composers, who addressed both original works and translations of the head of Russian Symbolism, are known. Among them are composers who by the beginning of the 20th century had become original figures of Russian musical culture — A.T. Grechaninov, S.V. Rachmaninov, N.K. Metner, R.M. Glier, S.I. Vasilenko — and less known today V.I. Rebikov, A. Kankarovich, A.G. Shaposhnikov et al. One of the first works devoted to this topic was an article by the poet’s sister, Nadezhda Bryusova, “Music in Valery Bryusov’s works” (Iskusstvo, 1929, no. 3 – 4), outlining two main areas of research: historical and literary and theoretical, philosophical and historical. O. Tompakova, V. Dronov, E. Etkind et al. also researched Bryusov’s connections with the musical culture of Russia at the beginning of the 20th century. Interest in Bryusov’s work did not fade even after the poet’s death, many Soviet composers turned to his poetry in the new socio-political environment. The Appendix contains materials for the annotated bibliography of music editions related to Bryusov

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Akatrini, V. « “VIENNESE” CREATIVE PERIOD IN THE EUSEBIUS MANDYCZEWSKI’S BIOGRAPHY ». Aesthetics and Ethics of Pedagogical Action, n^o 26 (25 décembre 2022) : 116–29. http://dx.doi.org/10.33989/2226-4051.2022.26.273126.

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The article presents the genesis of the Mandyczewski family based on extensive source material; the factors of Eusebius Mandyczewski’s formation as a musician, conductor, and composer are characterized. Attention is focused on the significant influence on his professional development of the well-known church history teacher of Chernivtsi University Eusebius Popovych, music teacher Sydor Vorobkevych, and violin teacher Adalbert Hrimaly. The features of the talent of the future musician in his youth are revealed (he created 82 compositions between the ages of 14 and 17). Emphasis is placed on a significant event – receiving a scholarship at the competition of young talents in Leipzig, which was a significant financial support for his further studies at the University of Vienna. The “Viennese” period of E. Mandyczewski’s creativity, which lasted 54 years, is characterized. In Vienna, he studied German studies, philosophy, literature, art history, musical disciplines; his teachers were music critic Eduard Hanslick, musicologist Martin Gustav Notteb, composer Robert Fuchs. E. Mandyczewski’s professional growth was connected with activities at the Vienna Academy of Music, the Vienna Conservatory; he was the conductor of various choirs and orchestras, archivist and bibliographer of the Viennese “Society of Friends of Music” - one of the significant centers of European musical life. It was found that during many years of teaching activity, the Maestro trained a whole galaxy of composers, musicologists, teachers, most of whom became stars of the musical world of Austria, Italy, England, America... Among his students are Hans Gall, Karl Behm, Hilarion Verenko, Manolis Calomiris, George Sell, Leone Sinigaglia, Karel Prochazka (senior), Marcian Negria, Joseph Alois Krieps, Julius Patzak, Ferdinand Rebay, Rosario Scalero, Gustav Uwe Yenner, and Arthur Schnabel, Karl Garinger, Ignaz Brühl, Henry Kimball Hadlita, and others. The Austrian press deservedly called the honorary citizen of Vienna E. Mandyczewski “a living musical encyclopedia”. As a theoretician, he wrote many scientific studies on the work of W. Mozart, L. Beethoven, L. Bach, K. Czerny, A. Bruckner, Strauss, etc., compiled a complete edition of the works of J. Haydn, F. Schubert (in 42 volumes), J. Brahms (in 26 volumes). It is emphasized that E. Mandyczewski is the author of 11 Ukrainian choirs, the canon for three voices “And the day goes, and the night goes...” (to the words by T. Shevchenko), music to the lyrics by Yu. Fedkovich “Wake up, Boian!”, “Kobzar’s dawn” etc., vocal works written to the texts of Serbian, Hungarian, Ukrainian, Moldovan folk songs, author’s works written to the texts by Romanian and Moldovan poets M. Eminescu, H. Koshbuk, V. Aleksandr, O. Vlahutse, etc. Research attention is focused on the authorship of vocal works of a secular and spiritual nature, among which the most significant are: “Greek Mass” for solo, choir and orchestra, the cycle “Tuscan Songs”, church works – 12 liturgies, “Cherub” for mixed choir, “Our Father” for two children’s voices, carol “Silent night, holy night”, psalms, etc. On the basis of primary factual sources, the influence of E. Mandyczewski on the development of musical culture and education in Bukovyna is characterized.

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Pierre, Kelly St. « Smetana's “Vyšehrad” and Mythologies of Czechness in Scholarship ». 19th-Century Music 37, n^o 2 (2013) : 91–112. http://dx.doi.org/10.1525/ncm.2013.37.2.91.

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Abstract Scholars have long framed similarities between Bedřich Smetana's “Vyšehrad” (the first movement of Má vlast) and Zdeněk Fibich's symphonic poem Záboj, Slavoj, and Luděk as a threat to Smetana's originality. In his biography of the composer, for example, Brian Large moved to “exonerate” Smetana from charges of “plagiarism” by arguing that Smetana began “Vyšehrad” at least two years before Záboj's premiere in 1874; not six months later as Smetana's diary attests. Rather than regarding these works' similarities as a problem, this discussion embraces their close relationships as a starting point. Situating both symphonic poems and their reception within the discourses generated by a powerful organization called the “Umělecká beseda” (“Artistic Society,” or UB, in which both Smetana and Fibich participated) illuminates the larger intellectual and aesthetic space from which they emerged. Such a process of contextualization reveals how both composers' works constructed each other and uncovers Smetana not as a “lone genius”—a composer untainted by influence—but as a participant in a shared conversation. Ultimately, this examination opens up new understandings of Smetana and his “Vyšehrad” and invites scholars to reengage with the deliberate subjectivity of Czechness and historiography more broadly.

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Gorobets, Svetlana V. « The Role of A.I. Ziloti in the Formation of the Creative Personality of S.V. Rachmaninoff-Pianist ». Общество : философия, история, культура, n^o 9 (20 septembre 2023) : 162–66. http://dx.doi.org/10.24158/fik.2023.9.23.

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The article distinguishes and describes important moments of S.V. Rachmaninoff’s creative biography. It is emphasized that the key role in the process of his personal and professional development as a musician and composer was played by his cousin A.I. Ziloti – pianist, musical and public figure, organizer of the legendary entreprise “A. Ziloti’s Concerts”, comparable in its national significance to European events of the XIX – early XX centuries, focused on contemporary music and premieres of works by the latest schools of composers. The motives behind A. Ziloti’s actions are analyzed, as well as his role in the culture of St. Petersburg-Petrograd in the early XX century. A brief overview of the entreprise’s concert programs is given. It is stated that Sergei Rachmaninoff’s works – “Second Piano Concerto” and “Second Suite for Two Pianos” – were announced in the program of each concert season. Conclusion dwells upon the fact that A. Ziloti and S. Rachmaninoff's names are iconic in the history of musical art, mutually inseparable, as are the destinies of their bearers.

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Zymer, Izabela. « Zofia Lissa i Włodzimierz Iwannikow — polska muzykolog i radziecki kompozytor we wspólnej walce o nowy, lepszy ład ». Polski Rocznik Muzykologiczny 20, n^o 1 (1 décembre 2022) : 53–79. http://dx.doi.org/10.2478/prm/2022-0012.

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ABSTRACT Zofia Lissa and Vladimir Ivannikov — A Polish Musicologist and Soviet Composer Fighting Together for a New, Better Order Zofia Lissa’s biography contains many well-documented facts, but there are also numerous gaps. These are periods described the least in the known sources: childhood (including her stay in Austria during the First World War) as well as the escape and first months after leaving Lviv (following Germany’s attack on the USSR in 1941). Let us hope that material that will enable us to fill these gaps will be found. However, in addition to complete gaps there is also a lot of incomplete information. It concerns, for example, the period Lissa spent in Moscow. There are more sources dealing with that time, but they have not been studied in detail and this has paved the way for sensational rumours. The present article is an attempt to disperse the fog and clear the atmosphere of mystery surrounding the matter. The thesis of the article is as follows: throughout her stay in Moscow Lissa, with her customary naivety, worked as best as she could for the benefit of Polish music. Her interests were wide-ranging — from early to contemporary music, with the latter being a subject with which she was particularly familiar. In addition to promoting professional music, Lissa tackled questions relating to the dissemination of music in general. She believed that as a musicologist she had a mission and that the best way to accomplish it was to collaborate closely with composers who would “implement” her guidelines in their music. In this context Lissa’s return to Poland may seem as an attempt to put similar ideas into practice on a much broader scale: from then on she would no longer represent herself but the entire Polish musicology, and one composer would be replaced by the entire Polish Composers’ Union.

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Zymer, Izabela. « Zofia Lissa i Włodzimierz Iwannikow — polska muzykolog i radziecki kompozytor we wspólnej walce o nowy, lepszy ład ». Polski Rocznik Muzykologiczny 20, n^o 1 (1 décembre 2022) : 53–79. http://dx.doi.org/10.2478/prm-2022-0012.

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ABSTRACT Zofia Lissa and Vladimir Ivannikov — A Polish Musicologist and Soviet Composer Fighting Together for a New, Better Order Zofia Lissa’s biography contains many well-documented facts, but there are also numerous gaps. These are periods described the least in the known sources: childhood (including her stay in Austria during the First World War) as well as the escape and first months after leaving Lviv (following Germany’s attack on the USSR in 1941). Let us hope that material that will enable us to fill these gaps will be found. However, in addition to complete gaps there is also a lot of incomplete information. It concerns, for example, the period Lissa spent in Moscow. There are more sources dealing with that time, but they have not been studied in detail and this has paved the way for sensational rumours. The present article is an attempt to disperse the fog and clear the atmosphere of mystery surrounding the matter. The thesis of the article is as follows: throughout her stay in Moscow Lissa, with her customary naivety, worked as best as she could for the benefit of Polish music. Her interests were wide-ranging — from early to contemporary music, with the latter being a subject with which she was particularly familiar. In addition to promoting professional music, Lissa tackled questions relating to the dissemination of music in general. She believed that as a musicologist she had a mission and that the best way to accomplish it was to collaborate closely with composers who would “implement” her guidelines in their music. In this context Lissa’s return to Poland may seem as an attempt to put similar ideas into practice on a much broader scale: from then on she would no longer represent herself but the entire Polish musicology, and one composer would be replaced by the entire Polish Composers’ Union.

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Yaping, Wen. « CELLO CONCERTO “LA MEMOIRE” BY CHEN MUSHENG : PROGRAMME AND ITS INTERPRETATION ». Arts education and science 3, n^o 36 (2023) : 122–29. http://dx.doi.org/10.36871/hon.202303122.

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The article is devoted to revealing the world of artistic images of the First Cello Concerto “La Memoire” (2011/2013) by the talented contemporary composer Chen Musheng (b. 1971). The prehistory of the composition is considered, connected with Chen's creative biography and his studies in Switzerland with the great master Eric Godibert, to whose memory the Concerto was dedicated. The article concerns the influence of the avant-garde ideas of Western composers on Chen Musheng's work, perceived from his teacher. It is about the manifestation of an important trend of the time — the use of European writing techniques to embody an idea in a work with Chinese roots. The peculiar genre and style content of the Concerto with the features of symphony, fantasy, instrumental requiem is emphasized. The methods of implementing the idea of the Cello Concerto were similar to those of the German-Swiss expressionist artist Paul Klee (1879–1940), who had influenced the work of Godibert and Chen Musheng. In this regard, Klee's “Pedagogical Sketches” are notable for their vivid presentation of his techniques of continuous compositional movement and the formation of form elements borrowed from the musical sphere. “The painter of music” Paul Klee was called. Chen Musheng can be called “Graphically showing the movement of images”. The associativity of the Chinese composer's thinking and his use of genre allusions make it possible to reveal the content of the Concerto and to identify some important stylistic features of his writing.

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Karelina, Yekaterina. « Tuvan Composer Ayana Oyun (Creative Portrait) ». International peer-reviewed journal 11, n^o 4 (1 décembre 2023) : 68–77. http://dx.doi.org/10.59850/saryn.4.11.2023.30.

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Among the modern composers of Tuva, the personality and work of Ayana Oyun are covered little of musicology. The main stages of the composer’s creative biography are noted related to studying at Republican School of Arts and Kyzyl College of Arts, receiving a specialized education at Krasnoyarsk State Academy of Music and Theater, Mikhail Glinka Novosibirsk State Conservatory, as well as additional education at St. Petersburg Theatre Arts Academy. The composer’s creative portfolio is surveyed, providing an analysis of one of the illustrative works — the Piano Quintet. The periodization of creativity works correlates with her education in different universities in Russia and with a change in genre preferences. Thus, during the years of study at Krasnoyarsk Academy of Music and Theater (2001–2007), works of chamber genres were predominated, including the being analyzed Piano Quintet. The return to her native Tyva is marked by the formation of an original author’s style. During these years, interest in theatrical music was shown, and a number of performances with music by Ayana Oyun were staged. During the years of study in St. Petersburg (2013–2018), several musical fairy tales were created and staged: Don’t Fly Away!, Mary Poppins and Her Friends, Khorloo (Wheel). Music appeared for a number of performances at the National Theatre as well. The composer’s contribution to the development of musical theater in Tuva and the revival of the first national opera, Chechen and Belekmaa, by Rostislav Kendenbil are noted. Ayana Oyun is a rare case of a successful combination of a composer and a theater director in one person; her personality is distinguished by deep reverence and adherence to the traditions and practices of Buddhist teaching, striving for constant self-improvement, expansion of professional and spiritual horizons.

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Raimkulova, A., et А. Mombek. « Aspects of biculturality in the style of B. Daldenbai’s «Zheltoqsan tolquy» Symphony ». Pedagogy and Psychology 44, n^o 3 (30 septembre 2020) : 216–31. http://dx.doi.org/10.51889/2020-3.2077-6861.27.

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The study aims to identify biculturalism in the symphonic style of a representative of a younger generation of composers, a student of G. Zhubanova B. Daldenbay. As an example, we took the most performed of his symphonic compositions – the Symphony “Zheltoqsan tolquy” (“The December Wave”). Based on the musical-style analysis, the author reveals the features of compositional thinking that semiotically unite different cultural elements into a single sign-system. The issue of the applicability of the concepts «synthesis,» «dialogue,» and «clash of cultures» concerning the work under study was brought up for discussion. B. Daldenbai thinks simultaneously in two systems (traditional Kazakh and Western), freely operating with the methods of both the European and the ethnic Kazakh traditions. This manifests in structural, thematic, and genre aspects. The duality is justified both by the composer’s creative biography, who received a European education, and the subject of his reflections – the Kazakh people’s fate in the 20th century. Having almost lost the fundamentals of native culture – traditions and language – the people, who adopted the achievements of European civilization, retained their Eurasian outlook and, through it, the spiritual roots of the ethnos. Biculturalism is explained by unique aesthetic attitudes towards Eurasian thinking and cultural openness inherent in Kazakh art.

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Zubai, Yu M. « The phenomenon of pianist-composer in Ukrainian musical culture ». Culture of Ukraine, n^o 76 (29 juin 2022) : 111–19. http://dx.doi.org/10.31516/2410-5325.076.12.

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The phenomenon of pianist-composer in Ukrainian musical culture, considered in retrospect, is studied. Its consideration allows to fully understand the place and role of creative and instrumental performance of Ukrainian artists both in the history of musical culture of Ukraine and in terms of the development of musical culture in Europe. The purpose of the article. To make a systematic review of the phenomenon of pianist-composer in Ukrainian musical culture, in the XIX-XXI centuries, in terms of the contribution of Ukrainian musicians into the development of both the art of composition and performance (instrument — piano). The methodology. Interdisciplinary approach has been applied, within which there is an appeal to cultural, art, psychological, historical, etc., scientific principles; we used activity-structural method in the direction of research of creative personality (pianist-composer), method of cultural-historical analysis (activity and historical significance of creativity of pianist-composer in Ukrainian musical culture); applied intonation, genre-style and text-interpretation methods that contribute to the adequate assessment of the results of the creative process in the field of composition and performance; methods of biography and source studies used in the historical research aspect of assessing the importance of the personality of Ukrainian pianists-composers. The results. A retrospective review of the work and instrumental and performance activities (piano) of Ukrainian pianists-composers in terms of their importance for Ukrainian musical culture and for world, European musical activity. The scientific novelty. For the first time we made an attempt of a systematic diachronic analysis of the meaning of compositional and instrumental-performance activities (piano) of Ukrainian artists of the XIX–XXI centuries in terms of formation and further development of the domestic piano school with the simultaneous influence of the compositional activities of these individuals on the musical culture of Ukraine and the world. The practical significance. Systematized presentation of historical and cultural, musicological, etc., characteristics of the phenomenon of pianist-composer in Ukrainian musical culture, allows to apply its results in teaching at the level of specialized music institutions, in the segment of development of educational materials on this topic, to promote Ukrainian piano schools and compositional works of outstanding domestic artists, also in the direction of determining the projective trends in the development of domestic compositional and performing (piano) musical activities.

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Maksimova, Antonina S. « Владимир Дукельский. В защиту забытой музыки ». Contemporary Musicology, n^o 4 (2020) : 90–103. http://dx.doi.org/10.56620/2587-9731-2020-4-090-103.

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The article explores the history of the Society for Forgotten Music established by Vladimir Dukelsky in 1948. Dukelsky’s biography and aesthetics as well as the issues of “marginalia” in the history of music (including that of artistic success) and the dichotomy of serious/light music relevant for the 20th century laid the foundation for the exploration of the micro-story. Research materials include historical documents and publications, memories and the Society’s discography. The article outlines external and personal reasons which encouraged Dukelsky to establish the Society. The article investigates the repertoire policy of the Society and spotlights those who were actively engaged with the Society and its media promotion. The analysis of available historical records allowed to reconstruct the stages of the Society’s life cycle and to suggest a hypothesis on why there was a long break in its publishing activity. The year 1958 and the establishment of the namesake record label affiliated with Contemporary Records became the turning point for the Society. Conceptually, the Society for Forgotten Music functioned in line with the early 1930s project initiated by Dukelsky—the Composers’ Protective Society. The two societies, however, used fundamentally different organisational approaches. Unlike the Composers’ Protective Society that staked on wide publicity without due financial support and had certain social and political aspects on its agenda, the Society for Forgotten Music was, in fact, a series of educational historical concerts. In other words, the latter was more narrow in scope and limited its activity to the domain of art. Dukelsky made serious preliminary research before the concert programme was compiled. As a result, the Society for Forgotten Music developed into a resilient project which gained support from high-profile critics and facilitated the performance and first-time recordings of music by such composers as G.B. Viotti, J.L. Dussek, G. Lekeu, and others.

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Теплова, А. С. « Who are You, John Dunstable ? Identifying the Famous Musician ». Музыкальная академия, n^o 1(785) (25 mars 2024) : 92–103. http://dx.doi.org/10.34690/366.

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Английский мастер раннего Возрождения, чей авторитет в среде музыкантов был засвидетельствован Тинкторисом, является одним из «малодокументированных» композиторов. Долгое время были известны всего две даты из жизни Джона Данстейбла: время исполнения двух его мотетов (1416), зафиксированное в хронике «Gesta Henrici Quinti», и год смерти композитора (1453), выгравированный на надгробии. Лиза Колтон расследовала обстоятельства, связанные с судьбой эпитафии, и обнаружила «еще одного» Джона Данстейбла — богатого человека, носившего титул эсквайра, владевшего недвижимостью в разных частях Англии и за ее пределами, имевшего влиятельных друзей и покровителей. Факты реконструированной биографии Джона Данстейбла, эсквайра из Стипл Мордена, не противоречат известным ранее сведениям о Данстейбле-музыканте, за исключением даты смерти. Колтон аргументированно оспаривает общепринятое время упокоения композитора, что позволяет отождествить «двух Данстейблов». Автор статьи идет по следу почти детективной истории, рассказанной Колтон, дополняя ее иллюстрациями и размышлениями о наследии композитора. The English master of the early Renaissance, whose authority among musicians was attested by Tinctoris, is one of the “poorly documented” composers. For a long time, only two dates from the life of John Dunstable were known: the time of the performance of two of his motets (1416), recorded in the chronicle “Gesta Henrici Quinti”, and the year of the composer’s death (1453), engraved on the tombstone. Lisa Colton investigated the circumstances surrounding the fate of the epitaph and found “another” John Dunstable—a rich man who bore the title of Esquire, owned real estate in different parts of England and abroad, and had influential friends and patrons. The facts of the reconstructed biography of John Dunstable, Esquire of Steeple Morden, do not contradict the previously known information about Dunstable the musician, except for the date of death. Colton argumentatively disputes the generally accepted time of the composer's repose, which makes it possible to identify the “two Dunstables.” The article’s author follows the trail of an almost detective story told by Colton, complementing it with illustrations and reflections on the composer’s legacy.

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Head, Matthew. « Cultural Meaning for Women Composers : Charlotte (“Minna”) Brandes and the Beautiful Dead in the German Enlightenment ». Journal of the American Musicological Society 57, n^o 2 (2004) : 231–84. http://dx.doi.org/10.1525/jams.2004.57.2.231.

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This article explores the cultural meanings of female musical authorship in the late German Enlightenment through a case study of Charlotte (“Minna”) Brandes, a composer, keyboardist, and opera singer. With Minna's death in 1788 at the age of twenty-three, her father, the playwright Johann Christian Brandes, and her close friend and teacher Johann Friedrich Höönicke prepared two memorials to her memory, a biography and a collection of her music, the latter titled Musikalische Nachlass von Minna Brandes (Hamburg, 1788). These memorials situated her authorship in the contexts of pedagogy and education, the composition of occasional works for the home, and the solace offered by music amidst bereavement and illness. The principal discourse was of death itself. Minna's memorialization shared with the novels of Goethe a topos of the beautiful female dead in which the female corpse (or its representation) was exhibited as a beautiful artifact. Death turned Minna from composer into a passive, aestheticized object of male authorship. These discursive contexts contained Minna's activities as a composer within a framework of bourgeois femininity. Both Minna's father and her teacher were at pains to stress that she sought neither fame nor fortune from her compositions. However, such representations of Minna were misleading. Her collected works suggest she was working toward a published collection of strophic German songs and toward the composition of operatic music for her own performance. The idealizing tropes of the memorials are also challenged by Johann Christian's later memoirs in which his daughter's turn to composition is situated in what he described as her multiple breaches of deferential daughterly conduct. Minna's reported profligacy during her final illness may have stimulated the posthumous publication of her music, which was possibly a form of fund raising for her multiply bereaved father, a corrective to his emotional and financial loss. The healthy list of 518 subscribers indicates that youthful female death was marketable as a topos occasioning the pleasures of melancholy.

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Dickey, Timothy J. « RETHINKING THE SIENA CHOIRBOOK : A NEW DATE AND IMPLICATIONS FOR ITS MUSICAL CONTENTS ». Early Music History 24 (14 juillet 2005) : 1–52. http://dx.doi.org/10.1017/s0261127905000124.

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A 1481 date for the manuscript Siena, Biblioteca Comunale degli Intronati, MS K. 1. 2 (hereafter Si), which contains almost ninety pieces of late fifteenth-century liturgical polyphony including works of Obrecht, Isaac and Mouton, has rested uneasily upon an argument from Sienese copying records. A fresh codicological analysis of this important source, including evidence of matching ‘twin’ watermark pairs in datable Tuscan archival documents, has yielded a new date and a new narrative for its compilation. The main corpus, in fact, is decades later than the fragmentary appendix containing works of Dufay and Josquin. The redating presented here has manifold implications for some of the most important composers of the late fifteenth century, and for peninsular patterns of musical transmission. A secure early date for the appendix copy of Josquin's Missa L'ami baudichon, for instance, enables a reassessment of that piece's transmission to sources as far away as Poland and Bohemia in the light of recent discoveries in Josquin's biography. My new date for Josquin's mass also confirms a case of Josquin emulation within another, anonymous mass in Si. The new dating further enables a reassessment of ModE M.1.13's authority as a source for one of Johannes Martini's masses, and the identification of a heretofore unknown local Sienese composer. Finally, the new narrative for the Siena choirbook may reveal Florence as a link in the transmission of repertory from Milan and Ferrara to Siena.

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Копиця, Маріанна. « Borys Liatoshynskyi and the artists of Lviv : epistolary notes to the biography of the artist ». CONTEMPORARY ART, n^o 18 (29 novembre 2022) : 321–28. http://dx.doi.org/10.31500/2309-8813.18.2022.273815.

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The article looks into the cultural and artistic relations of the artists of Kyiv and Lviv based on the letters of Borys Lyatoshynskyi. The role of Borys Liatoshinsky in preserving the cultural significance of these artists despite Soviet cultural narratives is studied. The situation in arts was especially tragic after the 1948 decree “On the opera “Great Friendship” by Vano Muradeli”. The characters of Ukrainian artists of the Galytska school of composers — Vasyl Barvinskyi, Adam Soltys, Roman Simovych, Jozef Koffler, and Tadeusz Siegfried Kassern — have been reconstructed based on the correspondence. The epistolary legacy of B. Liatoshynsky testifies that Lviv runs through his creative path as a red thread, bringing into the orbit of our attention both personal relationships with the city (his visits, social life of artistic elite), and some collisions (often dramatic), which relate to the works of the artist. No city in Ukraine attracted the artist as much as Lviv: there he presented his works to a thoughtful listener and communicated with kindred spirits. The tragic pages of rejection and persecution of B. Liatoshynskyi’s largest works — the Second and Third symphonies — have been described and introduced into scientific circulation. The fate of the former appears to be the most tragic one in the history of Ukrainian musical culture during the Soviet times. Having considered the correspondence of the B. Liatoshinsky, we conclude that Lviv musicians always supported the artist in difficult years, appreciating his extraordinary talent. The feeling was mutual — B. Liatoshinsky felt sincere, tender love for Lviv, its profound intellectual atmosphere, its people, and the ability to maintain the true friendship of spiritually kindred hearts.

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Tuchapets, Andrii. « The viola in Zoltan Almashi creation : the view of the first performer ». Ukrainian musicology 46 (27 octobre 2020) : 166–76. http://dx.doi.org/10.31318/0130-5298.2020.46.234626.

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The article examines the viola works of Z. Almashi from the position of their first performer and addressee. The importance of such an approach was emphasized, since the author is not only well familiar with the presented material, but also has the opportunity to communicate directly with the composer, being in the center of the creative process. The lack of researches, devoted to the viola works of Z. Almashi and all his works in general, determine the obvious relevance and scientific novelty of the article. Its main objective is to introduce the viola part of Z. Almashi composer’s creation into musicological use, looking at it from the point of view of the practitioner, and in the case of works, presented in this article – the first performer. First of all, we were interested in the reasons, that prompted the composer to turn to the solo viola timbre for the musical and artistic concept embodiment of «Genesis» and how Z. Almashi reveals the artistic and technical capabilities of this instrument in this and other considered works. Research methodology. In the process of writing our article, we have applied a complex of various scientific methods, the main of which are: historical and biographical (when selecting information about the composer’s biography, studying the circumstances of his works creation); structural and intonational analysis (in the analytical section), as well as comparative (in various comparisons). Research results. The analytical section of the article includes the main solo viola work, which arose as a result of the collaboration of the composer with A. Tuchapets – «Genesis». The information about the history of creation and the artistic concept of the opus is provided there. The features of the structure, instrumental solutions, means of practical implementation by the composer’s artistic conception are investigated. Also the cadence, written by Z. Almashi for the second movement of the Concerto for Viola and Orchestra by J. Ch. Bach with its intonational source and the influence of this source on the artistic concept of the work are considered. The viola solos from his Concerto for two violins and orchestra «Unspoken Words» and viola parts in works for string quartet, in particular Quartet № 3 «Carols», «Carpathian Song» and «PENITA. opera» are also regarded. The conclusions emphasize the importance of collaboration of composers with performers, especially in part of development of solo viola playing. It was revealed that the uniqueness and exceptional richness of the timbre palette of this instrument, obviously, attracts Z. Almashi with exceptional opportunities for the embodiment of artistic imagery, consonant with his composing style. It is also said about the significance of this article – it can serve as a basis for further researches and draw more attention to the considered works

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Zubai, Yury. « Mykola Sylvansky’s Cultural and Pedagogical Activities as A Unique Aspect of His Creative Biography ». Часопис Національної музичної академії України ім.П.І.Чайковського, n^o 2(55) (16 juin 2022) : 36–49. http://dx.doi.org/10.31318/2414-052x.2(55).2022.266546.

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The article focuses on the cultural and pedagogical activity of Mykola Yosypovich Silvanskyi at the general and specialized piano department at the P. I. Tchaikovsky Kyiv Conservatory. The facts of his creative biography are presented on the basis of the studied materials that are stored in the Central Archive-Museum of Literature and Arts of Ukraine also in the archive of the P. I. Tchaikovsky National Music Academy of Ukraine. Knowledges have also been gained due to the interviews with colleagues, students and relatives of M. Silvanskyi. Mykola Yosypovych's compositional work formed the basis of the cultural-pedagogical activity of the artist, because his works are still actively performed both by professional pianists and by students of conservatories at various stages of learning to play the piano. The personal qualities of the artist, which are described in the article, are important for the comprehensive characterization of his cultural and pedagogical activity. The features of his individual performance style are outlined as the features of a pianist with a romantic orientation (this is evidenced by concert programs found in archival posters). The repertoire policy of M. Silvanskyi in the class of general and specialized piano is described, as well as its inextricable relationship with his stage performance and compositional work. The study determines the factors that form the didactic principles of teaching students to play the piano, leading among which was the principle of practical demonstration of the most effective methods aimed at achieving the desired results (borrowed from Ya. Flier during his studies at the P. I. Tchaikovsky Moscow Conservatory). It is proven that a whole generation of student composers, studying with Mykola Yosypovych in the general piano class, formed artistic and aesthetic values that became leading in their further creative activity and influenced the development of Ukrainian piano music of the late 20th and early 21st centuries. The need for further study and understanding of the significance of M. Silvanskyi's creative activity for a better understanding of the artist's role in the development of Ukrainian musical culture is emphasized.

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Serdiuk, Yaroslava. « Piano Trio by Amanda Maier in the Context of Genre Evolution ». Scientific herald of Tchaikovsky National Music Academy of Ukraine, n^o 131 (30 juin 2021) : 63–79. http://dx.doi.org/10.31318/2522-4190.2021.131.243217.

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The relevance of the study. The name of Swedish composer and violin virtuoso of the Romantic era Amanda Maier-Röntgen is virtually unknown in Ukrainian musicology. Her work was forgotten for long time and rediscovered by European (particulary Swedish) and American musicians. But at one time she was the first woman who received the title of “Musik Direktor” after graduating from the Royal Academy of Music in Stockholm. She also perfected her performing and composing mastership in Leipzig, her work was praised by critics and leading European musicians: E. Grieg, J. Brahms, K. Schumann, with whom A. Maier maintained creative contacts. Existing research in European and American musicology considers basically only biography and performing activity of A. Maier, not her composer style or genre-stylistic and compositional features of her works. The main objective of the research is to consider the stylistic parameters in chamber music works by A. Maier, in particular, her interpretation of the piano trio genre. The methodology of the study is based on the main methods of music science: compositional, harmonic, polyphonic, intonation genre-stylistic analysis, historical-comparative method. The main findings and conclusions of the study. The Trio in E flat major by A. Maier embodies both the most characteristic features of this genre that have developed in the works of classical composers, and the achievements of Romantic composers of the Austrian-German school of the first half of the nineteenth century, and the latter have priority in this work. Continuity with classical traditions can be traced in the four-part structure of the cycle, which has become typical for the trio genre, beginning with the works by L. van Beethoven; in specific techniques of ensemble writing (unison presentation of the initial theme with all instruments, dialogicity — comparison of the sound of ensemble tutti and solo piano; elements of imitation in strings part; polyphonic work with themes in development). Fundamental role of lyrics, reliance on the song and romance intonations, the kinship of themes within each of the parts, end-to-end thematic development, and thematic arches between the movements in composer thinking of A. Maier comes from Romanticism. Among the individual features inherent in the Trio A. Maier — laconic composition, plasticity of melodic lines, exceptional fluidity and coherence of form, which is achieved due to intonational similarity of the themes, openness of the syntactic structures or veiling of the cadences, organicity of the modulation transitions; dynamism of the developing sections. Also, some melodic and harmonic elements of the Trio (for example, in the themes of the middle sections of Scherzo and Andante) hint at the Scandinavian national folklore. Amanda Mayer's trio represents the best achievements of the romantic stage in the evolution of the genre: your embodiment of classical traditions together with the disclosure of personal lyrical and psychological content.

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Moore, Christopher. « Constructing the Monk : Francis Poulenc and the Post-War Context ». Articles 32, n^o 1-2 (9 septembre 2013) : 203–30. http://dx.doi.org/10.7202/1018584ar.

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Following the Second World War Francis Poulenc took a keen interest in the music of the French avant-garde and was compelled to react in both his music and his writings to the aesthetic and technical experiments of the younger generation. Although the music of composers like Olivier Messiaen and Pierre Boulez did not elicit a profound change on the substance of Poulenc’s compositional language, he did grow to the realization that the style he had embraced during the interwar period—one generally described as light-hearted and ironic—had become largely out of sync with new critical trends and concerns. Poulenc’s self-conscious aim to assert a personal form of “seriousness” in his works—one constructed with recourse to religiosity, stylistic homogeneity and the ostensibly concomitant values of sincerity and authenticity—formed the backbone of a new tone and persona that emerged following the war and which inflected his entire body of work up to his death in 1963. Poulenc’s desire to reinvent himself during this period forces us to re-examine his works, writings, and elements of his biography for the way in which they were constructed as a means of facilitating the discursive emergence of this new, more “serious,” persona.

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WATHEY, ANDREW. « More on a friend of Philippe de Vitry : Johannes Rufi de CrucealiasJean de Savoie ». Plainsong and Medieval Music 28, n^o 1 (avril 2019) : 29–42. http://dx.doi.org/10.1017/s0961137118000219.

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AbstractWho was Jean de Savoie, the clerk with whom the composers Jean Campion and Philippe de Vitry penned the jeu-partiUlixea fulgensin 1350? This article uses Jean's hitherto unnoticed will and foundations at the church of Saint-Benoît-le-Bestourné, Paris, with other documentation, to bring together Jean's two identities in a unified biography (including a new date for his death, in 1354); to illustrate the close parallels between his own career and that of Philippe de Vitry, and to map the scope of opportunities for contact between them in and around the French royal court from the early 1320s onwards. Jean was also an artist and illustrator, and his career as one of the more prominent cartoonists of Philippe VI, king of France, throws light on potential contact with Vitry via the adoption by Louis I de Bourbon of the hitherto largely royal practice of charter illustration. In addition the properties acquired to support two chaplaincies endowed by Jean at Saint-Benoît demonstrate the extent to which he was professionally embedded in a network of royal councillors working in and around the Parlement in the 1330–50s, in which Vitry was also active. Also identified is a house acquired at Saint-Benoît by Gervès du Bus, author of the Roman de Fauvel.

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Borysenko, Mariia. « Musicological reflections in the form of “Prelude and Fugue” : Serhii Turnieiev’s author’s concert ». Aspects of Historical Musicology 31, n^o 31 (27 juillet 2023) : 87–132. http://dx.doi.org/10.34064/khnum2-31.05.

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Statement of the problem. The article is the first experience in Ukrainian musicology to cover a significant artistic event in the cultural life of modern pre-war Kharkiv – the author’s concert of the composer Serhii Turnieiev, Honored Artist of Ukraine, Professor and until recently the Dean of the Kharkiv I. P. Kotlyarevsky National University of Arts. The event took place with the participation of famous solo musicians, as well as one of the best creative groups in Ukraine – the Symphony Orchestra of the Kharkiv Regional Philharmonic led by People’s Artist of Ukraine Yurii Yanko. The concert symbolically opened the chain of festive actions for the 105th anniversary of the University’s founding, although the “counterpoint” to this festive line was severe life events: the pandemic, and soon the war. This “contrasting polyphony”, and most importantly, S. Tournieiev’s inherent polyphonic thinking made possible a conceptual metaphor – likening the composition of an author’s concert to the structural logic of a fugue. This metaphor that became the key to revealing new meaningful facets of the works performed in the concert, is designed to deepen the analysis of the artistic meanings of the celebrate event and its reception by the listener. So, the purpose of the study is an attempt to get closer to understanding the inner processes in an experienced Ukrainian composers creative “workshop”. The methodological basis of the study consists of several directions: consideration of biography, vectors of action and existing musical pieces by S. Turnieiev; definition of role and place of some opuses in composer’s portfolio; systematization of the present scientific works; involvement of facts still not well known and our interviews with participants of recent artistic events; observation made upon such musicological spheres, as musical thinking, perception, composer’s artistic process on the example of complex analysis of content and performance vectors of S. Turnieiev’s musical pieces. Recent research and publications have shown the priority of some relevant issues: personalities and artistic life of modern composers (Ukrainian in the case); consideration of artist person “formula”, his musical thinking / style / method; belonging to traditions of particular school; studying of the process of art and its “consequences – composer’s and performer’s realization / interpretation of an artistic idea in musical piece. These trends actively integrating to spheres of the modern humanitarianism: philosophy, psychology, sociology of art, history, cultural studies, ethics, aesthetics and others. Among the authors whose works contributed to reveal our topic are М. Bevz (2017), Ye. Belova (2020), V. Bohatyrov (2021), І. Drach (2002), R. Kashyrtsev (2021), I. Horbunova (2015), I Konovalova (2018), D. Malyi (2017, 2018, 2021), Yu. Nikolaievska (2020), О. Roshchenko (2007, 2017), P. Rud (2021), H. Savchenko (2017, 2018, 2021), L. Shapovalova (2008), L. Maltseva, 2005, О. Shchetynsky (2017, 2019), and others. Some of publications by S. Turnieiev (2005, 2010, 2014) were studied. Results and conclusion. The role of the fateful creative meetings in the professional activity of the composer was revealed, that prompted him to create his own opuses. The meaningful components of the compositional portfolio / style / method of S. Turnieiev were clarified by the way of considering the history of writing, musical and expressive principles and the performing fate of the works that were performed in his author’s concert: the Symphonic Frescoes “Taras Bulba”, “Lamentoso” for viola and string orchestra, “Five Flemish Dances” for clarinet and string orchestra, symphonic picture “Tunes” (“Nahravannia”). It was concluded that S. Turnieiev’s author’s concert became a large-scale presentation of his many years of professional experience, as well as the traditions of the Kharkiv theoretical-composing school, which was historically formed namely in such integrated format – therefore the organic unity of musical theory and practice is felt in S. Turnieiev’s work at the level of worldview constants. It was the “school” of professional training that allowed him to build a solid foundation for further independent creative search, gave him a sense of confidence and inner freedom, and became for the composer not a “template” with a limited range of norms and rules, but a “space” for wide creative possibilities.

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Rosenko, Anna. « Retrospective of Competition and Festival Events and the Emergence of the Musical Olympic Movement in Ukraine in the 20s of the XX century ». Collection of scientific works “Notes on Art Criticism”, n^o 39 (1 septembre 2021) : 215–18. http://dx.doi.org/10.32461/2226-2180.39.2021.238725.

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The purpose of the article is to carry out a scientific analysis of works aimed at studying the socio-cultural, organizational, methodological, and musical-creative aspects of the competition-festival movement, as well as individual groups of art history and historical and cultural works devoted to the creative biography and biographies of prominent figures of Ukrainian musical culture, whose initiative and organizational activities led to the emergence of the Olympic musical movement in Ukraine. The methodology consists of the use of source study and historiographic methods in the development of scientific literature, as well as historical-cultural, historical-musicological, comparative-historical, and biographical methods to determine the contribution of Ukrainian composers and outstanding musicians to the development of the competitive and musical Olympic movement in Ukraine. The scientific novelty of the work lies in the implementation of a comprehensive art study of the origin and development trends of the musical Olympic movement in Ukraine. Conclusions. The paper analyzes the research and publications of authors in the field of the competition and festival movement in modern Ukraine, summarizing works on the history of Ukrainian music, which cover the mid-1920s - early 1930s, i.e. the period of the emergence and active development of the musical Olympic movement in Ukraine, the continuity of times from the origins to the revival of the All-Ukrainian Musical Olympiad is shown.

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Shamaieva, Kira, et Olga Volosatykh. « Weaving fates. Fryderyk Chopin – Viktor Kosenko ». Aspects of Historical Musicology 31, n^o 31 (27 juillet 2023) : 7–29. http://dx.doi.org/10.34064/khnum2-31.01.

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Statement of the problem. The relevance of revising the picture of artistic life of the first decades of the 20th century in Ukraine from modern scientific positions does not require additional argumentation. This is equally necessary as for the sound palette of the time, and as for the biographical characteristics of composers creativity, which really are full of lacunas. In the process of a detailed study of Viktor Kosenko’s creativity, various allusions to the lifework of his favorite composer, Fryderyk Chopin, become quite noticeable. Thus the question arises: are we not dealing, alongside the incomprehensible play of fate, with a certain subconscious desire of the Ukrainian composer to “reconstruct” the events of the past? Recent research and publications. A typologically justified comparison of the Ukrainian composer with the Polish genius, in the context of professional activity solely, appears in the work by O. Komenda (2020: 266) devoted to the phenomenon of the creative personality. The publications of the last time include the reconstructions of V. Kosenko’s biography initial period and the descriptions of his preserved personal archival fund, carried out in the process of organizing the corresponding catalog (Mudryk, 2016; Volosatykh, 2021; Ivanova, 2019). M. Tomaszewski’s monograph “Chopin: Man, Creativity, Resonance” (2005) gives interesting materials for comparing the heroes of our study according to various parameters, as well as the illustrated popular science book by A. Brożek and J. Jadacki (2010). Objectives, methods, and novelty of the research. The purpose of the study is to expand established ideas about the life and work of V. Kosenko, to introduce the composer’s creativity into the context of European musical culture, to overcome its sometimes outdated and somewhat primitive perception. In the first time, the thoughts on numerous points of intersection, tangential aspects, “mirror reflections” of creative activity and everyday life of two artists are proposed. Reaching the tasks set the complex interdisciplinary and cultural approaches, the historical and comparative methods were used. Results and conclusions. In general, the drawn parallels and analogies deepen and emphasize the contextual connections of Kosenko’s work, highlight the basic components of its “genetic code”, its continuity with the Western European romantic tradition (as well as sensitivity to the further evolution of the post-romantic situation); at the same time, they demonstrate the deep affinity of the spiritual constants of the Polish and Ukrainian national worlds. Overcoming the distorted outdated perception of V. Kosenko’s creativity and personality, considering them in a pan-European context based on modern scientific approaches are the promising directions for the musicologists’ further work on the reproduction of an up-to-date panorama of the artistic life of Ukraine in the first half of the 20th century as of a full-fledged component of world artistic and cultural processes.

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Serdechnaya, V. V. « Dmitry Smirnov as William Blake’s translator and biographer ». Voprosy literatury, n^o 5 (29 novembre 2021) : 233–45. http://dx.doi.org/10.31425/0042-8795-2021-5-233-245.

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The article discusses the versatile talent of Dmitry Smirnov (Sadovsky), a composer and translator, who lived in the UK and died there in 2020. The article addresses the following topics: analysis of Smirnov’s work as William Blake’s translator; examination of the guiding principles behind D. Smirnov’s biography of Blake the artist; and analysis of Smirnov’s part in the adaptation of Blake’s oeuvre to symphonic music. In his lifetime, Smirnov completed and partially published his unique collection of William Blake’s translations into Russian; he authored and published the ﬁrst scholarly biography of Blake in Russian; and composed a great many musical pieces, In a variety of genres, on Blake’s verse. A notable accomplishment of Smirnov’s as a co-creator of a ‘Russian Blake’ is his translation of two monumental prophecies penned by the poet of English Romanticism: Jerusalem and Milton. Regrettably, Smirnov’s work as a translator and biographer is little known in Russia — undeservedly so — although it merits serious attention; therefore, the article seems more than timely.

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Leszczyńska, Agnieszka. « Emanuel Wurstisen, his Tablature and Links to Poland. Lute Music with Medicine in the Background ». Muzyka 65, n^o 2 (15 juillet 2020) : 3–24. http://dx.doi.org/10.36744/m.445.

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The lute tablature CH-Bu F IX 70 was compiled by Emanuel Wurstisen (1572–1616), a Basel University student, who became a physician in Biel toward the end of his life. His biography has been supplemented here so as to include new information concerning, among other things, his collaboration with German surgeon Wilhelm Fabricius Hildanus during the first decade of the seventeenth century. When commencing his tablature, in 1591, Wurstisen planned to divide it into eight books, each devoted to works of a similar genre. The manuscript comprises nearly five hundred works, mostly anonymous, while among those of known attribution, compositions by Orlando di Lasso take pride of place. Composers mentioned by name include Amandus Polanus a Polansdorf, a professor of theology at Basel University, who wrote his Was Gott will most likely after the death of his wife, in 1605, which thus becomes the hypothetical terminus post quem for the completion of the tablature. There are many Polish elements in the manuscript. Piotr Poźniak long since identified the works signed with the initials C.S. as written by Kasper Sielicki, and noted that the two works by Wojciech Długoraj, as well as the Fantasia by Diomedes Cato, differ from the versions published by J. B. Besard (1603). Hence they may have reached Wurstisen not through printed editions, but in some other way. The author studies how these and other pieces from the Polish repertoire (including Polish dances) could have found their way to Basel. Among those who could have played some part in this ‘import’ of music, she points, first and foremost, to students and residents who came to Basel from Poland, such as Marcin Chmielewski, a professor of Basel University, the medical student Orestes Cato, brother of Diomedes, and the poet Daniel Naborowski, who frequently returned to Switzerland. The attributions of works from CH-Bu F IX 70 are complemented by the identification of the composer of works signed in the tablature with the initials F.D.D (F.D.D.D.) as Fridericus de Drusina Dantiscanus, a lutenist from Royal Prussia, son of Benedict de Drusina. The pieces by this composer found in Wurstisen’s manuscript (Exercitium and a pair of dances, Passomezo and Saltarello) are his only known works.

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