Articoli di riviste: "Chorale based music"

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Robin A. Leaver e Derek Remeš. "J. S. Bach's Chorale-Based Pedagogy: Origins and Continuity". Bach 48-49, n. 2-1 (2018): 116. http://dx.doi.org/10.22513/bach.48-49.2-1.0116.

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Roberts, John H. "False Messiah". Journal of the American Musicological Society 63, n. 1 (2010): 45–97. http://dx.doi.org/10.1525/jams.2010.63.1.45.

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In closely connected studies Tassilo Erhardt and Michael Marissen have suggested that Handel's Messiah is fundamentally anti-Jewish. Erhardt, who based his conclusions on books thought to have been in the library of Charles Jennens, compiler of the Messiah libretto, argues that the text was intended as a defense of orthodox Christianity against Judaism as well as Deism; Marissen contends it “was designed to teach contempt for Jews and Judaism.” Closer examination of the theological literature of Jennens's day shows that the theories of both scholars are founded on selective and tendentious reading of the sources. Marissen's further claim that Handel consciously reinforced the libretto's supposed anti-Jewish connotations by means of motivic symbolism, orchestration, and chorale quotations rests on misconceptions about the composer's style. Jennens probably conceived Messiah not to counter either Deism or Judaism but to inspire his Christian audience to greater devotion. The preference he gave to Old Testament prophecy over New Testament narrative reflects a tacit contemporary prohibition against direct representation of Christ in the English theater.

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Røllum-Larsen, Claus. "J.S. Bach og Danmark. En studie i den danske præsentation og musikfaglige behandling af Bachs værker indtil 1950". Fund og Forskning i Det Kongelige Biblioteks Samlinger 54 (3 marzo 2015): 305. http://dx.doi.org/10.7146/fof.v54i0.118887.

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Claus Røllum-Larsen: J.S. Bach and Denmark The dissemination and pursuit of Bach’s music in the first decades of the 1800s was characterized by the circle surrounding Peter Grønland, not least C.E.F. Weyse. The dissemination of Bach’s printed works seems to increase around the year 1800, but does not reach a high level until 1850. During the 19th century, there were strongly committed performers, who scheduled Bach’s music: the earliest was Hans Matthison-Hansen (organ works), later — from 1875 — Niels W. Gade (including The St. Matthew Passion), Gottfred Matthison-Hansen (organ works) and Frederik Rung (The St. John Passion and Mass in B minor). Then the Cæcilia Society safeguarded Bach’s greater chorale works all the way up to its discontinuation in 1934, whereupon the Symphony Orchestra of the Danish State Broadcasting Service and the Copenhagen Royal Chapel Choir took over. With the Bach Society, Niels Otto Raasted displayed great activity with regards to exposing Bach’s music in many genres, and in this context presented a number of prominent musicians with backgrounds in the milieu of practicing historical performances in Berlin. From the beginning of the 1930s, Finn Viderø was also heavily engaged in Bach’s music, particularly from the perspective of performance practice. By end of the Second World War, the Bach Society came to an end, while Wöldike together with the Copenhagen Royal Chapel Choir and various orchestras maintained extensive concert activity with Bach’s works. The commemoration in 1950, over which Mogens Wöldike presided, cemented the central position of the Copenhagen Royal Chapel Choir and Wöldike in the dissemination of Bach. The historically- and scientifically-founded approach to the music and the performance of it by these musicians and the music teacher Gunnar Heerup had thereby replaced a more subjective cultivation of Bach, and based on this had established an objective, critical approach to the handling of Bach’s music. This development has not changed the assessment of Bach as a composer; his extraordinary endeavour and “by virtue of Bach’s genius, Bach’s [cantatas and passions] … has become something that is unparalleled anywhere else in the world.” (J.P. Larsen).

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Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music". ICONI, n. 1 (2021): 61–67. http://dx.doi.org/10.33779/2658-4824.2021.1.061-067.

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Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral works has made it possible to disclose the characteristic features of the composer’s polyphonic style. The latter include the multi-choral presentation with its bright spatial effects, the antiphonic juxtapositions of large choral masses, the principles of concertizing based on the succession of solo voices and tutti, on the juxtaposition of the chordal-harmonic and the polyphonic exposition, as well as the skillful mastery of imitational counterpoint, up to polyphonic variation. Features of national originality reveal themselves most vividly in the musical thematicism of the compositions, where along with the ornamental design of the intertwining melodic lines and turns of an instrumental type, use is made of intonations of folk songs, cants and church chants. In his musical oeuvres Vassily Titov revised and reevaluated the basic characteristic traits and forms of Western European Baroque music in correspondence with the particularities of Russian musical culture, thereby preserving and enriching the traditions of the Russian national style.

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Yoo, Hyesoo. "Multicultural Choral Music Pedagogy Based on the Facets Model". Music Educators Journal 104, n. 1 (settembre 2017): 34–39. http://dx.doi.org/10.1177/0027432117708602.

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Multicultural choral music has distinct characteristics in that indigenous folk elements are frequently incorporated into a Western European tonal system. Because of this, multicultural choral music is often taught using Western styles (e.g., bel canto) rather than through traditional singing techniques from their cultures of origin. One of the most important purposes of teaching multicultural music is to increase understanding of and acceptance toward different cultures and enrich musical experiences. This article details eight instructional strategies to help students learn multicultural choral music from alternative perspectives that enrich their musical skills, cultural understandings, and performances of multicultural music.

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Martyniuk, Lyubov. "SPECIFICITY OF PROFESSIONAL TRAINING OF FUTURE MUSIK TEACHERS TO LEAD ARTISTIC AND CREATIVE GROUPS". Academic Notes Series Pedagogical Science 1, n. 195 (2021): 96–101. http://dx.doi.org/10.36550/2415-7988-2021-1-195-96-101.

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The article discovers the issues which are a part of a complex set of training future music teachers to manage artistic and creative ensembles, in particular, vocal and choral ones. It is emphasized that the dominant place in the process of training future music teachers to guidance these groups is occupied by aspects of conducting and choral training, the study of which is impossible without understanding the unique phenomena of native choral performance and features of working with vocal and choral collectives. To solve these problems there are the disciplines of conducting and choral cycle, the main task of which is to educate students in professional skills and skills of singing in the choir, as well as managing the choir based on mastering the methods of working with the choir, didactic principles and knowledge of psychophysiological process which a person has during singing. It is noted that the reserve for improving the quality of professional training of future music teachers to manage vocal and choral ensembles is the intersubject relationship of special disciplines with socio-pedagogical and music-theoretical ones. Modern performance and analytical requirements for professional training of future music teachers to guidance vocal and choral groups are analyzed, in particular, the ability to achieve the required level of knowledge and skills on condition that students master each subject of conducting and choral cycle with awareness of their interaction, high level of singing and conducting competence of students and their deep knowledge of vocal and choral repertoire, the art of mastering of not only performing vocal and choral skills, but also organizational skills by the future manager of the ensemble, the unity of erudition in the field of vocal and choral art, methodical training, pedagogical activities based on interrelation of knowledge and practice of working with an artistic and creative collective. The specifics of the professional training of future music teachers to lead vocal and choral groups is his singing and conducting competence, deep knowledge of vocal and choral repertoire, the art of mastering the leader of the vocal and choral group not only organizational skills but also performing vocal skills. For effective professional training, students need to constantly and purposefully develop their musicological and performing qualities in conjunction with conducting and choral and methodological training.

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Radiushyna, Svitlana, e Maryna Tkachenko. "Pedagogical conditions for the development of future Music teachers’ interpretative skills in the process of choral and conductorial training". Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, n. 1 (130) (7 febbraio 2020): 90–98. http://dx.doi.org/10.24195/2617-6688-2020-1-12.

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The article analyses the essence, content and specificity of future music teachers’ interpretive skills. The purpose of the article is to substantiate pedagogical conditions favourable for effective development of future music teachers’ interpretive skills in the process of their choral and conductorial training. These methods of theoretical research are used: analysis, generalisation, synthesis, extrapolation, deduction, systematisation. Interpretation is seen as the basis and the necessary condition for understanding a piece of music, the subjective (personal) attitude and creative imagination of a teacher of music being of great importance. The essence of interpretation in the context of the activity of the Musical Arts teacher lies in the interpretation of an artistic text which reflects the content of the author's message in key note symbols. In the activity of the Musical Arts teacher, there are two forms of interpretation: performing and verbal-pedagogical. The interpretation of the choral work is considered in the article as an artistic-performing conception of the conductor which is based on his/her artistic and imaginative ideas, knowledge; it is realised in his/her creative interaction with the choral team. The list of specific interpretive skills to be demonstrated by the future Music teachers in the context of choral and conductorial training has been clarified. A system of interrelated pedagogical conditions has been offered, it includes these constituents: increase of future specialists’ motivation for the choral and conductorial activities through realisation of the axiological potential of choral music; the implementation of the coaching pedagogical technologies into the choral and conductorial training intended for the future Music teachers; a systematic widening of future specialists’ thesaurus of artistic and imaginative ideas. Further research involves the development of a step-by-step methodology for the development of future Music teachers’ interpretative skills in the process of their choral training.

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Тeriaieva, L. A. "Pedagogical conditions and innovative technologies in the process of learning discipline “Choral Conducting”". Musical art in the educological discourse, n. 2 (2017): 141–44. http://dx.doi.org/10.28925/2518-766x.20172.14144.

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Innovation of modern education is competence-based approach, which requires the students to receive sturdy theoretical knowledge and practical skills on the basis of interdisciplinary connections between choral conducting with other psycho-pedagogical and related musical academic disciplines. To achieve this goal it is necessary to create the appropriate pedagogical conditions. Creation of conditions depends on the organization of training, competence and experience of the teacher. Favorable pedagogical conditions always have a positive effect on the quality of students’ training in choral conducting, efficiency and intensification of their training. We offer to develop methodological competence of future music teachers in choral conducting classes following these pedagogical conditions: continual self-improvement of teachers; enhancing the motivation of learning through the use of exercises in choral conducting on visual means, multimedia and other modern computer technologies; complete methodological support for choral conducting and related musical disciplines by educational programs; independent work of students on improving their methodological competence; teaching students to be confident in their ability and own conductor’s skills; creative contact at classes on choral conducting between the future music teacher, teacher and accompanist, as well as between the future music teacher and the choir group. This article focuses on the requirement to create favorable conditions for teachers in the classses in choral conducting. It is considered, analysed and proposed pedagogical conditions which reveal psychological and pedagogical problems and highlight the ways to overcome them. Favorable conditions of teaching in choral conducting have a positive impact not only on the development of methodical competence, but also on quality of future music teachers’ training.

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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century". Aspects of Historical Musicology 21, n. 21 (10 marzo 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.

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Kritskiy, Aleksandr B., e Boris D. Kritskiy. "Phenomenon of Choral Sonority in the Context of Intonation Theory as a Component of the University Training of the Musician-Pedagogue". Musical Art and Education 8, n. 2 (2020): 54–71. http://dx.doi.org/10.31862//2309-1428-2020-8-2-54-71.

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The article was written based on the results of a theoretical study by Boris Dmitrievich Kritskiy, my father, who proposed to introduce scientific terms “musical phonics” into the spheres of musicology, pedagogy of music education and performing arts. In his view, “musical phonics” should be considered as a field of scientific and methodical research of audio (instrumental, vocal-choral) design of the process of music performed. And the audio embodiment of the musical text as a relatively independent phenomenon in a broad interpretation is a phonic form. Vocal design of choral sound is a necessary structural component of the performance. From the point of view of intonation theory of music, choral sonority – singing, vocal-choral materialization of the score – is a specially interpreted text. The audio quality is seen as a problem of vocal choral performance in the preparation of a future teacher-musician/choirmaster. There is a belief about the need for future teachers-musicians to understand the methods of constructing the audio matter of music. The methods transform the musical text in accordance with the form, logic of the development of the figurative and artistic meaning of the work and are aimed at the education of the audio culture among the choral collective. Work on the creation of a phonic form involves establishing intonation links between the performed work and the methods of its mastery. The leading role in its crystallization is played by a meaningful plan of music, which allows us to speak about it as a historical category, defined by genre-stylistic features of performed works. Built according to the laws of beauty and at the same time reflecting the spirit of its time, the era in which the performer creates, it reveals the changes that characterize the culture of vocal and choral performance. The performed composition, included in the context of broad cultural and life relations, is saturated with a new meaning. As an example, the phonic form in orthodox liturgical singing is considered.

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Zaliieva, Leila. "Ways of Choirmaster Art Development in Azerbaijan". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, n. 1 (4 giugno 2021): 21–33. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233335.

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The article is devoted to the history of the choral music development in Azerbaijan and to highlighting the ways of choirmaster art formation. The development of choral art in Azerbaijan began, firstly, with the formation of the composer creative activity. The introduction of classical choral samples with the emergence of the first opera and the formation of an ensemble for performing it are considered to be the first step in this area. Later, the emergence of professional choral collectives, the development of the opera genre, as well as the activity of music education institutions included a new stage of development. Therefore, the formation of choral music genres allowed the development of the art of conducting, especially the areas such as an opera choirmaster who leads a choir collective, a chapel choirmaster. The purpose of the research is to highlight the formation of choral conducting in Azerbaijan, to study the ways of high-level development of choirmaster art and to explore the creative path of professional opera choirmasters. The research methodology is based on historical and theoretical principles, with the help of which the position of choral art in the musical culture of Azerbaijan, the history of the formation of choral art is considered. The theoretical and methodological basis of the study was the existing works of Russian and Azerbaijani musicologists in this field. The scientific novelty of the research is connected with the fact that for the first time in Azerbaijan the ways of development of choir art are comprehensively covered. Conclusions. The involvement of Azerbaijani choral art in the research and the study of the issue mainly in terms of the conducting and choirmaster art formation have shown that the development of this art was primarily connected with composer creativity. Since the emergence of classical samples of choral music is associated with the opera genre, the art of conducting and choirmaster has entered its stage of formation, in parallel. The professional development of choirmaster art took place in parallel and mutually with the art of conducting and it was associated with the high-level organization of music education in the country. Consequently, such professional choirmasters as L. V. Frolova, A. A. Yurlov, N. Malikov, L. Atakishiyeva, E. B. Novruzov, B. Vakilova, S. Agayeva, N. Mardanov, N. Nabiyev, Z. Ismayilova, Y. Adigozalov, G. Imanova and L. Mammadova have been trained in Azerbaijan. Besides, areas such as a chapel and opera choirmaster have also developed within choirmaster art.

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Rozmus, Rafał. "Kolęda jako źródło inspiracji w twórczości kompozytorów polskich w latach 1945-2005". Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 16, n. 1/2 (14 giugno 2019): 101. http://dx.doi.org/10.17951/l.2018.16.1/2.101-181.

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Repertuar muzyki bożonarodzeniowej z lat 1945-2005 ugruntowanej na rodzimej tradycji kolędowej przedstawia się jako dość obszerna część twórczości polskich kompozytorów. Jest to zjawisko zróżnicowane, obejmujące różne sposoby traktowania materiału kolędowego, rozmaite rozwiązania z zakresu formy, techniki kompozytorskiej, wielorakie rodzaje składów wykonawczych i różnorodne odcienie ekspresji dźwiękowej. Znajdujemy tu m.in.: częste nawiązania do polskiej muzyki ludowej, stylizacje historyzujące, język romantyczny i neoromantyczny, archaizacje, emanacje nowego języka dźwiękowego (sonorystyka, punktualizm, aleatoryzm, nowoczesna harmonika, technika repetytywna, klastery). W grupie opracowań kolęd (część I: Opracowania kolęd) kompozytorzy najczęściej wykorzystują powszechnie znane kolędy i pastorałki. W wypadku opracowań na chór a cappella i opracowań wokalno-instrumentalnych inspiracja płynie zarówno z tekstu słownego, jak i z melodii opracowanej kolędy (np. przez eksponowanie jej motywów w strukturze głosów kontrapunktujących). Wśród stosowanych technik kompozytorskich dominują środki konwencjonalne, nawiązujące stylistycznie do muzyki epoki romantyzmu lub wcześniejszych epok. Sporadycznie tylko tradycyjnej melodii kolędowej towarzyszą współczesny język harmoniczny i nowe środki wyrazu. W opracowaniach pastorałek często dochodzi do głosu stylizacja polskiego folkloru muzycznego – w melodyce (np. użycie skal charakterystycznych dla muzyki niektórych regionów Polski), rytmice (wykorzystywanie rytmów tanecznych), harmonice i fakturze (puste kwinty, dźwięki burdonowe). Szczególnie często twórcy nawiązują do muzyki Podhala. Instrumentalne opracowania mają natomiast z reguły charakter użytkowy – służą do gry w kościele, celom dydaktycznym, muzykowaniu domowemu. Grupa kompozycji (część II: Kompozycje), które odwołują się do rodzimej tradycji kolędowo-pastorałkowej, dystansując się jednocześnie od praktyki opracowań, aranżacji itp., jest dużo bardziej zróżnicowana, zarówno pod względem tekstowym, jak i muzycznym. W utworach wokalnych i wokalno-instrumentalnych uderza rozległość warstwy literackiej, obejmującej teksty z dawnych epok, XIX w., poezję współczesną, twórczość ludową, teksty łacińskie. W ślad za tym idzie daleko posunięta różnorodność środków i technik kompozytorskich, konwencji stylistycznych i typów ekspresji. Z jednej strony pojawiają się archaizacje – nawiązania do organum, chorału gregoriańskiego, rytmiki i harmoniki modalnej, dawnych form, z drugiej – ludowe stylizacje, neobarok, kompozycje romantyzujące, dzieła oparte na współczesnym języku dźwiękowym. Równie wielką rozmaitość zauważamy w sposobach traktowania tradycyjnego materiału kolędowego, począwszy od nasycenia nim struktury motywicznej kompozycji (materiał tematyczny, imitacje, snucie motywiczne), po okazjonalne cytaty, a nawet takie sytuacje, gdzie nowo skomponowana muzyka unika cytatu, a mimo to – w różny sposób – przywołuje kolędowo-pastorałkowy nastrój. Podobnie rzecz ma się z kompozycjami instrumentalnymi. Są pośród nich takie, w których melodia kolędy staje się czynnikiem konstrukcyjnym, na drugim zaś biegunie sytuują się utwory, w którym cytat z kolędy pojawia się okazjonalnie, pełniąc rolę symbolu. Christmas Carol as a Source of Inspiration in the Works of Polish Composers in 1945-2005SUMMARYThe repertoire of Christmas music from 1945-2005, consolidated on the native Christmas carol tradition, can be perceived as a vast part of the works of Polish composers. It is a diverse phenomenon, comprising various ways of treatment of the Christmas carol material, various solutions in the form, composer’s technique, various kinds of the artist forces, and various shadows of sound expression. We may fi nd here inter alia: frequent references to Polish folk music, historicizing stylizations, Romantic and neo-Romantic language, archaizations, emanations of a new sound language (sonorism, punctualism, aleatorism, modern harmonica, repetitive technique, clusters). In the group of adaptations of carols (Part I – Adaptation of Carols) the composers frequently make use of commonly known carols and pastorals. In the case of adaptations for a choir a cappella and vocal-instrumental adaptations, the inspiration stems from both the verbal text and melody of the adapted carol e.g. by emphasizing its motifs in the structure of counterpoint voices). Among applied composer’s techniques, conventional means dominate which stylistically refer to the music of Romantic or previous epochs. Only sporadically the traditional carol melody is accompanied by modern harmonic language and new means of expression. In the adaptation of pastorals the stylization of Polish musical folklore is very often heard – in the melody pattern (e.g. the use of scales characteristic of the music of some regions in Poland), in rhythmicity (the use of dancing rhythms), in harmony and texture (empty fi fths, bourdon sounds). The composers particularly frequently refer to the music of the Podhale region. Instrumental adaptations are usually of practical character – they serve to be played in church, for didactic purposes, to play music at home. The group of compositions (Part II – Compositions) which refers to the native carol-pastoral tradition, while at same time distancing itself from the practice of arrangements etc., is far more diverse both as far as the text and melody is concerned. In vocal and vocal-instrumental works the vastness of the literary layer is striking; it comprises the texts from old epochs, 19th century, modern poetry, folk works, and Latin texts. This is followed by a variety of means and composer’s techniques, stylistic conventions, and types of expression. On the one hand, there are archaizations – references to the organum, Gregorian chorale, rhythmicity and modal harmony of old forms, on the other hand – folk stylizations, neo-Baroque, romanticizing compositions, work based on modern sound language. We may also perceive a great variety in the way of treating traditional carol, material from fi lling with it the motif structure of the composition (thematic material, imitation, motif repetitions) to occasional citations, and even to such situations where newly composed music avoids a citation, nevertheless it refers to the carol-pastoral mood). The same applies to the instrumental compositions. There are compositions in which the melody of a carol is a constructive factor; at the opposite end there are musical pieces in which the citation from a carol appears occasionally, playing the role of a symbol.

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Тарасова, Н. Ю., e І. В. Свиридова. "Spiritual choral compositions by I. Alexiychuk: to the problem of individual style". Музикознавча думка Дніпропетровщини, n. 16 (18 dicembre 2019): 17–30. http://dx.doi.org/10.33287/221919.

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The perpose of this scientific article is disclosing and clarifying ofindividual style traits in reference to spiritual choral masterpieces, worksby I. Alexiychuk. The methods of this researching are based on the use ofmusical-cultural, comparative-historical, theoretical-analytical and textualapproaches. Scientific novelty. The study of individual style interpretationin the spiritual and choral work of I. Aleksiychuk a namely – genre modelof the psalm and prayer miniature is further developed; individual methodsof creative development of stylistic, stylistic and technical innovations ofUkrainian choral music of the second half of the twentieth century arespecified. Conclusions. In Alexeychuk's spiritual and choir genre models of psalm and prayer miniature show continuity with national traditions ofUkrainian Orthodox music and at the same time bright individual featuresof choral style. They testify to the composer’s free attitude towardsselected canonical prayer texts, which are of rather symbolic andbackground significance. Choral prayer miniatures embody the dramaticand compositional features of neo-romantic choral concert, fantasy, andcompetitiveness. Characteristic of the style of the composer is the appealto variant-variant, couplet-strophic, simple two-part, three-part reprisal,contrast-component and pan forms. Their combination in the works givesthe sound of spiritual-choir miniatures of „patterned” color. High role inthe individual choral style Alexeychuk principles of contrast, whichmanifest themselves in textured, harmonious, tempo, metro-rhythmic,dynamic layers, which contributes to the internal dynamics andcolorfulness of choral matter.

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Kulikova, Svitlana. "USE OF INTERACTIVE TECHNOLOGIES IN THE PROCESS OF DEVELOPING THE PROFESSIONAL COMPETENCE OF THE FUTURE TEACHER OF MUSIC ART". Academic Notes Series Pedagogical Science 1, n. 195 (2021): 81–86. http://dx.doi.org/10.36550/2415-7988-2021-1-195-81-86.

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In the context of increasing attention to the training of future professionals outlines the special urgency of the problem of professional competence of future music teachers, which includes the ability of individuals to acquire knowledge and skills in art education institutions, to form personal qualities and values and value orientations required for professional activity. social requirements. The level of professional competence of a music art teacher reflects the degree of his readiness for music-educational work in a secondary school, is a prerequisite for the effectiveness of pedagogical activities, a kind of link to improve intellectual and practical experience, finding effective ways to improve pedagogical skills. in the conditions of an educational institution of artistic direction the development of professional competence occurs during the study of both general and special (for example, block of disciplines: history of foreign music, history of Ukrainian music, solfeggio, harmony, polyphony, analysis of musical forms, basic musical instrument, choral studies and choral arrangement, choral class and practical work with the choir, choral conducting and reading of choral scores, solo singing) disciplines. The formation of knowledge and skills is a prerequisite for the formation of professional competence of the future teacher and involves mastering a set of special knowledge in theoretical and performing (instrumental, vocal and conducting and choral) disciplines. Thus, the basis of professional competence of the future teacher of music art is special (general pedagogical, conducting, instrumental, vocal, performing, musicological, research), social and personal training. One of the effective and relevant ways to develop the professional competence of a music teacher is interactive technologies. In accordance with the Law of Ukraine «On Education» and the requirements of the competence approach, mastering interactive technologies has become one of the main conditions for teaching art subjects by teachers of secondary schools. A number of authors note that as a result of the use of interactive technologies there is an actualization of intellectual reserves and capabilities of students, replenishment of knowledge of theoretical and generalizing nature, deepening and expanding the individual semantic context in working with educational material. Thus, in the article the author defines the role of the use of interactive technologies in the process of forming the professional competence of the future music teacher. The author argues that interactive technologies are based on the principles of interaction, student activity, reliance on group experience, mandatory feedback, which have a wide range of developmental, educational and reflective functions. The use of interactive technologies in the training of future teachers of music allows to stimulate creative, cognitive activity of the teacher-musician, to focus the teacher on self-development and self-affirmation, thereby developing his professional competence.

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BRADY, MARTIN. "Paul Dessau and the Hard Work of Socialist Music in the German Democratic Republic". Twentieth-Century Music 16, n. 1 (febbraio 2019): 51–66. http://dx.doi.org/10.1017/s1478572219000094.

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AbstractThis article examines the labour of socialist music in the German Democratic Republic, focusing on composer Paul Dessau's use of political cryptography and quotation in a number of compositions from the opera The Condemnation of Lukullus (1950) through to Choral Music No. 5 (1976). Most famous for his collaborations with Bertolt Brecht, Dessau was the leading avant-garde composer of the GDR and its chief practitioner of serialism. He believed that only difficult, progressive New Music could convey the struggle(s) of socialism. This brought him into conflict with the authorities, who accused him of formalism. Choral Music No. 5 is a setting of a poem by Heiner Müller based on a speech by Erich Honecker (Žižek refers to the text as an ‘obscenity’). Dessau's composition is complex and dialectical, abrasive in its rhythms and counterpoint, and pluralistic in style. It is the embodiment of Dessau's belief in socialist music as rewarding hard work.

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Einarsdottir, Sigrun Lilja. "‘Leaders,’ ‘followers’ and collective group support in learning ‘art music’ in an amateur composer-oriented Bach Choir". British Journal of Music Education 31, n. 3 (14 agosto 2014): 281–96. http://dx.doi.org/10.1017/s0265051714000242.

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The purpose of this paper is to demonstrate how amateur choral singers experience collective group support as a method of learning ‘art music’ choral work. Findings are derived from a grounded-theory based, socio-musical case study of an amateur ‘art music’ Bach Choir, in the process of rehearsing and performing the Mass in B Minor by J.S. Bach. Data collection consisted of participant observation, qualitative interviews and a paper-based survey. Findings indicate that in the process of learning a challenging choral work, participants use peer-learning as support and form supportive groups within each voice part, with ‘informal leaders’ supporting others (‘followers’) who are performing the work for the first time. On the other hand, performing a challenging work can also seem ‘intimidating’ for those less experienced singers. Findings also indicate that whereas followers (and the conductor) benefit from this group support, ‘leaders’ may experience a certain lack of musical challenge.

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Yajun, Wang. "Pedagogical conditions of the formation of the communicative culture of the future teacher of musical art in the process of conducting and choral education". Musical art in the educological discourse, n. 3 (2018): 125–31. http://dx.doi.org/10.28925/2518-766x.2018.3.125131.

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The article describes pedagogical conditions for the communicative culture formation of a future music art teacher and the process of conducting-choir training. It is noted that the pedagogical condition is a point of the learning process, the result of purposeful selection, design and use of content elements, methods, devices, as well as organized forms of training to achieve specific didactic goals. The pedagogical condition must be the result of a well-thought-out and thorough selection of each of the elements of the educational process. It is emphasized that observance of pedagogical conditions is necessary in connection with the possibility to realize innovative professional training of future music art teachers. The article substantiates feasibility of using the component structure of the communicative culture of a future music art teacher in defining a set of pedagogical conditions, in particular: motivational and value based; emotionally empathic; cognitive-informational; activity-behavioral components.Based on the didactic analysis of the structure and content of the communicative culture of a future music art teacher, four pedagogical conditions have been identified. The first condition is strengthening of value-semantic aspects in the content of conducting-choral training of future music art teachers. Any musical composition exists as a product of culture, independent from a listener but with some known meaning, which depends on the composer, its creator. Inclusion of empathic-creative tasks in the process of conducting-choral training on the basis of a dialogue between cultures (the second pedagogical condition) implies that a unified understanding of interpretative tasks and the content of performance forms an empathic-creative attitude towards music among participants of the educational choral group. The third pedagogical condition is creation of a positive incentive to the collective spiritual and creative interaction of the participants of the educational choral group. It is focused on a «dialogue position», which has a special dynamic character and is aimed at all participants in the dialogue. To create the atmosphere of creativity in classes, maintaining contact with students in the educational choir, it is necessary to stimulate creative self-realization of students in socio-cultural conducting and choir activity. This circumstance has formed the basis for the fourth pedagogical condition for the formation of the communicative culture of a future music art teacher and the process of conducting-choral education.

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Palkki, Joshua, e Paul Caldwell. "“We are often invisible”: A survey on safe space for LGBTQ students in secondary school choral programs". Research Studies in Music Education 40, n. 1 (23 novembre 2017): 28–49. http://dx.doi.org/10.1177/1321103x17734973.

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This article presents data from a large-scale cross-sectional survey of LGBTQ college students ( N = 1,123) reflecting on their middle and high school experiences in choral music. The quantitative data indicate that students felt safer in high school than in middle school and that a small majority of high school teachers voiced support for LGBTQ students. These data indicate that high school choral classrooms were perceived as safe for a majority of respondents. The open-ended responses highlight themes including: the plight of transgender students who faced difficulty navigating their gender identities in the choral environment, the importance of enumerated non-discrimination policies, and the importance of words/semantics. Respondents discussed helpful and hurtful words and/or policies that influenced their choral experiences. A main theme was encouragement of open acknowledgement of LGBTQ identities and issues in the choral classroom. Suggestions for teaching practice and policy are provided based upon these data.

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Chun, Zhang. "Diagnostic results of the acmeological culture of future music teachers in the process of singing". Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, n. 3 (2019): 249–54. http://dx.doi.org/10.33310/2518-7813-2019-66-3-249-254.

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The article presents the results of the diagnosis of acmeological culture of future music teachers in the process of singing. Based on the developed system of criteria and indicators of the structural components of the studied phenomenon (motivational-value, cognitive-developmental, communicative-heuristic and creative-projective), the contents of the phased diagnostic technique of the ascertaining experiment, which consists of pedagogical conversations, oral questioning, questioning, testing, essay – annotations, creative tasks, typical types of conducting and choral activities, expert assessments, mathematical methods of data processing. The levels of formation of the acmeological culture of future music teachers are determined, their substantive characteristics are formulated. Ukraine's accession to a single European educational space declares new requirements for professional training of music teachers. Increasingly, it is becoming necessary to focus higher education on the training of professionals capable of professional mobility, rapid adaptation to new educational conditions, self-realization and self-improvement throughout life – individuals with high levels of acmeological culture. According to the results of the ascertainment experiment, the calculation of the arithmetic mean of quantitative indicators by certain structural components was performed: motivational-value, cognitive-developmental, communicative-heuristic and creative-design. Of particular importance is the problem of formation of acmeological culture in the singing activity of future music teachers. It is the high professionalism of vocal-choral activity of the music teacher that not only enhances the prestige of the teacher's profession, but also provides a peculiarity of personal influence of the teacher-professional on the spiritual development of students by means of vocal-choral art.

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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century". Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, n. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.

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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

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Fisher, Ryan. "Research-to-Resource: A Choral Director’s Abridged Guide to the Male Voice Change". Update: Applications of Research in Music Education 38, n. 2 (1 dicembre 2019): 5–9. http://dx.doi.org/10.1177/8755123319890742.

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The purpose of this Research-to-Resource article is to provide choral directors a short, practical guide to working with male singers throughout their voice change using research-based strategies. Practical recommendations about vocal range assessment, music selection, and vocal warm-ups are provided.

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HALKIOPOULOS, CONSTANTINOS, e BASILIS BOUTSINAS. "AUTOMATIC INTERACTIVE MUSIC IMPROVIZATION BASED ON DATA MINING". International Journal on Artificial Intelligence Tools 21, n. 04 (agosto 2012): 1250016. http://dx.doi.org/10.1142/s0218213012500169.

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An area of focus in music improvization is interactive improvization between a human and a computer system in real time. In this paper, we present a musical interactive system acting as a melody continuator. For each musical pattern given by the user, a new one is returned by the system which is built by using general patterns for both pitch and duration stored in its knowledge base. The latter consists of data mining rules extracted from different sets of melodies for different musical styles. The proposed system uses a new music representation scheme which treats separately pitch and duration. Also, it adopts a similarity measure initially developed for clustering categorical data. Moreover, we present experimental results, using Bach's Chorales and Jazz as test inputs, for both assessing the aesthetic quality of the proposed system and comparing it to human results.

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Ivanova, Yuliia. "Children’s choir in MarkKarminskyi’s creativity". Aspects of Historical Musicology 19, n. 19 (7 febbraio 2020): 29–43. http://dx.doi.org/10.34064/khnum2-19.02.

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Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M. Karminskyi and the consideration of his unpublished choral works. The research methodology, synthesizing analytical and generalizing approaches, is based on the traditions of national musicology and is determined by the specifics of vocal and choral genres, first of all, by the inextricable link between musical drama and text. The purpose of the article is to recreate the most complete picture of M. Karminsky’s choral work for children and to determine its role in contemporary choral performing. The results of the research. The composer’s early works were distinguished by meaningfulness, optimism, brightness of musical images, which was embodied in easy, convenient and accessible tunes. Many Soviet-era songs created for children of different school age were included in the “Songs for Students” collections as a new program material for choral singing of Ukrainian secondary schools students in music lessons. Several works of the author became known throughout the country and published in the leading music publishers in Kiev and Moscow: “What Boys Are Made Of” (lyrics by R. Burns translated by S. Marshak), “Quicker to the Gathering” (by L. Galkin), “Balloons” (lyrics by Ya. Akim). The songs about Victory in the Second World War are popular: “Victory is celebrated by the people” (S. Orlova), “The soldier has forgotten nothing” (E. Berstein), “Red Poppies” (poems by G. Pozhenyan). The composer combines his songs into vocal-symphonic suites. One of the main genre of choral creativity of the author has become a miniature that is able to absorb a variety of musical expressive means to expand and deepen the content of the work in a small area of the form. The works by M. Karminskyi revealed such features of choral miniature as philosophicity, attentive attitude to the word, its emotional and semantic meaning, which is reflected in the detailed development of the thematic material. Most of the composer’s choral works are written for a cappella choir. The collections of “Choral Notebooks” (1988) and “Road to the Temple” (1995) have reflected the artist’s thoughts for several decades. The figurative content of “Choir Notebooks” includes the lyrical states caused by contemplation of pictures of nature; the collection “Road to the Temple” represents philosophical reflections not only of a personal nature, but also thoughts about the universal problems of today. The cycles reveal the principles of the composer’s thinking and are one of the pinnacles of his creative heritage. The article looks at one of the best works of the cycle “Road to the Temple”, the choir “Remembering Drobitsky Yar” (lyrics by E. Yevtushenko) for children’s choir, soloist (tenor) and piano. Also, the article deals with unpublished choral works by M. Karminskyi “Paraphrases on the Sonata of Mozart” and “Guitar” on F. G. Lorka’s poems. In the work “Guitar” on Lorca’s poem (translated by M. Tsvetayeva), the composer uses signs of Spanish color: imitation of techniques of playing the guitar, rhythmic copyism of the castanets playing and other. The poetic text “decorated” by flexible, broad, expressive melody that gives words greater emotion. The piece is full of sharp changes of genre signs of melodic structures (vocal without text, dance, austinous repetitions) revealing the semantic implication of the poem. The basis of the “Paraphrase on the theme of Mozart’s Sonatine” was the fourth part (Allegro) of Sonatina No. 1 in C Major from the Six Vienna Sonatas by W. A. Mozart. M. Karminskyi noticed the vocal nature of many parts of this cycle and skillfully made a “translation” of one of them for the children’s choir. Unlike many of his contemporaries, he wrote music that does not fundamentally claim to be innovative. As a true professional, he pays attention to the integrity of the compositions elaborating the smallest details. He strives for the laconism of expression and, at the same time, is able to saturate the choral texture with modern expressive means, if the artistic image of the work requires it. Natural expressive intonation, intonation as emotional content of vocal language distinguishes choral music by M. Karminskyi. A special role in intonation is played by breathing, it is inextricably linked with melodic movement and energy. The breath of the melodies of the author is enriched by the lively intonations of the language, which reveal her “soul”, give a feeling of warmth, strength, caress, greatness, truthfulness. Musical form of the composer’s works is determined by the intonation of the music. Based on linguistic-vocal intonations, most of the author’s works have strophic forms that follow from the semantic aspect of the literary text. Karminskyi is a master of choral unison. This mean of expressiveness, which is not often used by composers, in Karminsky’s works is a carrier of expressive melodism and suppose the performance with a great inner feeling. Features of declamation always find a place in his choirs, they reproduce the living human language, the spiritual experiences of a man. Conclusion. The works for the children’s choir have a special purity and cordiality that is so subtly perceived by children. Mark Karminsky’s music is capable of drawing children’s attention to musical values that purify the soul and nurture personality. His music makes you think and feel! M. Karminsky’s creativity has forever entered the concert practice of children’s choirs of Ukraine.

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Sokolova, Alla. "FORMATION OF NATIONAL SELF-CONSCIOUSNESS OF FUTURE MUSIC ART TEACHERS IN «CHORAL CLASS»". 1 1, n. 1 (settembre 2020): 30–35. http://dx.doi.org/10.34142/27091805.2020.1.01.05.

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Object. The article addresses issues of educating future music teachers, the formation of their national worldview, in which professional knowledge and professional responsibility are formed, are of great importance. The leading role in this direction belongs to the discipline “Choral Class” and the widespread use of choral works written in poetry by Taras Shevchenko. Methods. Traditional historical and pedagogical research methods were used in the work: analytical, historical, and comparative, retrospective, comparative analysis of scientific and pedagogical literature, educational materials. Results. It was revealed that the literary works of Taras Shevchenko were interpreted in their choral works by such famous Ukrainian composers as M. Verbitsky, L. Dychko, M. Karminsky, A. Kos-Anatolsky, O. Kosits, M. Lysenko, S. Lyudkevich, L. Revutsky, K. Stetsenko, A. Shtogarenko and others. This is since choral music is precisely the spiritual center that for centuries has kept the “genetic code” of Ukrainian culture. The work of the great poet T. Shevchenko has not lost its relevance today. He is dear to us with a word that does not die and exalts the beauty of the Ukrainian nation, awakens the best human feelings, encourages friendship and creative cooperation around the world, teaches us to love Ukraine. Given this, a significant role in the national education of future music teachers is played by the development of choral works by Ukrainian composers based on poems by Taras Shevchenko in the classes of the “Choir Class”. Studying the works of A. Kos-Anatolsky, Y. Stepova, A. Shtogarenko and others, written in poems by T. Shevchenko, in the classes of the «Choir Clas»”, students can not only understand the social significance of the feelings of both the poet and composers, but also experience that or other artistic image. This contributes to the development of the personal emotional sphere of students, their spirituality, reflection. Conclusions. Mastering the above compositions teaches future music teachers how pure and honest, humane and truthful, hardworking and sociable, full of self-worth and respect for all who work, a real person should be. Taras Shevchenko’s сreativity, increased by the skill of Ukrainian composers, brings to young people the educational potential aimed at educating the national consciousness, educating patriotism of national dignity, spiritual enrichment of the individual.

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Kopeliuk, O. O. "First Piano Concerto by Ivan Karabyts in terms of the renewal of concertо genre in Ukraine". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, n. 56 (10 luglio 2020): 8–29. http://dx.doi.org/10.34064/khnum1-56.01.

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Background. The political and cultural movement of the “Sixtiers” in XX century opened wide horizons for Ukrainian composers to search for a new artistic and imaginative sphere, for new means of expressiveness, stylistics, form etc. The aspirations of young Ukrainian composers for concert genre renewal are realized through a rethinking of reality, intellectual and philosophical searching and psychologism in creativity. One of the brightest creative assets of this time is the First Piano Concerto by Ivan Karabyts, the talented Ukrainian composer, the outstanding representative of Ukrainian musical art of the last third of the 20th century. Among the studies of the last five years, and also of all the scientific research of the 21st century, we, unfortunately, cannot find any scientific study devoted to one of the largest conceptual works of the early period of creativity by I. Karabyts, which is the First Piano Concerto, and, therefore, this research can be called a unique one in modern musicology. In 1983, H. Yermakova provided only the general description of the Concerto in her small monograph. The author says about emotional tension and explosiveness that are the main features of the Concerto. The objectives of this article is to identify the model of the First Piano Concerto as a typological structure in terms of the renewal of the concert genre in Ukraine in the 1960s, through the analysis of embodiment of stylistic patterns and intonational dramaturgy of the work. Research methodology is focused on the interrelation of specific ways of analysis: functional, structural, intonational, genre, stylistic. Results. The First Piano Concerto was created by the 23-year-old composer in 1968 and was dedicated to B.Liatoshynskyi, reflecting the Teacher’s professional pedagogical credo. The First Piano Concerto based on emotional and imaginative contrasts and becomes a clear expression of dramaturgy development. The work’s concept carries the traces of experiments used by the young composer, which is reflected on the use of serial writing, cinematic editing (kaleidoscopic change of the thematic material “on the dramatic circles” of the two-part cycle), dissonance harmony. One of the basic principle of thinking is polyphonic development: imitations, canons, counterpoints, fugato, the principle of “countermovements” of voices, chorals are widely used. The two-part Concerto vividly presents the early work of I. Karabyts, highlights his distinctly individual style. The monumental purpose of this cyclical composition and its conceptualism strikes with its depth reflecting the collision of good and evil, sublime and earthly The First Movement exposition represents the main themes alternation, which extends from the theme-epigraph and the main soloist part in the beginning; bridge and its episode of fugato, second theme and closing area are highlighted also. The compositional features analysis of developing part shows the composer’s desire for a certain emotional quality of the thematic material, the main figurative lines are revealed from the very beginning. Each of themes gets the development of its material and its progressive dynamization, which process being often interrupted at its peak. Meaningful is the Coda of the First Movement, which fully implements the idea of “black-and-white palette” of the cluster chords, which can be interpreted as the idea of dualism of the world picture, embodying, for example, in Eastern philosophy as the sacred symbol of “Yin-Yang”. It can be said that the main meaning of the Code is to identify and understand the fundamental model of being, which is constantly changing and complementary. The Interlude, as a link between the first and second movements of the Concerto is fully consistent with the idea of continuation of the process and justifies smooth transition from one state to another. The Finale of the Concerto after the impromptu Interlude perceives as a vivid sketch in folk spirit connected with the traditions of folk genre principles reproduction and emerges as proof of life extension. The texture of the basic material is presented in a toccata manner, due to the alternation of weak and strong micro- and macrobeats in both parts of pianist’s hands. The middle part of the Finale is created in three-part format. The main section sets a certain rhythmic pulse. The introduction of quintuple (5/8) is innovative. The middle section of the middle part represents the choral is bringing us back to medieval music origins. Conclusions. The composer’s style of early I. Karabyts is distinguished by the scale and integrity of the artistic concepts of works that is typical of the entire Ukrainian national school, the use of variant and polyphonic techniques for the development of thematism, the timbre-orchestral and texture diversity. The First Piano Concerto of the composer is endowed with rich thematicism and vivid contrast of images, marked by the activity of the dramatic process based on dialogicity, due to the general philosophical concept of the work – the confrontation of the spiritual and anti-spiritual. Along with the conflict line, the Concerto presents the sphere of contemplatively dreamy, sensual lyrics. The First Movement in the dramaturgy of the cycle reveals the philosophy of life, its deep spirituality in coexistence with the forces of evil that bring destruction, accompanying the hero’s life path from birth to death, with all its collisions and intentions. The Finale is the continuation of being, movement (it represents the toccata material). The composer creates a concertо of a conflict-dramatic type, the dramaturgy of which is realized as an interaction of dramatic, lyrical and epic-dramatic principles. Conceptuality is revealed through the interaction of objective and subjective plans, where genre allusions acquire a certain semantic meaning (the introduction of a waltz and choral episodes, the toccata manner in “perpetuum mobile” image). The impulsive rhythmic development, the richness of harmonious sound, the wide timbre palette of the piano and orchestra make the Concert emotionally intense, romantic. The Concert uses a full register spectrum of pianos and a wide arsenal of its techniques, which allows the soloist to embody his performing abilities and recreate the concept of composer’s concept. The First Concerto embodies the philosophical theme, which is revealed through the procedural model of the endless circle “life-death-life”, continuing the line of the symphonic instrumental concerto, vividly presented in Ukrainian music of the 20 century by B. Liatoshinskyi, with allusions to Baroque genres (toccata, chorale) and with active use of polyphonic methods of development (in particular, the introduction of the episode of fugato).

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Wolverton, Vance D. "Comprehensive Musicianship Revisited: Research-Based Applications for the Choral Music Classroom". Update: Applications of Research in Music Education 10, n. 2 (marzo 1992): 10–15. http://dx.doi.org/10.1177/875512339201000204.

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Shaw, Julia T. "“The Music I Was Meant to Sing”". Journal of Research in Music Education 64, n. 1 (9 febbraio 2016): 45–70. http://dx.doi.org/10.1177/0022429415627989.

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This article is based on a multiple embedded case study, the purpose of which was to explore adolescent choral students’ perceptions of culturally responsive pedagogy (CRP) in three demographically contrasting choirs of an urban nonprofit children’s choir organization. The case presented here focused on an after-school choir situated in a Puerto Rican enclave, where a multiethnic teacher designed instruction that was responsive to a community with a significant migrant and immigrant Hispanic population. Adolescents perceived their teacher’s culturally responsive practice as honoring their own cultural backgrounds while also expanding their cultural and intellectual horizons. Although the students generally perceived their choral experiences to be culturally responsive, they also identified potential barriers to practicing CRP. Perceived barriers related to the complexity of students’ cultural identities and challenges inherent in practicing CRP equitably given constraints on instructional time. By encouraging style shifting between performance practices associated with diverse musical genres and meaningfully bridging students’ musical experiences at home and school, the culturally responsive learning environment explored in this study fostered connections between students’ musical and cultural identities.

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Singletary, Laura, Kimberly VanWeelden e Virginia Wayman Davis. "General Music Today Music Ideas Series, Viewpoints in Secondary General Music, Article 3, Seeds of General Music in the Secondary Ensemble: Time to Branch Out!" General Music Today 33, n. 2 (3 ottobre 2019): 61–67. http://dx.doi.org/10.1177/1048371319877888.

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In the third segment of the series, we explore general music behaviors and techniques that may be incorporated into the secondary performing ensemble in order to provide enrichment and depth to performance-focused instruction. Using research-based evidence and ensemble experience in both the choral and instrumental settings, we will discuss methods for incorporating and integrating the general music behaviors of (a) listening, (b) moving, and (c) singing into the ensemble experience within traditional rehearsal techniques and practices. The focus will be placed on the experience of these practices as they relate to performance goals, in contrast to the typical general music experience of these behaviors where they are the primary goal. Techniques and resources will be applicable in a variety of secondary ensemble settings.

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ZALIYEVA, Leyla. "THE DRAMATURGİCAL ROLE OF CHORAL SCENES İN VASİF ADİGOZALOV’S OPERA “DEAD”". IEDSR Association 6, n. 12 (29 marzo 2021): 57–67. http://dx.doi.org/10.46872/pj.268.

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Vasif Adigozalov was one of the artists who attracted attention during the brilliant development of the Azerbaijani composition school in the 70 s of the XX century. Born in Karabakh, a fascinating sorner of Azerbaijan, in the family of the famous and talented singer Zulfu Adigozalov’s works reflected the priceless pages of the national music culture. The story-based opera “The Dead”, which entered the history of literature as a comedy, is also regarded as the first comedy opera in our music history. However, every Azerbaijani who knows the work realizes what a great tragedy is actually happening here. V.Adigozalov began writing this work after graduating from the conservatory. The play was performed at the Azerbaijan State Opera and Ballet Theater named after M.F.Akhundof, in 1963. In V.Adigozalov’s opera, the choir acts as one of the main characters in the dramatic development of the work. Each choral stage server as a driving force within, as well as conditioning the course of events. The choir also represents the image of the public and character that expresses the main idea of the work. In this respect, particular attention should be paid to women’s choir. Because women who are victims of this ignorance. Therefore, the screams, deep tragedies and dramas of the women’s choir are reflected. Another concrete example of the women’s theme is seen in the scenes with Nazli and her mother. In particular, choral scenes, which express Nazli’s belief in the return of his dead sister, eventually lost all hope, and the moaning of traumatized young girls, are the dramatic culmination of the tragedy in opera. When we look at the musical language of the choirs, national intonation and rhythmic features draw attention. The intonations of folk music, characteristic of the composer’s musical language, are clearly felt in all stages of the opera and in the choir. Considering the unique melodies of V.Adigozalov’s vocal music in the vocal and choral performance is important. This direction is also reflevted in other music and stage work, including the composer’s vocal music.

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Ashley, Martin R. "Broken voices or a broken curriculum? The impact of research on UK school choral practice with boys". British Journal of Music Education 30, n. 3 (9 maggio 2013): 311–27. http://dx.doi.org/10.1017/s0265051713000090.

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Work such as that of John Cooksey on boys’ changing voices has influenced choral practice in the USA and in certain UK youth choirs, but has hitherto had little impact in UK schools where many teachers continue to believe that boys’ voices ‘break’. Different practices are found across the independent and maintained sectors of secondary education. The former draws on the choral tradition associated with cathedral music. The latter tends, with notable exceptions, to subscribe to the populist media view that ‘boys don't sing’ or that singing by boys is individualised and the exceptional result of ‘X Factor’ style talent shows. In neither case is there much evidence of a systematic attempt to apply research findings to develop a structured programme of vocal development for boys in early adolescence. The paper examines case studies of different choral practice in schools where boys do sing, but as the result of enthusiastic teachers working in isolation rather than a systematic, research-based approach to boys’ singing development.

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Lifeng, Xie. "Content and structure of the future music teachers’ performing will in the context of choirmaster training". Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, n. 2 (131) (25 giugno 2020): 131–38. http://dx.doi.org/10.24195/2617-6688-2020-2-17.

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The article is devoted to the study of the essence of the phenomenon “performing will” as an important professional quality of future specialists in the field of art education. The purpose of the article is to substantiate the essence, content and component structure of the performing will generated by future Music teachers, in the context of choirmaster (choral) training in particular. These methods are used in the article: analysis, synthesis and generalization (in order to substantiate the key provisions of the study); the method of shifting from the abstract entities to the concrete ones (in order to study the essence of the complex concept "performing will of a Music teacher in the context of choral training"); the methods of modelling and systematisation (in order to study the structural components of the phenomenon under study). Based on the study, it was determined that the choirmaster training aimed at the future Music teachers involves mastering the competence in specific activities with pupils’ non-amateur and amateur choirs, as well as mastering the forms and methods of organising pupils’ group choral performance. The performing will of the future Music teacher in the context of choirmaster training is considered as individual basic personal and professional properties which provide mental and emotional influence of the conductor on the members of the choir to unite them on the basis of emotional and spiritual resonance. The will of the conductor-choirmaster acts as a mechanism of energy impact on each member of the team in order to achieve the necessary, highly artistic and convincing level of implementation of the performance conception as an intonation-auditory and emotional image of the musical work envisioned by the conductor. Based on the definition of the content-oriented and attributive characteristics of the performing executive will, the component structure of the studied phenomenon is substantiated, it consists of four interconnected components: motivational-incentive, intonation- and image-centred, manual-expressive and reflexive-corrective

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Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians". Journal of Research in Music Education 42, n. 4 (dicembre 1994): 331–42. http://dx.doi.org/10.2307/3345740.

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Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.

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Anastasiia Pater. "THE STANDARD OF CHORAL SOUND IN THE PERFORMANCE INTERPRETATION OF UKRAINIAN SACRED MUSIC". International Journal of Innovative Technologies in Social Science, n. 5(26) (30 giugno 2020): 19–25. http://dx.doi.org/10.31435/rsglobal_ijitss/30062020/7133.

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The article highlights the issue of achieving a sound standard in the performance interpretation of sacred music by Ukrainian choral groups, which is relevant in the process of understanding the intonation-figurative sphere of performance. We believe that the standard performance version is the performance embodiment of a musical work that corresponds to the sound ideals characteristic of a certain tradition. The sound standard covers a complex of aesthetic and performing means that form a system of physiologically-technological technical-virtuosic, artistic-aesthetic components of the reference sound. Based on the analysis of the choral concert of Maxim Berezovsky "Don't reject me in my old age" in the performance versions of the Lviv state academic men's choral Capella "Dudarik" (conductor – Nikolay Katsal) and the Kiev chamber choir named after B. Lyatoshinsky (conductor – Viktor Ikonnik), the measure of compliance of their performance with the standard parameters of sound is traced.In the performance skills of both groups, the ability to reinterpret a musical work in accordance with its verbal basis can be traced. Depending on the figurative content, a rational reserved approach is used, devoid of emotional sound expression, or, in another situation, the secrets of spiritual experiences are soulfully transmitted. This mobility in the sense of the laws of eternal beauty and the ability to embody them in choral sonority, the combination of properties of the conscious and unconscious, determine the features of performing thinking inherent in the Ukrainian national choral art. The performance of the choral Capella "dudarik" truthfully conveys the performance style of the XVIII century, in which M. Berezovsky created. The combination of high light trebles, timbre- free soft Altos, ringing tenor groups and deep basses creates an impression of directness and sincerity in the transmission of spiritual content. But the choral intonation of the Kiev chamber choir appeals to the Western European style of music making, which is characterized by the most accurate reproduction of the elements of articulation specified in the composer's text – strokes, accents, caesuras, dynamic palette. At the same time, the balance of the single timbre ensemble of the choir with the deep "heart" sound paint characteristic of the Ukrainian tradition is preserved. The interpretation of musical architectonics by both groups brings its own uniqueness to their performing style and image-sound paint – and this is the ability to perceive and report the living matter of the work, to reincarnate the essential meanings of the national spiritual and aesthetic experience. Each of the considered performance versions corresponds to the essential characteristics of the reference sound.

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Кривицкая, Евгения Давидовна. "Choral Works by Rodion Shchedrin. 21 Century". Музыкальная академия, n. 4(772) (21 dicembre 2020): 158–71. http://dx.doi.org/10.34690/119.

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Статья представляет собой обзор сочинений для хора a cappeLLa, созданных Родионом Щедриным в XXI веке. Произведения рассматриваются в хронологическом порядке, многие из них вдохновлены творческими контактами с Камерным хором Московской консерватории и с его руководителями - основателем коллектива Борисом Тевлиным и его преемником Александром Соловьёвым. Среди хоровых сочинений композитора есть и произведения на стихи российских поэтов - Андрея Вознесенского, Владимира Маяковского, Велимира Хлебникова, и опусы, написанные на библейские тексты, - «Эпиграф графа Толстого к роману “Анна Каренина”», «Месса поминовения»; последние можно отнести к области духовной музыки. Ряд сочинений отмечен гражданским пафосом (Диптих, «Два последних хора»). В партитурах 2020 года, созданных в период пандемии, в самоизоляции, автор размышляет о смысле бытия (Триптих). Щедрин постоянно экспериментирует с жанрами хоровой музыки. Ярким примером его изобретательности в творчестве последних лет являются Русские народные пословицы. В более ранней Серенаде (2003) традиционный жанр трактован новаторски: текст произведения целиком основан на междометиях. The article is a review of compositions for a cappella choir, written by Rodion Shchedrin in the 21 century. The works are viewed in chronological order, many of them are inspired by creative reLationships with the Chamber Choir of Moscow Conservatory and with its Leaders-the founder of the collective Boris TevLin and his successor Aleksandr Solovyov. Among the composer's choral works, there are music on verses by Russian poets-Andrei Voznesensky, Vladimir Mayakovsky, VeLimir Khlebnikov, and opuses written on bibLicaL texts-“Count ToLstoy's Epigraph to the NoveL ‘Anna Karenina'”, Mass of Commemoration; the Latters can be attributed to the fieLd of sacred music. A number of works are marked by civic pathos (Diptych, “The Last Two Choirs”). In the 2020 scores, created during the pandemic, in self-isolation, the author reflects on the meaning of being (Triptych). Shchedrin constantLy experiments with genres of choraL music. A striking exampLe of his ingenuity in the current oeuvre is the “Russian FoLk Proverbs”. In the earLier Serenade (2003), the traditionaL genre is interpreted in an innovative way: the text of the work is entireLy based on interjections.

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Kozii, Olga, Viktoriia Ulianova, Olha Bilostotska, Oleksandra Kachmar, Nataliia Bakhmat, Viktoriia Prokopchuk e Oksana Komarovska. "Experience in Developing Imaginative and Intonational Competencies in Future Music Teachers". Revista Romaneasca pentru Educatie Multidimensionala 12, n. 4 (2020): 16–37. http://dx.doi.org/10.18662/rrem/12.4/331.

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The content analysis of students’ training shows that the traditional approach does not use the possibilities of the integrity of choral conducting courses and the gradual and eidetic organization of such training. The research aims to develop, scientifically justify and experimentally verify the effectiveness of the methodology for developing imaginative and intonational skills in students while studying choral conducting courses. Empirical methods are pedagogical observation, talks, surveys, interviews, project methods, tests; research and search methods: experimental and creative tasks, reflexive methods, interactive methods, heuristic methods for modelling imaginative and intonational skills (creative imagination, art views), methods of statistical data processing. A relevant methodology for developing imaginative and intonational competencies in students based on the organizational and methodical model has been designed, verified and implemented in practice. The main approaches, principles, functions and teaching methods have been identified. Pedagogical conditions for effective developing imaginative and intonational competencies in students employing choral conducting courses have been outlined. The obtained results have proved the originality, effectiveness and possibility of implementing the designed methodology into the practice, as well as the practical expediency and promptness of the proposed stage-by-stage methodology. Thus, 22% of control group students and 33% of experimental group students have achieved a high level, with the difference of <11%. Respectively, 44% of control group students and 48% of experimental group students have achieved an average level, with the difference of <4%. Finally, 34% of control group students and 19% of experimental group students are at a low level.

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Kawarazaki, Noriyuki, Yuhei Kaneishi, Nobuyuki Saito e Takashi Asakawa. "A Supporting System of Choral Singing for Visually Impaired Persons Using Depth Image Sensor". Journal of Robotics and Mechatronics 26, n. 6 (20 dicembre 2014): 735–42. http://dx.doi.org/10.20965/jrm.2014.p0735.

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<div class=""abs_img""><img src=""[disp_template_path]/JRM/abst-image/00260006/06.jpg"" width=""250"" />Supporting system of choral singing</div> Visually impaired persons may find it difficult to take part in a chorus or other singing group because they cannot see the beat indicated by conductor’s hand movements. This paper provides a chorus support system for visually impaired persons using depth image sensor. This consists of an electric music baton with an acceleration sensor, a radio module, haptic interface devices with vibration motors, a depth image sensor, and a PC. The electric music baton transmits the signal indicating the conductor’s motion to visually impaired players based on sensor acceleration. Since the conductor must give individual instruction to player, we use a depth image sensor to indicate the direction in which the conductor’s baton points. This direction is estimated based on the conductor’s posture. We also attempted to develop a chorus support system without using the electric music baton. The beat is obtained by the maximum velocity position of the conductor’s hand motion using a depth image sensor. The effectiveness of our system is clarified by several experimental results.

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Norris, Charles E. "A Nationwide Overview of Sight-Singing Requirements of Large-Group Choral Festivals". Journal of Research in Music Education 52, n. 1 (aprile 2004): 16–28. http://dx.doi.org/10.2307/3345522.

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The purpose of this study was to examine sight-singing requirements at junior and senior high school large-group ratings-based choral festivals throughout the United States. Responses to the following questions were sought from each state: (1) Are there ratings-based large-group choral festivals? (2) Is sight-singing a requirement? (3) Are there specific levels or classes of difficulty ? (4) Is musical content specified for each level or class ? (5) Is there an overall rating that includes both the performance and sight-singing ratings? Data revealed that less than half of all states require sight-singing at large-group festivals at both the junior high and high school levels. Fewer states delineate levels of difficulty, outline musical content to be assessed, and use the sight-singing rating in an overall final rating. Frequency of “yes” responses to all questions was consistently lower at the junior high level. The author suggested further analysis of the most evolved state sight-singing assessment systems to develop a more uniform, sequential system of content, materials, and assessment.

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Pressing, Jeff. "The Micro- and Macrostructural Design of Improvised Music". Music Perception 5, n. 2 (1987): 133–72. http://dx.doi.org/10.2307/40285390.

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Two short pieces of freely improvised music by the same performer were recorded in microstructural detail by the use of a specially constructed automatic transcription apparatus. The apparatus consists of a modified DX7 synthesizer and 2650 microprocessor which interfaces with other computers for data processing. The resultant music is transcribed into a modified form of traditional notation and subjected to both micro- and macrostructural analysis. Microanalysis includes the areas of timing (interonset and duration distributions, displacement, chordal spreads, etc.), dynamics ( key velocity, quantization, chordal patterns, etc.), and legatoness (relative, absolute, pedaling). Macroanalysis uses the full panoply of devices from traditional music theory (tonal procedures, rhythmic and motivic design, pitch class sets, etc.). Correlations between microstructural parameters, and with macrostructure, were found to be highly significant in Improvisation A, which had a supplied external pulse, but largely absent in Improvisation B, which had no such pulse. Where pulse was present, rhythmic design was found to be based largely on pulse subdivision and shifting. Some performance effects (e.g., chordal spreads) operated over a time scale of 10 msec or less. Others (e.g., synchronization to an external pulse) showed less resolution. Differences in the distribution patterns of interonset times, durations, and legatoness suggest three independent underlying temporal mechanisms that may sometimes link together in coordination with macrostructure. Quantization ("categorical production") of some variables (interonset times, key velocities) was clearly established. The results were also interpreted in relation to an earlier model of improvisation (Pressing, 1987).

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Ivec, Anja. "Glasbeno delovanje Heriberta Svetela v Ljubljani / Heribert Svetel’s Music Activities in Ljubljana". Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, n. 33 (10 gennaio 2021): 131–55. http://dx.doi.org/10.26493/2712-3987.16(33)131-155.

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Composer, teacher, and conductor Heribert Svetel (1895−1962) lived and worked in Ljubljana in the first half of the 20th century. The article is mainly based on documents from family archives, owned by his granddaughter Marjeta Keršič Svetel, and provides an outline of his life with the major turning points, musical involvement in Choral Societies (Slavec, Sloga), and composition oeuvre in Ljubljana until 1946, when he left the capital and moved to Maribor.

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Arnold, James A. "Effects of Competency-Based Methods of Instruction and Self-Observation on Ensemble Directors' Use of Sequential Patterns". Journal of Research in Music Education 43, n. 2 (luglio 1995): 127–38. http://dx.doi.org/10.2307/3345674.

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The purpose of this study was to determine the effects of competency-based self-analysis of videotape rehearsals by practicing music teachers on the use of complete and correct sequential patterns of instruction and their components. Complete patterns follow the cyclical pattern of task presentation, student response, and immediate teacher feedback. Correct patterns require that task presentation include academic material and that feedback be specific and related to the task. Twelve teachers of sixth-grade choral and instrumental classes were matched in pairs, placed in experimental or contact-control groups, and videotaped during four rehearsals of the same class at 2-week intervals. Subjects reviewed Tapes 2 and 3 of their own rehearsals, with experimental teachers using operational definitions and self-analysis of typed transcripts, and contact-control teachers using unfocused observation instructions. Results indicate that research-based teaching techniques were effective in significantly increasing experimental teachers' use of complete sequential patterns and percentages of time spent in music activities.

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Bartolome, Sarah J. "“It’s Like a Whole Bunch of Me!”". Journal of Research in Music Education 60, n. 4 (16 novembre 2012): 395–418. http://dx.doi.org/10.1177/0022429412464054.

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The purpose of this ethnographic study was to explore the perceived values and benefits associated with participation in a highly successful community-based girls’ choral ensemble. The benefits of membership in the Seattle Girls’ Choir organization were explored, with particular attention to the expressed values and observed behaviors of choristers. Regular choir rehearsals, musicianship classes, festival and summer camp experiences, concert performances, faculty, staff and board meetings, and other community events were documented carefully and examined during a yearlong period of fieldwork. Semistructured interviews with choristers, faculty members, parents, and staff members were used to elicit participant perspectives on the girls’ choir experience and the perceived values and benefits of participation. Emergent themes included music, personal, social, and external benefits, which were examined in an effort to augment an ever-growing understanding of modern music-making and the value of music engagement in the lives of participants.

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Veličkova, Ludmila, e Elena Petročenko. "“Vocal Form” as a Music-Phonetic Speech Genre: Aspects of Study". Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, n. 2 (giugno 2021): 133–43. http://dx.doi.org/10.15688/jvolsu2.2021.2.12.

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Vocal music is a form of existence and realization of a language. Primarily, it is oral speech of a specific type. Prosodic features of vocal music, as well as its rhythm and intonation, are formed as a result of direct music-language interaction. Therefore, intonational language-music correlation provides possibility of linguistic description of national vocal music and confirms the necessity to develop theoretical foundation for studying this issue. We consider vocal speech of any genre (song, aria or choral singing) in view of its prosodic features. Correspondingly, we consider intonational realization of a vocal text as related to distinctive features of intonation within phonetic system of a given language. In the present article, the authors term vocal-music speech phenomenon as a vocal form of a language, and specify the rationale that it could be related to elements of various levels of oral text. Several aspects of the vocal form are defined, namely phonatory, phonetic, rhythmic and intonational, and considered in the following branches of linguistics: phonostylistics, intonology and speech studies. The paper presents the concept of vocal form of a language within the research prospect. According to structure-based phonological approach, the vocal form as a music-language object is interpreted as a system component, its elements being defined as language units.

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43

Mykhailets, V. V. "The problems of vocal training in the conditions of modern choral art". Aspects of Historical Musicology 18, n. 18 (28 dicembre 2019): 141–54. http://dx.doi.org/10.34064/khnum2-18.08.

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Background. The contemporary choral art has accumulated many bright samples, which present various performing directions and genres. Particularly interesting are those that include the traits traditionally not inherent to the choral performance. We will consider some of the requirements for the performance of choral music, put forward by the composers of the twentieth century, in particular, representatives of the new Viennese school and the Italian avant-garde, as well as the performance conditions, which require the tendency to adaptation for the stage of choral works and the improvisational component of musical thinking today. The need for such analysis is connected with vocal-performing training of contemporary choirmasters. The choral collective is a complex musical organism, and its successful work depends not only on the conductor, but also on the performers, therefore, there is a question of improving the complex development of the vocal-technical skills of the choirmaster, taking into account the specifics of his/her future activities. Methods. The scientific and methodological basis of improving the performing skills must be deepened in the issues of the psychology of performance and expanded with the questions of combining the choral performance with theatre. Due to such a methodological basis, it is possible to study extremely complex psychological processes of artistically meaningful vocal intonation, formation, control and implementation of performing skills, peculiarities of the psychological state of the choir performers, etc. The article is based on the analysis of materials on the development of the choral performance in various artistic directions and their synthesis (Kyrylenko, Ya., 2017; Ryzhynsky, A. 2015, 2016; Saponov, M., 1982), as well as the study of psychophysiological regularities of the vocal education in different performance conditions (Lukishko, A. 1984; Morozov, V., 2008, Selezneva, N., 2005). Objectives. The purpose of the article is to consider the performance tasks in the contemporary choral art and to outline the factors that shape the skills for the implementation of these tasks. Results. The analysis of the development of the vocal-choral art proves that vocal-technical means are defined and formed in unity with the performing tasks that characterize certain musical trends, styles or genres. Throughout the 20th century, in the choral art appears the works that became the result of the composers’ search for new versions of the timbre sound. The representatives of the new Viennese school A. Schoenberg and A. Webern were the first to overcome the timbre “conservatism” of the choir. In the choral creative activities by A. Schoenberg, the experiments with the use of timbre can be found. Namely, the use of expressiveness of the unison of the alt and tenor and the falsetto singing of the tenor, which provided for the alignment of the timbre and corrected dynamic misbalance of the artificial ensemble of tenor and soprano. However, the further introduction of falsetto singing was no longer a technical necessity, but became a means of a new expressiveness. The experiments are typical for the choral creativity by A. Webern, where the following two tendencies are clearly distinguished: 1) the jump-like structure of the melody in combination with syllabics; 2) the presence of pauses, which divide the motive into separate intonations. The purpose of the texture transformation was to uncover a fundamentally new sound of the choir, the creation of a new choral timbre. A. Webern achieves the timbre richness through a constant game with various nuances, strokes, and juxtaposition of the singing registers. The Italian composers L. Nono (1924–1990), B. Maderna (1920–1973) and L. Berio (1925–2003) became the followers of Webern’s creative experiments with regard to the organization of sound, the texture of the composition and timbres. In their creative work, they showed the possibility of an organic combination of centuries-old traditions of the vocal art with the latest composition techniques. In the modern choral art, a great interest is paid to theatrical actions during the choral performance. Hence, the new performing tasks rise for both, the conductor and performers of the choir. So, in the dramatized choral performance, a personality of an actor-singer is characterized by a certain complex of skills. The latter include ownership of different types of expressive intonation: vocal intonation, the verbal intonation and the acting intonation or the intonation of the gesture. The choral performer’s instrument is a singing voice. The vocal development of choral singers bases on the objective laws of the singing, the basis for understanding of which is the positions of musical acoustics. The choirmasters need to know, which acoustic patterns influence the formation of the singing voice in the choir, which of its properties develop automatically, and which require special techniques that stimulate an individual development. Another important aspect on which it is necessary to focus attention in the modern vocal education is the improvisational thinking, the ability to creative ingenuity. The tasks of the modern choral art are the preservation, the development, and sometimes the revival of the traditions of improvisational vocal-ensemble music. The solutions of these tasks one should look for in several directions. The first of them is the preservation of the traditions of Western European professional polyphonic (counterpoint) music, which is determined by the highest level of combination of the canonically invariable melody, of the cult or secular, with improvisational melodic decorations. The second is due to the preserving the traditions of collective vocal improvisation in folk singing cultures. The third direction is due to performance tasks, which are provided by the composers’ creativity of contemporary authors. Conclusion. The contemporary choirmaster needs to have a wide range of knowledge in the questions of history and theory of the world music, choral science, vocal pedagogy, acting skills, psychology, without which it is impossible to solve numerous issues that constantly arise in practice. The choirmaster must develop a critical and analytical thinking in him/her, be able to judge right the work of his/her mind and be thoughtful in the actions. The creative approach in work contributes to the flexibility in solving any problems – perhaps, it allows to abandon the usual techniques in work, which at the present moment do not produce the desired results. Practice is the only criterion for the truth of the selected actions.

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Wright, H. Stephen. "Suite No. 1 for Cello All by Its Lonesome (S. 1a), and: Suite No. 2 for Cello All by Its Lonesome (S. 1b), and: "Goldbrick" Variations for Piano, Two Hands (S. 14), and: The Short-Tempered Clavier: Preludes and Fugues in All the Major and Minor Keys except for the Really Hard Ones (S. 3.14159, easy as), and: Sonata "Abassoonata" for Bassoon and Piano (S. 888), and: Three Chorale-Based Piecelets for Organ (S. III), and: Little Pickle Book (Pockelbuchlein) for Organ, at Least (S. 6), and:". Notes 57, n. 4 (2001): 1002–5. http://dx.doi.org/10.1353/not.2001.0120.

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Cherkasov, Volodymyr. "MUSICAL EDUCATION OF STUDENTS IN SCHOOLS OF THE REPUBLIC OF IRELAND". Academic Notes Series Pedagogical Science 1, n. 195 (2021): 40–46. http://dx.doi.org/10.36550/2415-7988-2021-1-195-40-46.

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The article examines and summarizes the experience of music education of students in schools of the Republic of Ireland, highlights the main trends and approaches to the content of lessons and extracurricular activities with students of different ages, aesthetic education through music and the formation of European and national values. Vocal and vocal-instrumental ensembles are created. Participation in such groups requires knowledge of musical notation, mastering the technique of reading notes, mastering the skills and abilities to use the means of musical expression. In addition to rock music, one of the most popular vocal genres in Ireland is shan-nose - highly ornamented improvisational singing (ie singing with a large number of chants), where there are several parts of voices, from which the overall composition is built. Over time, Irish folk music changed. Most of the songs are of rural origin and are associated with ancient Irish language traditions. More modern songs are performed in both Irish and English. Involvement of student youth in the performance of various genres of choral and vocal music promotes patriotic education and the formation of moral and aesthetic qualities that positively affect the worldview of young people, contribute to the involvement of world cultural values. Involvement of student youth in the performance of various genres of choral and vocal music promotes patriotic education and the formation of moral and aesthetic qualities that positively affect the worldview of young people, contribute to the involvement of world cultural values. A prominent place in the organization of musical and creative activities is given to independent work. To this end, teachers develop guidelines, conduct practical classes, which focus on methods and techniques of mastering the skills of playing a particular musical instrument. Using the methods of showing, explaining, demonstrating, illustrating, repeating individual musical episodes and overcoming performance techniques, students develop technical skills, memory, logical thinking, practice performance skills and gain experience in interpreting the content of a piece of music. It should be noted that musical education of students in schools of the Republic of Ireland has a stable approach and is based on the folk traditions of previous generations, meets modern requirements for the formation of musical culture of youth, aesthetic feelings and development of intellectual and creative abilities.

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Yagovets, Natalia. "СПЕЦИФИКА ХОРОВОЙ АРАНЖИРОВКИ РУССКИХ НАРОДНЫХ ПЕСЕН РЕБРИХИНСКОГО РАЙОНА АЛТАЙСКОГО КРАЯ (РОССИЯ) ДЛЯ СЦЕНИЧЕСКИХ НАРОДНО-ПЕВЧЕСКИХ КОЛЛЕКТИВОВ". Proceedings of Altai State Academy of Culture and Arts, n. 2 (2021): 68–72. http://dx.doi.org/10.32340/2414-9101-2021-2-68-72.

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Based on long-term experience of vocalic-choir work with academic ensembles of the Altai State Institute of Culture (Barnaul, Altai Krai, Russia) on pieces of local music folklore, the author discloses some theoretic and instructional aspect of adaptation of people's song material to people's vocal ensembles of various team compositions, and also describes specifics of choral arrangement of Russian people's songs that reflect stylistic peculiarities of ethnic song tradition of Russian areas of the South of Western Siberia (Rebrikhinsky District of Altai Krai, Russia).

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Askovic, Dragan. "Karlovac chant between tradition and innovation". Zbornik Matice srpske za drustvene nauke, n. 178 (2021): 207–23. http://dx.doi.org/10.2298/zmsdn2178207a.

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Church singing, which was created due to the circumstances that arose after the Great Migration, is better known as the Karlovac chant. It was named after the place where it was transcribed and represents our national way of interpreting liturgical music, characterized by accepted influences of Western European musical practice, manifested first in music transcription, notation, metrics, and Western European tonality. Those were necessary conditions for its further artistic transposition into a complex polyphonic choral facture, intended primarily for church music elite. Permeated with the standard authoritative Western European musical tradition, it succumbed to the influence of superior musical achievements. However, when exposed to Western European creative practices, it did not prove to be a harmonized expression of artistic subordination, but an example of an unpredictable musical achievement based on the synthesis of our rich musical heritage imbued with a unique confessional and national self-determination. Its basic characteristics go back to the traditional musical heritage of the Balkans and Byzantium, enriched by Western European influences.

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Horton, Peter. "Jerusalem on High: Victorian Voluntaries and Concert Pieces for Organ based on Hymns, Chorales and Psalm-Tunes". Nineteenth-Century Music Review 1, n. 2 (novembre 2004): 128–29. http://dx.doi.org/10.1017/s1479409800001476.

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Vasilyeva, Oksana. "THE INFLUENCE OF NATIONAL IDEAS OF T. SHEVCHENKO ON THE UKRAINIAN CHORAL CYLTURE OF THE LATE XIX – EARLY XX CENTURIES". 1 1, n. 1 (settembre 2020): 4–9. http://dx.doi.org/10.34142/27091805.2020.1.01.01.

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Object. The objective of this article is studying the influence of T. Shevchenko’s national ideas on the development of student choir movement in Ukraine during the period of the late ХІХ and early XX centuries. Methods. The traditional historical and pedagogical research methods were used in the work: analytical, historical and comparative, retrospective, comparative analysis of scientific and pedagogical literature, archival documents, educational materials. Results of the scientific research show that the problem of youth national education has attracted many people of arts and culture such as F. Prokopovych, O. Duhnovych, M. Dragamanov, M. Grushevsky. It is still in the center of attention of contemporary scientists in the field of theory and practice of higher school pedagogic – O. Vyshnevsky, O. Lubar, O. Morozov, Y. Rudenko, M. Stelmahovych, M. Shkil. Nevertheless, the ideas of student youth national education by means of choir music on Shevchenko’s lyrics have not been the subject of consolidated historical and pedagogical research. Summarizing theoretical studies in literature, the author highlighted the main postulates of Shevchenko`s national creed – this are patriotism, revolt against national slavery and political pressure, struggle for national independence, extermination of the national inferiority psychology, defense of national interests, national language, and culture. According to the historical and pedagogical analysis of the chosen period choral groups/choirs have proved to be the centers of youth national education. They were created at universities (Kyiv, Kharkov, Odessa), gymnasiums, educational and musical societies («Prosvita», «Boyan», «Torban», «Ukrainsky club»). Leading Ukrainian composers and musicians O. Koshyts, M. Leontovych, M. Lysenko, S. Luydkevych, K. Stetsenko, L. Revutsky, Y. Stepovy, Y. Yatsynevych headed the national choir movement and as a rule organized and conducted a great number of choirs at educational institutions. Inspired by T. Shevchenko’s national ideas they made such distinguished choral compositions as musical cycle «Music for Kobzar by T. Shevchenko» by M. Lysenko (more than 80 diversepieces of vocal and choral genre), cantata-symphony «Caucuses» by S. Lyunkevych, cantata «Kerchief», «Why are you blackened» by L. Revutsky, «Tara’s night» by Y. Kyshakevych, «Blaze of Lights», «Thickets ways thorns ...» by S. Vorobkevych. Being a part of student’s choir repertoire musical compositions based on Shevchenko’s works raised and promoted the national awareness, patriotism, social ideology, interests to national history. Conclusions. At the end of the 19th and beginning of the 20th centuries, a choral movement was actively developing on Ukrainian lands, led by leading Ukrainian composers and musicians. Inspired by the national-patriotic work of the great Kobzar, they created vivid choral compositions filled with civilian sound. Amateur and student choirs actively promoted Ukrainian choral art, among which works on the words of T. Shevchenko occupied an honorable place, which preserved the national face of the people and filled spiritual voids in the cultural space of the then society.

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Тарасова, Н. Ю., e П. В. Камуз. "CHRISTIAN DUALISM OF CONFESSION AND GLORIFICATION AS THE BASIS OF MUSICAL DRAMATURGY AND STYLISTIC FEATURES OF LITURGY OF ST. JOANNA ZLATOUST BY M. SKORYK". Музикознавча думка Дніпропетровщини, n. 15 (1 novembre 2019): 16–31. http://dx.doi.org/10.33287/22192.

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The aim of the article is detenction of dramaturgic role inherent toOrthodox liturgical canonical texts and motets of dualism of christianconfession and glorification on dramaturgic and stylistic levels of Liturgyof St. I. Zlatoust by M. Skoryk. The canonical structure of Liturgy ofSt. I. Zlatoust at the level of liturgical texts and motets is investigated; thefeatures of composer's interpretation of characteristic structuralcompositional, harmony mode, texture, thematic methods of transmissionof sense of liturgical texts and canonical motets are examined. Themethods of the research are based on the use of musically-culturological,comparatively-historical, theoretical-analytical, textological methods.Scientific novelty. For the first time the system analysis of LiturgySt. Joanna Zlatoust 1) in the context of authorial choral style of M. Skorik;2) in unity of neobargee, neoromantic and neofolklore stylistic principlesof composer’s thinking; 3) in the aspect of cooperation of harmonic, tonemode, form-building means of expression of music of the ХХ century;4) at symbolically-semantic level of work is carried out. Conclusions.Sacred choral music became a major landmark in creative heritage ofМ. Skoryk. Embodiment by the composer of sacral senses of Liturgy differs free character sent to opening of typical for Orthodox of dualismconfession and glorification, through experiencing of such fundamentalreligious states, as 1) is personality-dramatic confession, 2) is transcendentcontemplativeness, 3) is catharsis state, 4) is subjectively-lyric acceptanceof Divine will, 5) is glad glorification. Thus, in the process of analysis theoriginality of authorial interpretation of genre of Liturgy was educed at thelevel of composition, in correlation with the canonical following of textsand motets, at the level of musical style; connection of musical languageof Liturgy by М. Skoryk is argued with neofolklore principles, tone modeand harmonic receptions of music of the ХХ century.

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