Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: Monologue the music.
Статті в журналах з теми "Monologue the music"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 статей у журналах для дослідження на тему "Monologue the music".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте статті в журналах для різних дисциплін та оформлюйте правильно вашу бібліографію.
1
Stevens, Blake. "Monologue Conflicts: The Terms of Operatic Criticism in Pierre Estève and Jean-Jacques Rousseau." Journal of Musicology 29, no. 1 (January 1, 2012): 1–43. http://dx.doi.org/10.1525/jm.2012.29.1.1.
Повний текст джерелаАнотація:
Jean-Jacques Rousseau's entry for “monologue” in his Dictionnaire de musique (1767) marks the first appearance of the term in French musical lexicography. This definition, which would exert an influence on later discussion of the form, synthesizes principles drawn from poetics and dramaturgy with stylistic arguments developed during the Querelle des Bouffons. The entry powerfully and succinctly conveys an Italianate conception of the form by promoting an idiom (récitatif obligé) associated with Italian practice as the exemplary realization of monologic discourse. This essay places Rousseau's account in the context of French criticism from Le Cerf de la Viéville, writing early in the eigtheenth century, to Pierre Estève, writing in the early 1750s. Treatment of the monologue at mid-century attests not only to a critical interest in exemplary scenes, particularly the famous monologue from Armide, “Enfin il est en ma puissance,” but also to readings of monologues as markers of national musical style. Against Rousseau's identification of monologue with récitatif obligé stands the more pluralistic model of Estève, who described a range of vocal idioms linked to dramatic context and meaning. Moreover, Estève attempted to account not only for newer works of Rameau but also for revivals of the tragédies en musique of Lully and Campra. Consideration of Estève's examples of characteristic scenes illustrates a tendency to equate monologic discourse with effects of interruption and the suspension of dialogue, even when other characters are present onstage.
2
Haltrin-Khalturina, Elena. "Revisiting the Brownings’ Poetry in the Pages of Neo-Victorian Novels and their Russian Translations." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 82, no. 5 (2023): 78. http://dx.doi.org/10.31857/s160578800028329-7.
Повний текст джерелаАнотація:
The neo-Victorian novels of our time (by A.S. Byatt, Maggie Power, Laura Fish, et.al) reverberate with echoes from English poetry of the 19th century, and not in the least, from famous dramatic monologues (the genre, which came into existence thanks to Robert Browning and Alfred Tennyson). According to the present-day scholarship, the term "dramatic monologue" denotes the versified speech of a character, who suffers from a mental disorder and tries to combine the frankness of confession with the art of argument and seduction. This monologue is usually addressed to another character – a silent interlocutor, in front of whom the speaker, in a burst of eloquence, reveals the unsightly sides of his perverted doings or his character. In Victorian England, dramatic monologues featured the same marginal characters, which figured in sensation fiction. The article dwells on the ways dramatic monologues are employed in “Possession” (1990) by A.S. Byatt and “Strange Music” (2008) by Laura Fish. The writers not only include extensive quotes from R. Browning and E. Barret-Browning, but also create their own variations of dramatic monologues in verse and prose. Of particular interest are Victorian and neo-Victorian artistic approaches to the criteria of ‘normality’, to the rhetoric of justification, to the methods of argumentation.
3
Huebner, Steven. "Édouard Dujardin, Wagner, and the Origins of Stream of Consciousness Writing." 19th-Century Music 37, no. 1 (2013): 56–88. http://dx.doi.org/10.1525/ncm.2013.37.1.56.
Повний текст джерелаАнотація:
Abstract Édouard Dujardin's novel Les Lauriers sont coupés (1887) has long been acknowledged as an important influence on the stream of consciousness style (called monologue intérieur by Dujardin) found in James Joyce's Ulysses. Dujardin wrote the book during the period he edited the short-lived Revue wagnérienne. The study shows how monologue intérieur was connected to experimental literary trends debated on the pages of the Revue as well as in the Symbolist movement more generally. Two of these trends were vers libre and the construct of an interiorized mental theater, and both were grounded in particular perceptions of Wagnerian opera. Dujardin and his Symbolist colleagues appreciated Wagner's move to abstraction, but thought he had not gone far enough. The article illustrates how putative syntactical freedoms in Wagner's work encouraged vers libre, how a song cycle Dujardin composed to his own vers libre tested the boundaries between literature and music against a Wagnerian backcloth, and how a “paraphrase” of the Amfortas monologue in the first act of Parsifal published in the Revue produced a theater of the mind. The invention of monologue intérieur emerges as a rich and multivalent point of intersection between Wagnerian opera and modernity.
4
Huebner, Steven. "Édouard Dujardin, Wagner, and the Origins of Stream of Consciousness Writing." 19th-Century Music 37, no. 1 (2013): 56–88. http://dx.doi.org/10.1525/ncm.2013.37.3.56.
Повний текст джерелаАнотація:
Abstract Édouard Dujardin's novel Les Lauriers sont coupés (1887) has long been acknowledged as an important influence on the stream of consciousness style (called monologue intérieur by Dujardin) found in James Joyce's Ulysses. Dujardin wrote the book during the period he edited the short-lived Revue wagnérienne. The study shows how monologue intérieur was connected to experimental literary trends debated on the pages of the Revue as well as in the Symbolist movement more generally. Two of these trends were vers libre and the construct of an interiorized mental theater, and both were grounded in particular perceptions of Wagnerian opera. Dujardin and his Symbolist colleagues appreciated Wagner's move to abstraction, but thought he had not gone far enough. The article illustrates how putative syntactical freedoms in Wagner's work encouraged vers libre, how a song cycle Dujardin composed to his own vers libre tested the boundaries between literature and music against a Wagnerian backcloth, and how a “paraphrase” of the Amfortas monologue in the first act of Parsifal published in the Revue produced a theater of the mind. The invention of monologue intérieur emerges as a rich and multivalent point of intersection between Wagnerian opera and modernity.
5
Salah, Trish. "What’s All the Yap? Reading Mirha-Soleil Ross’s Performance of Activist Pedagogy." Canadian Theatre Review 130 (March 2007): 64–71. http://dx.doi.org/10.3138/ctr.130.011.
Повний текст джерелаАнотація:
Mirha-Soleil Ross is not the most well known transsexual artist out there, but she is certainly one of the hardest working. A Toronto-based performance artist, film- and video-maker and activist on a wide range of issues, Ross is also the chief architect of Counting Past 2, the first festival of transsexual and transgender art and performance in North America.1 In this paper, I look at Ross’s most ambitious and professionally successful performance work to date, Yapping Out Loud: Contagious Thoughts of an Unrepentant Whore, a sequence of performance monologues in which Ross brings together her concerns with sex-worker, animal and transsexual rights and reflects upon her fifteen years as a prostitute and activist.2 Straddling the genres of spoken word, dramatic monologue and multi-media performance, Yapping Out Loud utilized video footage of coyotes living in the wild and being hunted, live music and voice recordings by prostitute- and animal-rights activists to create multiple, shifting frames for Ross’s monologue in seven acts.
6
Fosse, Jon. "How It Was: Monologue." PAJ: A Journal of Performance and Art 45, no. 3 (September 1, 2023): 80–112. http://dx.doi.org/10.1162/pajj_a_00686.
Повний текст джерела
7
Marks, Kent. "The Interior Monologue in Earl Kim's Violin Concerto." Perspectives of New Music 34, no. 2 (1996): 106. http://dx.doi.org/10.2307/833473.
Повний текст джерела
8
Juned, Sulaiman. "Penciptaan Teater “Hikayat Cantoi”: Adaptasi dari Konsep Teater Tutur Aceh Adnan PM TOH." Dance and Theatre Review 3, no. 1 (October 19, 2020): 26. http://dx.doi.org/10.24821/dtr.v3i1.4412.
Повний текст джерелаАнотація:
AbstractCreating the monologue theater is based on Teater Tutur Aceh, PM TOH. The author did not start from the saga script but wrote a monologue script entitled “Hikayat Cantoi” and was performed in Indonesian. The show combined the modern convention, especially in movement and blocking of actors on stage, setting (decoration), props, make-up, and clothing by using the wealth of the body as music (body percussion music), such as: pat the chest, thighs, stomach, and fingertips in the Seudati, Didong, and Guel dance. This work presents a character who has historical and psychological complexities. Cantoi, an Acehnese man who works as a teacher, is forced by the situation to become “Pak Turut” to save his soul. The author chose this imaginary character because in Aceh, the term for someone who is smart but looks stupid, and is called Cantoi. Between 1996-2003, Acehnese society experienced a cultural shift or change. It happens because of social interaction through the pressures that are experienced at any time. Changes in social behavior lead to the birth of ideology and the restructuring of people’s behavior.Keywords: creative process; monologue; speech theater; Adnan PM TOH; Acehnese locality
9
Gaunce, Julia. "The End of the Moon: Reports from Elsewhere." Canadian Theatre Review 124 (September 2005): 90–91. http://dx.doi.org/10.3138/ctr.124.018.
Повний текст джерелаАнотація:
Part meditation, part entertainment and part symphony (of monologue, music and images), Laurie Anderson’s solo work The End of the Moon hinges on two keys: her recent tenure as NASA’s artist-in-residence and the question, “Who taught you what beauty is?”
10
Suryandoko, Welly. "Bandura's Social Cognitive Theory and Its Implementation in Markeso Mudo's Garingan Ludrukan Monologue." Gondang: Jurnal Seni dan Budaya 7, no. 1 (June 17, 2023): 182. http://dx.doi.org/10.24114/gondang.v7i1.48188.
Повний текст джерелаАнотація:
This paper aims to create works of art with Bandura's social cognitive theory approach consisting of a) Attention (attention), b) Retention, c) Motion Reproduction and d) Motivation as a foundation in the creative process of art learning in monologue courses in the Drama Concentration, Drama, Dance and Music Education Study Program (Sendratasik) Faculty of Language and Arts, Surabaya State University. This lecture is a type of practice with a total of 4 credits, students are directed to practice directly through various methods, strategies and competency content contained in the course. The focus in the current discussion is to practice the Monologue Ludrukan Garingan Markeso Mudo is a competency achievement that will be obtained by students if the stages can be carried out according to the procedure. The implementation of the Ludrukan Garingan Markeso Mudo Monologue is simulated in public spaces targeting crowded places such as markets, stalls or other public spaces that are in accordance with the needs of the actor's concept. The application of Bandura's Social Cognitive Theory as a tool to produce student process space in obtaining structured steps before implementing in the Monologue Ludrukan Garingan Markeso Mudo. Finally, it can obtain a good implementation formulation in practice in the field
11
Kaluzhnikova, Tatiana I. "The Monologue as a Sound Constituent of Creative Games of Preschoolers." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (2015): 89–100. http://dx.doi.org/10.17674/1997-0854.2015.4.089-100.
Повний текст джерела
12
Goodblatt, Chanita. "In other words: breaking the monologue in Whitman, Williams and Hughes." Language and Literature: International Journal of Stylistics 9, no. 1 (February 2000): 25–41. http://dx.doi.org/10.1177/096394700000900103.
Повний текст джерелаАнотація:
One important aspect of the ‘Whitman tradition’ in American poetry is its breaking of the monologic hegemony of the lyric voice. Focusing on this aspect necessarily assumes that a poem establishes a ‘fictional context of utterance’, particularly a ‘complex or shifting discourse situation … [which]may involve variations in deictic centre’ (Semino, 1995: 145). The resulting dialogic interplay of voices stands at the very centre of Walt Whitman’s poem ‘Out of the Cradle Endlessly Rocking’, William Carlos Williams’s ‘The Desert Music’ and Langston Hughes’s ‘Cultural Exchange’. The present discussion of dialogic interplay in the lyric text turns naturally to Bakhtin’s concept of heteroglossia. Making use of the cline of speech presentation developed by Leech and Short (1981), Bakhtin’s categories of ‘compositional-stylistic unities’ will be elaborated upon: direct authorial literary-artistic narration; the stylistically individualized speech of characters; and incorporated genres. In ‘Out of the Cradle Endlessly Rocking’ there is an interplay of voices between boy, bird and sea, within a narrative frame related by the adult and child lyric speakers. Within the more general conversation in ‘The Desert Music’ there is an interplay of the lyric speaker’s own social and poetic selves, while in ‘Cultural Exchange’ dialogic interplay is highlighted in the use Hughes makes of the ‘intimidating margins of silence’ (Culler, 1975: 161) which conventionally surround a lyric text, filling them with musical notations that comment on the lyric voice.
13
Turner, W. Craig. "Art, Artist, and Audience in “A Toccata of Galuppi's”." Browning Institute Studies 15 (1987): 123–29. http://dx.doi.org/10.1017/s0092472500001887.
Повний текст джерелаАнотація:
Robert Browning's music poem “A Toccata of Galuppi's” is built on a system of telescoping viewpoints that might best be diagrammed as concentric circles with Galuppi's music at the core. The speaker of this monologue, a type of smug nineteenth-century Englishman with a deep interest in science, uses the occasion of Galuppi's clavichord touch-piece to muse on possible reactions of the composer's eighteenth-century Venetian audience. As he does so, the speaker becomes something of an artist or creator himself, using his own imagination to recreate an evening at an eighteenth-century Venetian ball; but the speaker also is a critic, himself responding to and interpreting not only Galuppi's music but also the Venetians in their imagined responses to the music. In this best of all Browning's music poems, he has given us something of an analogue of his own method as artist and moralist, as well as an ironic understanding of the efficacy of art and its ongoing treatment by critical audiences.
14
Eng, Alvin. "The Flushing Cycle: excerpts from memoir-monologue plays." PAJ: A Journal of Performance and Art 25, no. 1 (January 2003): 34–38. http://dx.doi.org/10.1162/152028103321658300.
Повний текст джерела
15
Dill, Charles. "Rameau reading Lully: Meaning and system in Rameau's recitative tradition." Cambridge Opera Journal 6, no. 1 (March 1994): 1–17. http://dx.doi.org/10.1017/s0954586700004109.
Повний текст джерелаАнотація:
While Jean-Philippe Rameau left behind copious evidence of his changing beliefs as a music theorist, he remained silent about his most deeply held beliefs as a composer of opera. His occasional protestations of admiration for Lully, and his petulant responses to criticism, have formed a small basis for the large amount of commentary on his compositional career. The possibility remains, however, that Rameau's theoretical writings could offer some clues about his compositions and, more generally, about his career as a composer. I am thinking of a brief, but well-known moment in his career when theoretical remarks and compositional attitudes worked together in the performance of what we today would consider an analytical act: his commentary on Lolly's monologue, ‘Enfin it est en ma puissance’, from Act II scene 5 of Armide.Rameau published this commentary in 1754 in his Observations sur notre instinct pour la musique, as a response to Rousseau's criticism of Lolly's monologue in the Lettre sur la musique française of 1753. The commentary is well known in modern scholarship and has been the subject of a number of studies, the most thorough being Cynthia Verba's work on the evolution of implied chromaticism in Rameau's theories. Here we will be concerned less with its purely theoretical content than with how Rameau's discourse can be said to betray his compositional beliefs about setting texts to music.
16
Harmon, Tyson G., Christopher Dromey, Brenna Nelson, and Kacy Chapman. "Effects of Background Noise on Speech and Language in Young Adults." Journal of Speech, Language, and Hearing Research 64, no. 4 (April 14, 2021): 1104–16. http://dx.doi.org/10.1044/2020_jslhr-20-00376.
Повний текст джерелаАнотація:
Purpose The aim of this study was to investigate how different types of background noise that differ in their level of linguistic content affect speech acoustics, speech fluency, and language production for young adult speakers when performing a monologue discourse task. Method Forty young adults monologued by responding to open-ended questions in a silent baseline and five background noise conditions (debate, movie dialogue, contemporary music, classical music, and pink noise). Measures related to speech acoustics (intensity and frequency), speech fluency (speech rate, pausing, and disfluencies), and language production (lexical, morphosyntactic, and macrolinguistic structure) were analyzed and compared across conditions. Participants also reported on which conditions they perceived as more distracting. Results All noise conditions resulted in some change to spoken language compared with the silent baseline. Effects on speech acoustics were consistent with expected changes due to the Lombard effect (e.g., increased intensity and fundamental frequency). Effects on speech fluency showed decreased pausing and increased disfluencies. Several background noise conditions also seemed to interfere with language production. Conclusions Findings suggest that young adults present with both compensatory and interference effects when speaking in noise. Several adjustments may facilitate intelligibility when noise is present and help both speaker and listener maintain attention on the production. Other adjustments provide evidence that background noise eliciting linguistic interference has the potential to degrade spoken language even for healthy young adults, because of increased cognitive demands.
17
Adnan Ahmed Aladhami, Noorulhuda. "An Overview Concerning the Monologue and Stand-up Comedy." Arab World English Journal For Translation and Literary Studies 8, no. 1 (February 15, 2024): 112–21. http://dx.doi.org/10.24093/awejtls/vol8no1.8.
Повний текст джерелаАнотація:
A theatrical production is usually seen as a blending of acting, dancing, singing, and spoken conversation, known as musical theatre. Furthermore, a musical’s storyline and emotional elements, which include humour, sorrow, love, and wrath, are communicated through words, music, dance, and technical aspects of the performance. This paper explores the similarities and differences between two dramatic performances: stand-up comedy and monologue. The significance of this paper is to examine the gap in dramaturgical history to link between different forms of performances concerning the past and the present time, such as the link between stand-up comedy and a monologue. The quest has provided a vibrant resemblance to say that stand-up comedy is a natural evolution of a monologue presented with modern styles and ideas. The performer, whether a comedian or monologist, is mostly perceived to express a performer’s thoughts clearly, though occasionally directly addressing another character or spectators. The show in both performances requires a rhetorical act, where a crowd interface is used as part of their set or practice. Finally, a solo performer can be called a monologist or stand-up comedian, whether found on stage, television, or written verse, who presents their art to entertain or deliver a definite message to an active or passive spectator. The content usually takes the shape of a song or sarcastic speech that may start with a personal memory of the presenter, considered a public or common issue in society.
18
Bane, Michael A. "‘O Strange Transformation!’ The Monologue from Act II Scene 5 of Lully and Quinault's Armide (1686) and the Retelling of Tasso in France." Cambridge Opera Journal 31, no. 1 (March 2019): 1–25. http://dx.doi.org/10.1017/s0954586719000107.
Повний текст джерелаАнотація:
AbstractIn the famous monologue from Act II scene 5 of Lully and Quinault's Armide (1686), the title character attempts to slay the sleeping hero Renaud but, overcome by his beauty, falls in love with him instead. As commentators have noted, the monologue departs from the opera's source material, Tasso's epic poem La Gerusalemme liberata (1581). In contrast to the placid scene recounted by Tasso in canto 14 of the original work, the libretto depicts Armide's transformation from enemy to lover as a moment of struggle and psychological doubt. While scholarship has generally credited Quinault with having recognised the dramatic potential of the encounter, this article argues for a broader contextualisation of the scene in seventeenth-century French artistic production. A review of the major translations and adaptations of Tasso's poem published in France before 1686 reveals that Quinault's libretto represents not a decisive break with the past but rather one contribution to a much broader tradition of literary and musical experimentation.
19
Martišiūtė-Linartienė, Aušra. "Intertexts of Theatrical Experiments in the Plays of Kostas Ostrauskas." Colloquia 37 (December 30, 2016): 72–93. http://dx.doi.org/10.51554/col.2016.28904.
Повний текст джерелаАнотація:
During the past decade, the plays of Kostas Ostrauskas (1926–2012) have been studied in terms of their intertextuality, with researchers such as Irina Melnikova, Reda Pabarčienė and others highlighting the structural and semantic dialogue between the author’s own vs. borrowed words, and with literary texts, different art forms (literature, music, painting, cinema), and so on. However, theatre had yet to be included in the intertexts being studied, even though it is often referred to as one of the most important contexts (c.f. Jonas Lankutis, Jurgis Blekaitis, Ingrida Ruchlevičienė, etc). Drawing on the theatre performativity studies of Hans-Thies Lehmann and Erika Fischer-Lichte, the author of this article explores the question of context and how it becomes intertext in Ostrauskas’s dramas.In his first-wave avantgarde works Ostrauskas creates a relationship of parody (the intertext of the microdrama “Instaliacija” (Installation) is Marcel Duchamp’s sculpture “The Fountain”; the microdrama “Šauksmas” (The Cry) references Edvard Munch’s Expressionist painting). In secondwave avantgarde works – in “Fluxus” events and performances – Ostrauskas creates an imitative relationship, further extending the limits of experimentation (the “Fluxus” intertext – George Maciunas’s performance “Piano Activities” – is reduced to one performer, the action is complicated by the introduction of classical music; the text of “Paskutinis monologas” (Final Monologue) consists only of the title and the comment “silence,” extending John Cage’s idea of silent plays by eliminating the stage’s actor and object). The playwright reduced the extent of the verbal text to a minimum (referring to the play as a microdrama), focusing on the ideas of performance and action.
20
Zeng, Xiaoan, and Junjin Lai. "On the Emotional Colors and Performance Techniques in Brahms' Interlude Op.118 No.2." Journal of Education and Culture Studies 7, no. 4 (November 7, 2023): p65. http://dx.doi.org/10.22158/jecs.v7n4p65.
Повний текст джерелаАнотація:
Johannes Brahms was the last German Austrian classical master of the romantic period. In this era of significant changes in music style, Brahms' early creative style still retained some traces of classical style. However, in his later years, he became more passionate about small genre lyrical works. I believe that these works must be the gentlest and most monologue works of Brahms' life. The interlude Op118 No.2, created in the late period of Brahms, possesses extremely clever creative techniques and extremely beautiful melodies, and is later known as the "Love Letter to Clara". The emotions and performance techniques involved are worth further exploration.
21
Heck, Adeline. "Narcissistic Fiction: Music Theater of the Everyday in Édouard Dujardin’s Les Lauriers sont coupés (1887)." 19th-Century Music 46, no. 3 (2023): 244–72. http://dx.doi.org/10.1525/ncm.2023.46.3.244.
Повний текст джерелаАнотація:
The Symbolist novella Les Lauriers sont coupés (1887) by Édouard Dujardin (1861–1949) is the first work of fiction in Western literature to be entirely written as an interior monologue. Yet it took more than thirty years for Dujardin’s innovation to be recognized thanks to James Joyce acknowledging Les Lauriers as an important formal influence for Ulysses (1922). Subsequently, Dujardin claimed in the essay “Le monologue intérieur” (1931) that his goal had been to transpose Wagnerian procedures into writing. Since then, scholars have either denied or confirmed the novel’s Wagnerian inspiration. The latter interpretation has become the consensus in scholarship. However, in their efforts to connect Les Lauriers with Wagner, previous studies have neglected the constant presence of French musical theater references in the novel, presumably because their presence represents a form of paradox for a devout Wagnerite like Dujardin. This article is the first to analyze them. It also ties these references together with Symbolism’s interest in metafiction, that is to say, in fiction that reflects on its own existence as fiction. I argue that Dujardin was eager to follow the model of the Wagnerian novel proposed by his friend Teodor de Wyzewa in the Revue wagnérienne, that of setting on paper the poet’s entire existence by depicting his/her every emotion, sensation, and thought. In his discovery of the difficulty involved in performing such a task, Dujardin switched his focus to what his mentor Mallarmé called a “Type”: a depersonalized character, who is supposed to stand in as a representative of France’s youth. Hence, the protagonist of Les Lauriers sont coupés being an average character, with musical tastes that are illustrative of his time. Thus, the numerous musical references peppering Les Lauriers are not connected to the elitist world of Wagnerism in the 1880s, but rather to what were then beloved favorites like François-Marie Boieldieu’s La Dame blanche (1825), or Edmond Audran’s La Mascotte (1880). But there is an added twist, as Dujardin did not let go of Wagner’s influence entirely and used Audran’s operetta as a springboard with which to experiment with Wagnerian leitmotifs in literature. Ultimately, I show that the musical references in Les Lauriers are systematically divorced from real-life performance in order to become strictly mental creations that highlight just how isolated and self-absorbed the protagonist—and, by extension, the author himself in the act of creation—really is.
22
Schneider, Herbert. "Entwicklung des Air mit Da capo von Lully bis Rameau und seinen französischen Zeitgenossen." Die Musikforschung 74, no. 1 (September 22, 2021): 26–59. http://dx.doi.org/10.52412/mf.2021.h1.2992.
Повний текст джерелаАнотація:
The starting-point is the rudimentary Italian aria with da capo, respectively with a frame, which surrounds a much longer central part. This type widely spread in the 17th century gets the main form of Quinault’s and Lully’s monologue (the other one is through-composed). It remains present in the Italian opera in a small quantity when the classical aria da capo has already been the main type of aria, whereas in France its number decreases much slower and gets rare in the 1750th. The French cantata imported from Italy blazes the trail for the classical da capo aria firstly in the opera-ballet, then in the divertissements of the tragédie lyrique in Italian, soon also in French and slowly also in arias with dramatic content and expression in all types of French music theatre. The aria with da capo and the classical da capo aria are examined in detail in operas of Rameau and his contemporaries, especially their individual solutions of text, musical forms and expression. Finally J.-J. Rousseau’s typology of the da capo aria is examined, verified and criticized. (Autor)
23
Crnjanski, Nataša. "Semiosis of the opera 'The Knock' by Aleksandra Vrebalov." New Sound, no. 62-2 (2023): 55–79. http://dx.doi.org/10.5937/newso23062055c.
Повний текст джерелаАнотація:
The opera The Knock was commissioned by the Glimmerglass Festival and was planned to be performed in 2021. Due to the pandemic the premiere was postponed, but Glimmerglass decided to film the opera and stream it on YouTube. The screened version of The Knock is the subject of this paper. Despite the setback, the opera had its live premiere on June 23, 2023 at the Cincinnati Opera House. The libretto of The Knock was inspired by the autobiographical testimonies of military wives which Deborah Brevoort, the librettist, relied upon. Inspired by the strong emotions of the story along with the inner monologue of the characters, Aleksandra Vrebalov created music which not only reflects these inner states, but together with the text and image creates an inextricable semantic network, or in other words, a semiosis of the artwork.
24
Rosul, Tetiana. "Intonation image of the home area in «Reminiscences» chamber symphony by V. Telychko." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 130–34. http://dx.doi.org/10.32461/2226-2180.39.2021.238707.
Повний текст джерелаАнотація:
The purpose of the article is to identify the peculiarities of the intonation plot deployment in Reminiscences chamber symphony by V. Telychko in terms of the genre interpretation peculiarities. This study is particularly focused on the analysis of V. Telychko’s musical language components, the principles of its formation, as well as the stylistic peculiarities. The methodology includes the methods of stylistic, historical-comparative, system-structural, and hermeneutic analysis aimed at understanding the features of this genre in the composer’s legacy. Scientific novelty. The article theoretically substantiates the individual-style model of the chamber symphony genre in art by V. Telychko. Conclusions. Reminiscences chamber symphony is a unique artistic phenomenon in the symphonic works not only of V. Telychko but also of the Transcarpathian professional school of composers. Continuing the line of lyrical-psychological meditative symphonism inherent in modern music, the work represents the moment of human touch to the inviolable, eternal, where not only intonational images of the past but also their relationship and lifestyle become extremely important. Meditative images of Transcarpathian musicians are organically embedded by the composer into several thematic formations: the author's topics of reminiscences and the relentless cluster of time. The use of quotations and monograms, along with the other means of expression, introduces programmatic features, symphonic plots. The intonation plot of the chamber symphony formed an individual genre model of the work, which combines a symphony and a lyrical monologue. Symphony is characterized by a cyclical structure, the logic of musical drama, intonation connections between the parts. The confessional nature of the author's statement reveals the features of monologue.
25
Gurung, Gol Man. "Dramatic Technique in Frost's Poetry." Interdisciplinary Journal of Management and Social Sciences 2, no. 2 (December 31, 2021): 27–31. http://dx.doi.org/10.3126/ijmss.v2i2.42596.
Повний текст джерелаАнотація:
Robert Frost’s poetry is consolidation of theme, content, form, technique, and prosody. When words are forced into a strict prosody without apprehension of connotation, they become forced obstinate and merely clinking sounds. The combination of form, content, and music generate beauty in verse. By means of the use of dialogue and monologue, he gives genuine treatment to realistic situation in his poems. Three poems: "The Death of the Hired Man", "Stopping by Woods on a Snowy Evening" and "West Running Brook" present brilliance, vivacity, and a sense of exhilaration due to the dramatic techniques of presentation. The speaker in these poems should not be taken literally to represent Frost, rather a character who replies in typical ways to the world around him. The speaker is independent, lonely, and sensitive and he often yearns for acquaintance. The magnitude of his verse lies in its handling of man in relation to nature through dramatic technique.
26
Lastovetska-Solanska, Zoryana, Iryna Bermes, Myroslava Zhyshkovych, Maryana Ferendovych, and Solomiya Pryymak. "Genre and style models of contemporary Ukrainian vocal and choral music." Salud, Ciencia y Tecnología - Serie de Conferencias 3 (July 11, 2024): 1092. http://dx.doi.org/10.56294/sctconf20241092.
Повний текст джерелаАнотація:
The relevance of the study of the chosen topic is conditioned by the fact that a wide panorama of compositions in the field of vocal and choral music appears, reflecting the modern process of reviving the national culture of Ukraine. The variety of their content, concepts, and structures contributes to the popularization of the spiritual and creative heritage of the Ukrainian people, which requires special research in modern conditions. The purpose of the study is to identify genre features and stylistic patterns that characterize the works of the vocal and choral branch of musical art. In the course of the study, methods of analysis, comparison, and synthesis were used. As a result, genre models of vocal and choral compositions of small (painting; prayer; monologue; song; arrangement) and large forms (cantata, choral concert suite, vocal and instrumental cycle, choral cycle) were discovered. The leading stylistic components of modern vocal and choral compositions were established, their content was emphasized (synthesis of elements of archaic play (action); folk songs; spiritual chant and modal, classical tonal, chromatic sound systems in small forms; a unique author’s idea, processing of primary sources from folk song art and church services based on a wide range of different fret and technical systems in large forms). The study's conclusions confirm the utilization of folk, church, and academic traditions, both past and present, alongside structural, compositional, technical, intonational, and rhythmic elements from various musical genres and cultures in vocal and choral compositions of the first quarter of the 21st century
27
Stronko, Boryslav. "Innuendo in Music as an Active Perception Factor." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 18–28. http://dx.doi.org/10.31318/2522-4190.2022.134.269580.
Повний текст джерелаАнотація:
Relevance of the study. A problem, discussed in the article is listener's co-activity in the process of perception music. Communicative aspects of art were deeply and variously studied in many musicologists' works. But item of listener's co-participation in phenomena of tension between potential, most probable way of composer's thought (from one side) and the real sounding of musical composition (from another side) is not completely explored. Phenomena of music is considered as a dialogue among composition and listener's consciousness, in spite of traditional view to music as a composer's monologue only.
Main objective is to reveal the communicative and aesthetic potential of innuendo in music. One of the most significant expedients in this sphere of thinking is innuendo. In the context of recent paper this notion is treated as absence of the most waited music material as a specific mean, which causes more sharp and strong perception of tide of sounds.
Methodology. Methods of this study are: conditional comparative analysis of a music compositions' set; modeling of listener's expectations from music; reconstruction of composers' design, using the author’s experience of composing. These methods were explored in the modeling of listener’s perception of the several music compositions of different styles.
The results and conclusions. Contemporary academic concert music, as a rule, means a division to active music makers (e.g. composer, improviser, performer) and passive listener. However, even in art styles the vivid link between piece of music and public contains hidden interactivity of listener. It may be a relict of co-participation in music performance in the folk and church traditions. There is no real interactivity in art genres because of listener's impossibility to intervene into real sounding structures. But in the context of certain style advanced listener has an opportunity to feel the difference between most probable and real composer's variants of continuation. Listener is presented as a reconstructor of composer's ideas, of course, in cause of his knowledge of present style.
Such expectations of listener belong to functionality in music. Innuendo is effect of pseudodeconstruction, based on the functional expectations system. There are such types of music innuendo as: 1) vertical (absence of expected texture component); 2) horizontal (absence of expected continuation); 3) active (by disruption of expected continuation); 4) passive (absence without disruption); 5) provocative (incompleteness as an occasion to maintain more complete version of present theme).
Absence as a kind of Presence (Heidegger) is an ontological basis of innuendo effect, because it is replaced full Presence as real in the place of expected. Thereby reality of this fragment isn't absolute but one from set of possibilities. Dialogue between "Listener's Variant" and "Composers variant" is a realization of ontological time's potential, which contains more than one option in future.
28
Cheng, Guangrui. "Leslie's Love for Life with Its Musical and Lyrical Stylizations." BCP Education & Psychology 9 (March 29, 2023): 407–11. http://dx.doi.org/10.54691/bcpep.v9i.4715.
Повний текст джерелаАнотація:
This study chooses famous Hong Kong artist Leslie Cheung's song Love for Life for a detailed analysis of the musical and performance culture of that time. The song this study chooses has the style of Feng Yansi’s Song Poems Ye Jinmen, with a strong literati atmosphere, beautiful and colorful, euphemistic and implicit. Love for Life not only has good lyrics, but the music also exquisitely embodies the artistic conception of the lyrics. Through Leslie's singing, he sings such classical poetic lyrics in a monologue poet's voice. The live version of his 1988 concert, complete with medieval prince costumes, is quite Romeo style, reminiscent of Lam Yihua's words 'If there is a Romeo in the world, I think he is similar to you'. Apart from the analysis of Leslie, this study also draws some attention to the other contributors such as Zhong Xiaoyang. It is argued that through the cooperation of these artists, the song successfully represented the golden age of Hong Kong and one of the peaks of Cantonese culture.
29
Savenko, S. I. "The Vitality of Music: From the Origins to the Realities of Non-Classics." Art & Culture Studies, no. 2 (June 2022): 10–55. http://dx.doi.org/10.51678/2226-0072-2022-2-10-55.
Повний текст джерелаАнотація:
The subject of the article is the phenomenon of vitality in music. It is considered as a generic feature of music dating back to its origins and early forms. The historical evolution of musical vitality is briefly described, presented on individual examples, starting from the late Baroque, the works by I. Haydn, L. Beethoven, R. Wagner, A. Scriabin up to D. Shostakovich and the composers of the second half of the 20th — first third of the 21st centuries, to whom the main attention is paid. The purpose of the article is to identify specific, relatively stable forms of vitality’s manifestation which materialize both in individual elements of the musical language (such, for example, is the new monody that arose with the birth of opera at the beginning of the 17th century), and in integral phenomena of a systematic order. Among the stylistic events of the second kind, the article is specifically examined the concept of creation, the gesture of birth. Gradually, it crystallizes in music as thematic constant (based on biblical mythology, as in Haydn’s Creation of the World oratorio), but eventually emancipates from the plot basis, acquiring the universal significance. The result of the research is the identification of the mythological origins of the concept of creation; in some cases they come to the forefront (Introduction to the opera The Rhinegold by Wagner; Stimmung for six vocalists and electronics by K. Stockhausen). Another version of the concept of creation is formed in line with the romantic tradition. Then the birth of the world is associated with the lonely voice of the hero — the initial monologue of the solo instrument dramatically opposed to the orchestral mass (works of the concert genre by A. Schnittke, S. Gubaidulina, W. Lutosławski, B. Tishchenko, E. Denisov). In all such cases, the heightened sense of vitality is enhanced by special performing techniques. In the new music, the concept of creation is further developed and logically completed. The gesture of creation is no longer answered by the final statement of existence but by the gesture of destruction, annihilation of sound material — attenuation, acoustic extinction. The feeling of vitality in such compositions is specific, since musical material lives in them according to its own laws as if it doesn’t need a mirror of the subject (large orchestral compositions by Ch. Ives, Ya. Ksenakis, V. Tarnopolsky). The new music “brings to play” other non-classical aspects of vitality associated with threshold states on the verse of life and death. Starting with I. Stravinsky’s ballet The Rite of Spring the vitality of transgression becomes a noticeable phenomenon of contemporary music.
30
Yarosh, O. V. "M.P. Mussorgsky’s Vocal Compositions in the Genre of Musical Portrait." Art & Culture Studies, no. 3 (August 2022): 220–45. http://dx.doi.org/10.51678/2226-0072-2022-3-220-245.
Повний текст джерелаАнотація:
One of the amazing facets of M.P. Mussorgsky’s creative talent was his ability to capture vivid images of specific people: those of contemporaries surrounding him in everyday life and those associated with recreating historical figures and characters from other eras. The article considers the peculiarities of the implementation of the musical portrait genre in the composer’s music. The relevance of the topic is due to the fact that this aspect in the study of M.P. Mussorgsky’s chamber-vocal music has not attracted the attention of scholars yet. The first part of the article reveals the specifics of the musical portrait genre based on both musicological works and works in the field of literature and fine arts. The main features in this genre are the following: human image; emphasis on the visible; authenticity; spatial and temporal limitations; generalization of the whole through a part, national and social principles. The revealed statements form the methodological basis for considering various options for the implementation of the musical portrait genre in the composer’s chamber-vocal works, which is the purpose of this study. The article shows that the main role in revealing the inner world of M.P. Mussorgsky’s characters is played by speech intonation, which predetermined the composer’s appeal to such genres as monologue, implied dialogue, internal dialogue, and prayer. The second part of the article considers the peculiarities of the implementation of these genres on the example of the composer’s specific works. Special attention is paid to children’s portraits. The study results in the conclusion that M.P. Mussorgsky, possessing the talent of a genius psychologist, managed to capture in his chamber and vocal music the stunningly accurate and profound portraits of his contemporaries, belonging to different classes. The portraits of children occupy a special place among his works. He succeeded in penetrating into their psychology by means of the artistic embodiment of vocal intonation based on Russian oral speech and folk songs. All his portraits are characterized by their amazing vitality and truthfulness, emphasizing the uniqueness of the composer’s talent.
31
Anwas, Oos M. "MODEL BUKU TEKS PELAJARAN BERBASIS TEKNOLOGI INFORMASI DAN KOMUNIKASI." Jurnal Kwangsan 4, no. 1 (June 12, 2016): 17. http://dx.doi.org/10.31800/jtp.kw.v4n1.p17--32.
Повний текст джерелаАнотація:
Innovation on book industry, textbooks of particular, tends to be relatively static, eventhough the demand and the development of ICT advances very fast. This article aims to study the benefits and the development model of ICT based textbooks. This article applies a review method of relevant literature. The results show that the benefits of ICT-based textbooks are among others: enabling the content presented in multimedia format so that it becomes more attractive and easily understood, learning becomes more active, variety, interactive, more productive in efficient manner, and in line with the development trend of the digital native generation.The ICT-based textbooks development can be packaged in audiobooks and e-books. The development of audiobooks and e-books is done by repackaging the printed books into audio media by optimizing dialogue or monologue, music, and sound effects aspects.The development model of e-books and audiobooks is done by changing the printed book content into digital format including the text, images, audio, video, animation, and interactive simulations according to the characteristics of the lesson content. The study concluded that ICT-based textbooks needs to be developed in the models of audiobook and e-book by presenting the learning content in multimedia format so that it becomes more attractive and easily understood by learners. AbstrakInovasi industri perbukuan terutama buku teks pelajaran cenderung statis, padahal tuntutan dan perkembangan Teknologi Informasi dan Komunikasi (TIK) sangat pesat. Tulisan ini bertujuan untuk mengkaji manfaat dan model pengembangan buku teks pelajaran berbasis TIK. Tulisan ini menggunakan metode kajian literatur yang relevan. Hasil kajian menunjukkan bahwa manfaat buku teks pelajaran berbasis TIK antara lain: menyajikan konten mutimedia sehingga lebih menarik dan mudah dipahami; belajar lebih aktif, variatif, dan interaktif; secara produksi lebih efisien; serta sesuai dengan trend perkembangan generasi digital native. Pengembangan buku teks pelajaran berbasis TIK dapat dilakukan melalui model audiobook dan e-book. Pengembangan model audiobook dilakukan dengan cara mengemas buku cetak ke dalam media audio dengan mengotimalkan aspek: dialog/monolog, musik, dan efek suara. Pengembangan model e-book dilakukan dengan cara mengubah sajian konten buku cetak ke dalam format digital, meliputi unsur: teks, gambar, audio, video, animasi, dan simulasi interaktif sesuai dengan karakteristik dari konten pelajaran tersebut. Kajian ini menyimpulkan bahwa buku teks pelajaran berbasis TIK perlu dikembangkan baik model audiobook maupun e-book dengan menyajikan konten pembelajaran secara multimedia sehingga lebih menarik dan mudah dipahami oleh peserta didik.
32
Anwas, Oos M. "MODEL BUKU TEKS PELAJARAN BERBASIS TEKNOLOGI INFORMASI DAN KOMUNIKASI." Jurnal Kwangsan 4, no. 1 (June 12, 2016): 17. http://dx.doi.org/10.31800/jtpk.v4n1.p17--32.
Повний текст джерелаАнотація:
Innovation on book industry, textbooks of particular, tends to be relatively static, eventhough the demand and the development of ICT advances very fast. This article aims to study the benefits and the development model of ICT based textbooks. This article applies a review method of relevant literature. The results show that the benefits of ICT-based textbooks are among others: enabling the content presented in multimedia format so that it becomes more attractive and easily understood, learning becomes more active, variety, interactive, more productive in efficient manner, and in line with the development trend of the digital native generation.The ICT-based textbooks development can be packaged in audiobooks and e-books. The development of audiobooks and e-books is done by repackaging the printed books into audio media by optimizing dialogue or monologue, music, and sound effects aspects.The development model of e-books and audiobooks is done by changing the printed book content into digital format including the text, images, audio, video, animation, and interactive simulations according to the characteristics of the lesson content. The study concluded that ICT-based textbooks needs to be developed in the models of audiobook and e-book by presenting the learning content in multimedia format so that it becomes more attractive and easily understood by learners. AbstrakInovasi industri perbukuan terutama buku teks pelajaran cenderung statis, padahal tuntutan dan perkembangan Teknologi Informasi dan Komunikasi (TIK) sangat pesat. Tulisan ini bertujuan untuk mengkaji manfaat dan model pengembangan buku teks pelajaran berbasis TIK. Tulisan ini menggunakan metode kajian literatur yang relevan. Hasil kajian menunjukkan bahwa manfaat buku teks pelajaran berbasis TIK antara lain: menyajikan konten mutimedia sehingga lebih menarik dan mudah dipahami; belajar lebih aktif, variatif, dan interaktif; secara produksi lebih efisien; serta sesuai dengan trend perkembangan generasi digital native. Pengembangan buku teks pelajaran berbasis TIK dapat dilakukan melalui model audiobook dan e-book. Pengembangan model audiobook dilakukan dengan cara mengemas buku cetak ke dalam media audio dengan mengotimalkan aspek: dialog/monolog, musik, dan efek suara. Pengembangan model e-book dilakukan dengan cara mengubah sajian konten buku cetak ke dalam format digital, meliputi unsur: teks, gambar, audio, video, animasi, dan simulasi interaktif sesuai dengan karakteristik dari konten pelajaran tersebut. Kajian ini menyimpulkan bahwa buku teks pelajaran berbasis TIK perlu dikembangkan baik model audiobook maupun e-book dengan menyajikan konten pembelajaran secara multimedia sehingga lebih menarik dan mudah dipahami oleh peserta didik.
33
Langford, Jeffrey Alan. "Prix de Rome Works, and: L'enfance du Christ, and: L'enfance du Christ, Reduction piano, and: Cleopatre, and: Herminie, and: La mort d'Orphee: Monologue et Bacchanale (review)." Notes 57, no. 3 (2001): 742–45. http://dx.doi.org/10.1353/not.2001.0033.
Повний текст джерела
34
Aprilia Susanti, Slamet Setiawan,. "Sexuality In Dangdut Lyrics: A Critical Discourse Analysis." Psychology and Education Journal 58, no. 1 (January 1, 2021): 3286–95. http://dx.doi.org/10.17762/pae.v58i1.1268.
Повний текст джерелаАнотація:
Dangdut is claimed to be the original music genre of Indonesia has been undergoing radical change lately in both rhythm and lyric. The latter is manifested into sub-genre called dangdut koplo which manipulates the rapid beat of ketipung ‘tom-tom’. The latter is expressed by altering message of the lyric to be blatant vulgar which leads to sexuality. This study investigated mainly on the latter case; the language expression and linguistic features used in dangdut lyric to exploit sexuality, the form of relation among the participants, and socio-cultural phenomena reflected within dangdut lyric with sensual content. The qualitative analysis using Critical Discourse Analysis (CDA) proposed by Fairclough (1995) were used to be the conceptual framework. There were 19 controversial dangdut songs lyric considered as sensual and exploit sexuality were taken as the source of the data and twenty listeners were interviewed. The results of the study show that: Firstly, the lyrics employed Bahasa Indonesia and Javanese, figurative language in both dialogue and monologue, narrative text, rhymes, rhetorical question, seducing expression, and incomplete sentence structure. Secondly, the songs talked about man and woman relationship, sensual desire, and gender stereotype. Finally, the songs concern on the justifiability of the sensual content and economy motive. Besides, free sex and gender stereotype are the reflection of sociocultural phenomena.
35
Yan, Haosyuan. "Genre Liederabend in creative practice by J. Kauffmann." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 183–97. http://dx.doi.org/10.34064/khnum1-55.13.
Повний текст джерелаАнотація:
Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and impeccable technique. Among the outstanding events there are the performances of G. Mahler’s chamber opuses (romances, «Song of the Earth», «Songs of the Dead Children», R. Strauss; Liederabends in Bamberg, Munich and the Metropolitan Opera with F. Liszt’s songs «Three Sonnets of Petrarch», G. Mahler, A. Dupark (including on Heine’s and Goethe’s verses), R. Wagner (Five Songs on Matilda Wesendonk’s verses), B. Britten (Seven Sonnets by Michelangelo). The singer’s attention to the AustrianGerman repertoire is the special trait of such chamber evenings. Analysis of recent publications on the topic. The main material on J. Kaufmann’s creative work is contained in numerous interviews, official site materials, Thomas Voigt’s book called «Meinen die wirklich mich», nonfiction articles and reviews on the performance of, in particular, Liederabends (T. Belova, T. Yelagin, E. Shapinska, Tim Ashley, and Christie Franke). From the studies of chamber and vocal performance (I. Gersamiya, T. Madysheva, T. Lymareva), the classification of dialogue quality (E. Stepanidina) in chamber music is involved. The systematic approach allows (based on G. Tsypin’s research) to identify the phenomenon of J. Kaufmann’s creativity. The purpose of the study is the formulation of the basic parameters of his performing style based on the analysis of J. Kaufmann’s Liederabends. Presentation of the main research material. In «The Winter Way» the singer resorts to such expressive means as a little exaggerated, chanted diction of the initial phrases («Sleep quietly»), radically contrasting dynamics of opera ff and subtle pp («Flood»), extremely slow tempo and filigree breathing («Inn»), «performance on the verge» of sound and silence («Loneliness», «Grey Hair», «Crow», and «Last Hope»). The centre of the performance concept is «Loneliness» (according to the singer himself). K. Frank sees the performance by Kaufmann as a rich spectrum of emotions; many listeners note the introversion of his expression. Concerning the conceptual dimension of J. Kaufmann’s interpretation of “The Winter Way”, the following facts were noted: the integrity and the construction of the performance form; the conscious avoidance of unnecessary expressiveness, monologue quality (the master connects the songs, creating an extended monologue), and artistry. Conclusions of the study. The analysis of Liederabends made it possible to find the components of J. Kaufmann’s performing style that characterize his individuality. 1. Intellectualism, conceptual design and «cyclicality» of the embodiment. For Liederabends the singer always chooses sophisticated programs, dominated by song cycles, or even the evenings devoted to the creative work of one composer. From the point of view of dramaturgy, the singer combines several songs into a kind of a micro-cycle, which enhances the monologue of the expression (dialogue «I-I»); the performance by the singer of any composition or cycle is always integral and intends for the catharsis. 2. The system of vocal expressive means that allow the singer to simulate different facets of images. Liederabends reflect the main features of J. Kaufmann’s style, which can also be noted in terms of opera interpretations: the economy of the performer, the singer’s commitment to conducting the cantilena, the role of the rhythmic component in the vocal score, the ability to tune his voice in different vocal ensembles, brilliant piano and mezzo voce, the brightness of forte, the filigree diminuendo and more. Kaufmann’s outwardly restrained manner of performance allows conveying the shades of poetic and musical text, reaching the heights peculiar to him as the performer of the tragic roles of the opera repertoire. In the chamber performance, some things sound even more pronounced. This applies to timbre (the singer can choose the desired colour of the voice, in particular, a matte or «steel» hue), the dynamic hue of ppp (sometimes a barely audible sound of the voice in the vocal cycle by F. Schubert gave a sense of boundary between the worlds, which is as if crossed by the lyric hero), diction (the singer speaks words clearly, and sometimes even sings in a recitative manner, in particular F. Schubert’s «Warrant»), and rhythm (he has a specific «acuteness» with certain disturbances of a uniform course, which has a powerful influence on the audience). Analysing the method of J. Kaufmann’s work with the author’s musical material, it is noted that he respectfully treats the text of the performed compositions, never exaggerates with “liberties” (agogic deviations, text notes, and fioritures). In terms of behavioural characteristics, J. Kaufmann’s performance always prevails in masculinity; from the point of view of the dialogue of the vocal and piano parties in J. Kaufmann’s Liederabends, the monologue quality is of great importance. All of the above allows us to identify another feature of Kaufmann’s performing style – his artistry. Due to his unstoppable artistic energy, which is felt by the listeners and visitors of Liederabends, the singer creates vivid, conceptual song evenings that are generally distinguished by the thoughtfulness of interpretations and which will surely be included in the collection of the world chamber performance. The prospect of further study of the topic is related to the study of J. Kaufmann’s performing style from the standpoint of interpretology.
36
Чигарёва, Е. И. "Homonymous Terms in Musical and Philological Studies." Журнал Общества теории музыки, no. 1(29) (March 5, 2020): 36–43. http://dx.doi.org/10.26176/otmroo.2020.29.1.003.
Повний текст джерелаАнотація:
Статья посвящена сравнению терминологии в музыке и литературе. Несмотря на общность многих терминов, они очень часто имеют различное значение, то есть оказываются терминами-омонимами (Е. Г. Эткинд). Подобные явления могут возникнуть и из-за параллелизма видов искусства, и как результат взаимовлияния двух гуманитарных наук (музыковедение и филология), но также вследствие аналогий, которые используют исследователи, пытаясь сблизить музыку и литературу.Омонимия терминов может проявляться: на уровне строения музыкальной и литературной речи (мотив, фраза, предложение, период и т. д.); на уровне художественных приемов и средств выразительности (консонанс и диссонанс, рифма, метр, ритм, синтаксический параллелизм и т. д.); на уровне видов музыкальной (литературной) речи (поэзия и проза, полифония и т. д.); на уровне жанров (поэма, новелла, элегия, сказка, эскиз, экспромт, афоризмы, мадригал, монолог и т. д.).В статье подробно рассматриваются первые два уровня. Анализ показывает как близость, так и подчас радикальное различие двух видов искусства (и соответственно использующейся учеными терминологии), что связано с их спецификой. The article is devoted to the comparison of terminology in music and literature. Despite the commonality of many terms, they often have different meanings, in other words, they are homonymous terms (E. G. Etkind). Such phenomena may arise because of the parallelism of the arts, and as a result of the interaction of the two humanities (musicology and philology), but also because of the analogies used by researchers trying to bring together music and literature.Homonymy of terms can be manifested at the level of structure of musical and literary speech (motive, phrase, sentence, period, etc.); at the level of artistic techniques and means of expression (consonance and dissonance, rhyme, meter, rhythm, syntactic parallelism, etc.); at the level of types of musical (literary) speech (poetry and prose, polyphony, etc.); at the level of genres (poem, Novella, Elegy, fairy tale, sketch, impromptu, aphorisms, Madrigal, monologue etc.).The article details the first two levels. The analysis shows both the commonality and sometimes radical difference between the two types of art (and, accordingly, the terminology used by researchers), which is associated with their specificity.
37
Motorna, Tetiana. "O. Messian's piano cycle "20 views on the infant Jesus" in the aspect of connection with the legacy of О. Scriabin". National Academy of Managerial Staff of Culture and Arts Herald, № 2 (17 вересня 2021): 287–91. http://dx.doi.org/10.32461/2226-3209.2.2021.240096.
Повний текст джерелаАнотація:
Purpose of the article. To investigate the significant stylistic influences of О. Scriabin's creative method on О. Messian's compositional approach. Determine the means by which the liturgical and mysterious orientation of the work of both composers is realized. Methodology. The methodological foundations of the work include analytical, comparative-historical and genre-nominative musicological approaches determined by aesthetic, cultural and philosophical positions. This methodological approach allows us to reveal and analyze individual plays of the cycle "20 views on the infant Jesus" in order to find an adequate approach to the construction of interpretation. Scientific novelty. For the first time in Ukrainian musicology, the completeness of the implementation of the idea of scriabinism in the works of О. Messian is being raised. For the first time in this perspective, the cycle "20 views on the infant Jesus"is analyzed. Attention is drawn to the extra-procedural, extra-dramatic, but especially ecstatic identification of the musical meaning of compositions for the first time. Conclusions. Analysis from the accepted perspective of the expressive positions of the O cycle. Messiana demonstrated a pronounced liturgical-mysterious orientation, which correlates with the characteristic attitudes of Scriabin's music. The analysis highlights the effect of" quiet climax", which is" drama on the contrary", since it focuses on the sacred phenomenon of the infant Jesus, which defines the essence of this phenomenon. In the works of О. Messian, we find a "spill" of dance-motor sounds, which corresponds to the Franciscan attitude to sacred danceability – and to divine play in ecstatic compositions by О. Scriabin. The interval-semantic load of the Prometheus Chord Forms a hyper-branched monologue of the cycle of A. Messiaen, in which the basis is the concept of an open sequence of the composition of pieces of the French Clavier tradition, and The Prelude in the sacred sense of its basis of music, as it is seen in the Sonata-poetic heritage of О. Scriabin, and the suite-variational thinking of О. Messiaen.
38
Angelina, Mamona. "L. Ukrainka – M. Lysenko’s «Oriental melody»: specifics of recreation of Oriental imagery." Aspects of Historical Musicology 26, no. 26 (July 22, 2022): 56–66. http://dx.doi.org/10.34064/khnum2-26.04.
Повний текст джерелаАнотація:
Statement of the problem. The article analyzes the ways of recreating oriental features in the song “Oriental Melody” (“Skhidna melodiia”) by Ukrainian composer Mykola Lysenko, based on a poem by Ukrainian poetess, playwright, short story writer Lesia Ukrainka. This song, or “solospiv”, as Lysenko called his vocal and piano works, was created in the last period of the composer’s work, when, working in this genre, he began to use poems by modern Ukrainian poets, including Lesia Ukrainka. This fact most likely caused some changes in the style of these works in comparison with Lysenko’s more traditional early works. “Oriental melody” has not been previously studied by musicologists, so this article conducts its composition analysis in order to understand its structure and ways of interpreting the poetic text The purpose of the study is to identify the specific embodiment of oriental features in the musical language of the song. Results and conclusions. Lesia Ukrainka’s poem “Oriental Melody” from her second Crimean cycle “Crimean Echoes” (“Krymski vidhuky”) is a love poem, in which oriental images are interspersed with exotic landscapes of the Crimea. The composer strives to follow the structure of the poem, which led to the creation of a five-part composition with a variational repetition of the first part at the very end. The article reveals that Lysenko’s “Oriental Melody” contains a number of well-established ways for Western European music to recreate the oriental image. In addition, the song contains features of recitative, sometimes giving the impression of a theatrical monologue. Lysenko often changes the meter, avoids repetition in rhythmic structures, using complex rhythms and seeks for through-composed type of composition. The lack of scholars’ attention to the song “Oriental Melody” can be explained by the dominance of the folklore paradigm in the studies of Lysenko’s music, which doesn’t focus on oriental themes. However, it is interesting how exactly this song became a meeting place for two different worldviews. Lesia Ukrainka was one of the brightest Ukrainian modernist writers, and Mykola Lysenko, who is considered the founder of the Ukrainian national school of composers, created his music in the style of late romanticism. Thus, although the oriental scenery of the song is recreated by a number of clichés, the sincerity of the protagonist is indisputable, and the work as a whole has its own artistic value.
39
Zharkikh, Tetiana. "Henri Duparc in the history of the mélodie genre." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 97–111. http://dx.doi.org/10.34064/khnum2-27.06.
Повний текст джерелаАнотація:
Statement of the problem. Henri Duparc (1848–1933) has firmly entered the history of the French melodie genre. However, his work has not been properly studied by modern domestic musicologists. Although two composers, Gabriel Fauré and Henri Duparc, are generally recognized as the most prominent representatives of this genre, the vocal work of G. Fauré attracted the attention of many scientists and performers, in contrast to the music of H. Duparc. The restoration of historical justice in relation to the heritage of the French composer justifies the topic of this article. The purpose of the article is an attempt to comprehend H.Duparc’s interpretation of the melodie genre by analyzing one of his vocal miniatures – “Phidylé” a setting of a poem by Leconte de Lisle and highlight the composer’s role in the history of the genre. The historical and biographical contextual approaches, genre, structuralfunctional, phono-semantic methods of analysis and the study of the performance dramaturgy of H. Duparc’s miniature led to a number of conclusions. Conclusions and results of the study. In Duparc’s interpretation of the poem, two ideas interact: the exact reflection in music the poem meaning and the transformation of the poem due to its musical detailization. The study revealed the features of the composer’s style and the role of the composer as the founder of the melodie genre: – it was H. Duparc who founded such features of the genre as a deep emotional and lyrical intonation and sensuality compared to a poetic text; – original reproduction of the signs of “endless melody” (influence of R. Wagner’s work) and opera monologue; – equality of parts in the “duet” of the vocalist and pianist-accompanist; – “orchestral” sound of the piano texture. Thus, H. Duparc stands at the origins of the “golden age” in the history of the melodie genre as a representative and defender of the late romanticism aesthetics. The vocal works of H. Duparc gave a powerful impetus to the genre of French melodie. The reproduction of the dramatic tension of feelings, the search for perfection in music testify to the significance of the composer’s contribution to the melodie genre, while the small number of his works is certainly compensated by their musicality. Since the vocal works of H. Duparc create a certain difficulty for foreign performers in the verbal and phonetic aspects, as well as in the artistic and interpretive aspect, it seems necessary to continue their in-depth analysis.
40
Bogucki, Marcin. "Nimfa, Ariadna, Licori. Kształtowanie kobiecej tożsamości w dziełach Claudia Monteverdiego." Res Facta Nova. Teksty o muzyce współczesnej, no. 20 (29) (December 15, 2019): 69–84. http://dx.doi.org/10.14746/rfn.2019.20.6.
Повний текст джерелаАнотація:
This article analyses the way of setting lament and the theme of madness to music in the first half of the seventeenth century, on the example of the works of Claudio Monteverdi.
At that time the way of expressing states on the verge of madness was the lament as a distinctive musical form in the course of the composition. The discussion takes as its point of departure one of the most famous examples of lament from early seventeenth century, Claudio Monteverdi’s The Nymph’s Lament – an emotional outburst by the eponymous heroine, held within bounds by a chorus of male voices. The work is analysed in its musical aspect as well as in the context of the “video clip” advertising Anna Prohaska’s album Enchanted Forest.
An example of a lament by Monteverdi using other musical techniques is the monologue from the opera Arianna by its heroine, which became the model for later laments. Symbolically it presents a woman’s unsuccessful struggle for her right to individuality and the cultural role of arranged marriage. Its shape is influenced by the commedia dell’arte tradition.
The first opera directly concerned with the theme of madness is Monteverdi’s La finta pazza Licori. Also in this case inspiration came from commedia dell’arte. Even though this work was not completed, the available versions allow us to reconstruct the composer’s intentions and to show how the theme of madness came to make its appearance on operatic stages.
41
Hladkoskok, Lesia, Iryna Muradkhanian, and Halyna Semen. "E. L. Doctorow’s Creative Method Evolution." Pitannâ lìteraturoznavstva, no. 106 (December 30, 2022): 51–63. http://dx.doi.org/10.31861/pytlit2022.106.051.
Повний текст джерелаАнотація:
Edgar Lawrence Doctorow (1931–2015) is the American prose writer, in the literary heritage of whom one finds 12 novels, 4 of which had screen versions, 3 volumes of short stories and 1 stage drama, an editor and a scientist. The writer provided more than once a self-commentary to his creative works, his interviews became the indispensable source of his works’ understanding. Doctorow consistently wrestled the traditional approach to literature. Many a researcher turned to his literary heritage. The examination of the Doctorow’s creative method evolution was carried out in two stages. First the main characteristic features of the literary works were singled out, later on by means of the comparative method the two main novels “Ragtime” and “Loon’s Lake” correlation from the point of view of the writer’s depiction evolution was carried out. The characteristic features of the novels are violated chronology, combining of reality with the invented, depicting the protagonists at the moment of the greatest changes, different arts genres fusion manifested in style, excessive fascination with the naturalistic details. The novel “Ragtime” is an objective, author’s narration, “Loon Lake” is the monologue of the I-form narrator. In “Ragtime” the prose writer combined the style of “new journalism” with “retro”. “Loon Lake” is an attempt to create the main image, render the inexhaustibility of the plenitude of life. In the novel “Ragtime” literature is melted with music, whereas in “Loon Lake” prose is melted with poetry of vers libre.
42
Stepanidina, Olga Dmitrievna, and Darya Victorovna Voynova. "Vocal elegy in the works of composers of the Mighty Handful." Manuscript 17, no. 4 (October 7, 2024): 442–51. http://dx.doi.org/10.30853/mns20240065.
Повний текст джерелаАнотація:
The study aims to substantiate the possibility that vocal elegies were created and performed within the aesthetic culture of the intelligentsia and composers’ musical circles in Russia in the mid-19th century. The article examines the romances of C. Cui, M. Mussorgsky, N. Rimsky-Korsakov, and A. Borodin. The scientific novelty of the work is due to the fact that the analysis of the romances has been conducted by Russian art historians in the context of a virtually non-existent definition for the genre of elegy. Elegy, which originates from funeral chants and has specific characteristics, was replaced in the early 19th century by art historians with a rather vague genre based on V. Belinsky’s designation of a “sad song”. The inevitable searches by art historians for elegies among the most diverse romances that have content close to a “sophisticated small talk” with elements of disappointment in love and sadness as the main emotional state lead researchers to rather controversial conclusions. This causes considerable inconvenience to the main participants in the cultural space, i.e., performers, and raises a number of questions. Typically, such conclusions are drawn based on the analysis of poetic and musical texts, but the main topic, namely, the place of elegy as a sounding genre in the Russian musical cultural life of the mid-19th century, remains outside their scope. The scientific novelty of this article lies in examining the romances of the composers of the Mighty Handful from the perspective of defining the genre of elegy as a “tragic monologue” and the possibility of its existence within the aesthetic platform of the intelligentsia and composers’ musical circles to which the composers of the group belonged. Such a practice is viewed as quite beneficial for Russian musicology in terms of examining domestic chamber-vocal music through the lens of the identified characteristics of elegy. As a result of the study, it has been found that, contrary to the widespread opinion in Russian musicology regarding the presence of a large number of vocal elegies in the works of composers from the Mighty Handful, the genre of elegy, having a genetic foundation in a mourning song, is incompatible with the usual place of chamber-vocal music and is exceptionally rare.
43
Monica Chifor. "Modernism-context and Overlooked Literary Manifestations." Creative Launcher 8, no. 4 (August 31, 2023): 61–72. http://dx.doi.org/10.53032/tcl.2023.8.4.07.
Повний текст джерелаАнотація:
The following paper discusses the emergence and characteristics of modernism, a dominant trend in art and culture that emerged in the late 19th century. Modernism encompasses various aspects of culture, including high art, criticism, city planning, and more. In literature, modernism represents a reaction against the conventions of realist narrative, moving away from traditional storytelling and embracing new techniques such as interior monologue and showing instead of telling. The research explores the debate on whether modernism has come to an end. Critics argue that it ended around 1930, while others disagree, pointing to the continued emergence of literary studies on modernism and its influence on various literary theories. The concept of modernism is discussed in an interdisciplinary context, encompassing various artistic currents, including symbolism, impressionism, expressionism, and more. The paper also touches upon the development of modernism in different art forms like visual arts, music, and architecture, and its influence on the concept of the “Bauhaus” movement. Furthermore, the paper discusses the Harlem Renaissance, a cultural movement centered in Harlem, New York, during the early 20th century. It highlights prominent figures of the movement, such as Langston Hughes, Zora Neale Hurston, and Richard Bruce Nugent, who expressed African American life and culture through various forms of art. The impact of mass culture on modernism is also explored, with references to Mathew Arnold’s concept of culture and anarchy and F.R. Leavis’ criticism of mass civilization and its effect on authentic feeling and responsible thinking. Overall, the paper provides and overview of modernism’s multifaceted nature, its influence on various art forms, and its interaction with societal and cultural shifts during the 20th century.
44
Tymoshenko, Andrii. "Jacques Brel’s song “Ne me quitte pas” and its performance versions: genre-stylistic and linguistic aspects." Aspects of Historical Musicology 28, no. 28 (December 28, 2022): 84–100. http://dx.doi.org/10.34064/khnum2-28.06.
Повний текст джерелаАнотація:
Statement of the problem. One of the hallmarks of pop music culture is that in this sphere the song is much more associated with its performer than in classical music, let alone folklore. We know the songs mostly by the name of its performer, not by the lyricist’s or composer’s. In those conditions, practice of continuous appeal of different singers to the same song becomes even more significant and calls for its research. The article is devoted to “Ne me quitte pas”, a song that has interpretations differing in era, style, genre traits, language, whose first performer, Jacques Brel, is one of the most prominent figures in French chanson of the XX century. The purpose of the article is, at first in Ukrainian musicology, to compare selected renditions of “Ne me quitte pas” taking into consideration genre-stylistic and linguistic aspects. The main research method used in the article is comparative, applied both to different interpretations and to translations of the lyrics. Results and conclusion. In more than 60 years of its existence in performance tradition, the song “Ne me quitte pas” was interpreted multiple times. And its every performer was adding something to it, enriching it with something individual, but to a different degree. The performers like Mireille Mathieu suggest their own vision of this song, which does not result in drastic transfiguration of stylistic and genre parameters of the song, it remains roughly the same, just performed by another singer, albeit he creates his own individual image. The others versions fundamentally rethink the spirit, the essence of “Ne me quitte pas”: Barbara turns it in almost prayer-like recitation, Juliette Gréco transforms it into something akin to theatrical monologue with rather unusual instrumental part, Wyclef Jean makes out of it a modern hip-hop track, etc. This diversity of variants betokens almost endless creative potential enshrined in this song, its openness to various experiments, in other words, its possibility to be actively used in modern musical life, which is interpretative in its core essence. Moreover, this song having two fundamentally different English translations (rather free one and almost literary one) shows that there is “public demand” in these tools of broadening the potential audience of French chanson, even despite significant problems arising when doing these kinds of tasks for translators.
45
Devyataikina, Nina Ivanovna, and Svetlana Aleksandrovna Lyashova. "“Partisan requiem” by H. Sommerro: the peculiarities of interaction between liturgical and author’s verses in the context of the musical drama." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 45–60. http://dx.doi.org/10.7256/2453-613x.2020.6.33160.
Повний текст джерелаАнотація:
The research object is the sacred music of a well-known Norwegian composer Henning Sommerro (born 1952), one of the bright components of his multifaceted creative work. The present article is the first work within the Russian scientific literature analyzing this aspect through the prism of one of the key works of the composer. The authors are also the first to introduce the complete musical score of the composition into the scientific discourse. Along with the recordings, it helps to understand how the composer manages to successfully combine the liturgical and secular components, the poetical and musical texts, and how they outline the modern musical directions. The research subject is the musical drama and expressive means of the “Partisan Requiem” (2000) by Sommerro performed by the combined Russian-Norwegian choir (Murmansk, 2019). The research shows that the composer keeps the graphic structure of the historically formed model of the genre. Owing to the musical expressive means and “citation”, demonstrating the postmodernist practices of the composer, the genre becomes recognizable, denoting the important “memory spaces”. At the same time, in terms of drama, Latin and Norwegian texts are “arranged” according to the internal connection, the monologue inclusions of the narrator are often accompanied with a reduced orchestra, whose timbre and color, on the one hand, thematically unite the Norwegian texts with the graphic and musical sphere of the composition, and on the other hand, deepen the understanding of the ideas underlying them. The briefness of poetic verses strengthens the importance of each of them; they are rhythmically linked to liturgical texts thus helping to create a single lexical and musical fabric of the composition by means of a complex interaction of the choir, the orchestra, the soloists and the actor-narrator.
46
Молнар, А. "КОНФЛИКТ МУЗЫКИ И СЛОВА В «КРЕЙЦЕРОВОЙ СОНАТЕ»". Русистика и компаративистика, № 13 (24 червня 2019): 134–50. http://dx.doi.org/10.25688/2619-0656.2019.13.08.
Повний текст джерелаАнотація:
В данной статье вопросы любви и ревности, тематизируемые в повести Л. Н. Толстого Крейцерова соната, рассматриваются в свете соотношения тона и поражения. Поэтический анализ текста совместно с интерпретацией смыслового содержания осуществляется сквозь призму разбора мотивного и фонического уровней, значения имен, вещей и поступков. Исходя из двойничества главного героя и его соперника, изучение повести затрагивает некоторые особенности соотношения музыки и слова. In this work the issues of love and jealousy, raised in Leo Tolstoys short story The Kreutzer Sonata, get their development through the light of the ratio of tone and defeat. The poetic text analysis, together with the interpretation of the semantic content, is carried out through the prism of parsing the motive and sonic structure, the meaning of the names, things and actions. On the basis of the double of the main character and his opponent, exploring the story expands to the peculiarities of the ratio of music and words. On the one hand, Pozdnyshevs monologue consists of two parts: the theoretical justi cation of the reasons leading to the act of murder (schemes), and the heros family story as the duplication of real public life on the basis of common signs (story). On the other hand, the story consists of two languages con ict: the heros story of the search for the correct word and the tale nding this word, which replaces the template stories, and forms a new story. So the event is complemented by the retold story, and the syuzhet is complemented by the story of narration. The creation of the story language serves to it, because the process of creating narrative about jealousy is associated with the change of sign systems. According to our analysis, jealousy controls the heros consciousness that requires love, so as to be protected from the separation with his wife. The hero is in fear that after the collapse of their verbal communication, his wife nds common ground with another man through music. Thus the subject of our analysis is the motive of tone (music) and defeating (by words or swords) that deploy this theme. This is thematised through sound redemption not only in the narrative, but also formally: the narrative demonstrates what it says. In addition, the sonic connection sets a new implementation of the heros image. For this reason, in this paper the images of rivals and wife are examined in linguopoetic terms. In the prose the sound contains the fugitive narrative in general. It contains sound or the sound deployment has the interpretation of the theme. Audio replays (see tone and note, defeat and feud, etc.) reorganise the narration. Parallels of sonic shells suggest that the semantic world of sound is richer, and therefore the history of the act contains many more meanings than its conceptual telling. That is the way of how poetic thinking can reveal what seemed to be hidden in the external world. Attempts to restore the history of the murder from heros memory, require both deviations from the conceptual schemes and the unity of image, meaning and sound (see names). Tolstoys text unites the sign and the meaning through the heros story. Rethinking in the form of a story telling destroys the schematism built on the concepts of love, music and words. This article provides a representation of this textual activity also on the level of things
47
Petrescu, Alexandru Radu. "7. Stylistic Considerations on Scene No. 8 from the Musical Performance PreȚioasele Ridicole [The Affected Young Ladies] by Vasile Spătărelu." Review of Artistic Education 21, no. 1 (June 1, 2021): 46–55. http://dx.doi.org/10.2478/rae-2021-0007.
Повний текст джерелаАнотація:
Abstract Molière is one of the playwrights who not only marked and defined the seventeenth century in France, but, creator of the modern comedy and discoverer of the authentic comic, contributed fully to educating the public in his present and for the future. His comedies have stood the test of time, as they resonated with the audience, which found itself in them. In the twentieth century, his plays entered the artistic territories adjacent to the theater trough other creators, who turned them into film scripts and librettos for musical theater. The subject of our research is a fragment pertaining to the farcePrețioasele ridicole [The Affected Young Ladies] turned into a musical show under the signature of Vasile Spătărelu. An important name in Romanian music, creator with great melodic imagination, harmonic refinement and perfect literary taste, the composer from Iași made a possible compositional model for the genre, which is part of the Romanian musical show’s route opened by Paul Constantinescu and Pascal Bentoiu. His work is distinguished by the stylistic area to which it adheres, by rhythm and vivacity, by the original combination between the spoken and the sung text, by the ingenious architecture of the scenes, by the adequacy of the writing technique to the desired effect and expression. Fully requesting all the resources of the interpreters, we consider that the analysis of the important moments is very useful to them. If pages of theatrical exegesis were dedicated to the characters Magdelon and Cathos, for Mascaril we did not identify something similar, much less a stylistic-interpretive analysis from a musical perspective. In order to achieve a complete characterization of the character, useful to potential student performers, we will comment on the first segments of the Scene no.8 in which Mascaril’s “identity” is established, as he presents himself in front of the two “precious ones”. (the entrance and the monologue).
48
Borisova, A. B. "The Short Story of A. P. Platonov «The Impossible»: Genre-Narrative Structure, Function of Duality as a Way of Modeling of the Author’s Personality." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 160–71. http://dx.doi.org/10.25205/2410-7883-2019-1-160-171.
Повний текст джерелаАнотація:
In this article the short story of A. P. Platonov “The Impossible” (1921) is considered as a multidimensional wholeness, with a complex structure – at the level of genre and of narration. We highlight biography, scientific article, elements of a philosophical essay, lyric and philosophical poem in the genre structure. In addition to a neutral background, we highlight the lyrical monologue, scientific and publicistic discourse at the narrative level. The genre and stylistic heterogeneity of this short story did not allow researchers to unambiguously determine its genre dominant for a long time. It was not by chance that at first in earlier studies “The Impossible” was classified as a publicistic genre. Only in the first volume of the Scientific publication of Collected works this story is included in the corpus of Early Short Stories of Platonov. In a certain perspective, this work can indeed be read as a publicistic article containing the author’s reflection on philosophical, scientific concepts in the specific manner of Platonov, with overstepping beyond the boundaries of one genre. The focus on the addressee, declared at the beginning of “The Impossible”, activates its communicative function. The inclusion of his own technical developments by Platonov in this story introduces an element of scientific autobiography. At the same time, “The Impossible” is the life story of the “new saint”: the embodiment of the image of the “new human”, whose life, if it did not end so suddenly, could open the way to the Mystery of the World – the main metaphysical problem that occupied the mind of the young Platonov. At the same time it is the lyrical narration about the “sobbing” beauty of the world and the incredible, “impossible” love of the hero – the narrator’s alter ego to his beloved Maria. Using the technique of duality, the author is able to express his most intimate experiences through the image of the “other”, to expose his own soul to the reader. The unifying layer that maintains the integrity of this story is the motive structure with such basic components as the motives of the Mystery, the transfiguration of the world in the version of rebellion into the universe, light, impossible, silence, music, love, death and immortality, etc.
49
Scheffer, Will. "Falling Man and Other Monologues." PAJ: A Journal of Performance and Art 20, no. 2 (May 1998): 99. http://dx.doi.org/10.2307/3245936.
Повний текст джерела
50
Anfi, lovaS G. "In the shade of “beautiful style”: talking about the chamber vocal music pieces by G. Donizetti." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 99–118. http://dx.doi.org/10.34064/khnum2-15.05.
Повний текст джерелаАнотація:
Background. In 2018, the 170th anniversary of the death of Gaetano Donizetti (1797–1848) was commemorated. G. Donizetti created 74 operas of various genres and themes. He was the head of the Italian opera school in the second half of the 1830s, picking up the baton from G. Rossini and V. Bellini and anticipating G. Verdi’s searching. Having an apparent melodic gift, excellent skills of composing, knowledge of musical theatre, he created his works extremely quickly and easily – up to 3–4 operas per year, which caused repeated critical attacks. Opera works by G. Donizetti got a hard futurity. This music laid hold of audience in the 1830s–40s, but practically got out of the repertoire by the end of the 19th century, giving way to the masterpieces by G. Verdi and R. Wagner. Its revival began in the 50s of the 20th century, thanks to remarkable interpretations of great performers, in particular Maria Callas, Joan Alston Sutherland, Montserrat Caballé (since 1965), and others. A new success of opera masterpieces arose due to the fact that performing concepts restored the original author’s conception. Among the researchers and listeners, G. Donizetti’s operatic works eclipsed other spheres of his creativity, such as instrumental and chamber vocal music. But at the same time, G. Donizetti lived in the times of the widespread distribution of the romance, and the rapid growth of its popularity in the amateur and professional performing environment. He was an outstanding expert of vocal music and could not ignore this genre. Naturally there is a need for a more attentive approach to such a little-studied topic, as the composer’s chamber vocal music. Objectives. Gaetano Donizetti’s chamber-vocal creativity is the object of this study. The subject is the song cycle “Summer Nights in Posillipo” (“Nuits d’été à Pausilippe”) in terms of individual composer style. The objectives of offered article are not so much fi ll existing gaps on this issue, as taking a closer look at the romance genre, which is eclipsed by the composer’s opera compositions. The author of this work uses classical methods of analysis of historical and theoretical musicology. Results. Studies on the composer style of G. Donizetti in the Russian and Ukrainian languages are very limited in both quantitative and thematic terms. Most sources, including in other languages, consider opera works by the composer. The exact number of Donizetti’s romances is still unknown (from 250 to 270). The song cycle “Nuits d’été à Pausilippe” / “Summer Nights in Posillipo” (1836), consisting of 12 songs, is also not considered in the scientifi c literature. Typical for the fi rst third of the 19th century is the chronotope of this cycle, in which the poetics of the geographical toponym and the symbolism of the night are combined. Posillipo is a distinctive place in the northern part of the Gulf of Naples, with its unusually picturesque landscape and artifacts of ancient culture. The name of the song collection by G. Donizetti corresponds to the popular literature formula of the 1830s – “Florentine Nights” (1833) by H. Heine, “Egyptian Nights” (1835) by A. S. Pushkin, and others, in which the genre of the “night” novelistic cycle embodied. The musical implementations are “Night Pieces” op. 23 (1839) by R. Schumann, song cycle “Summer Nights” op. 7 (1841) by G. Berlioz, which were created in the period of composition writing (1836) by G. Donizetti. The novella-like character of “Summer Nights in Posillipo” is represented by incompleteness of lyric utterance, free alternation of fragments within the boundaries of a given topic, the variability of timbre solutions, varied choice of authors of poetic texts. Six solo numbers (Nos. 1–6) are supplemented by six duets for various timbre sets (Nos. 7–12, for 2 sopranos, soprano and mezzo-soprano, soprano and tenor, tenor and bass). The poems by four poets of Romanticism are involved: Leopoldo Tarantini (Nos. 1, 8, 10, 12), Carlo Guaita (No. 2), Michele Palazzolo (Nos. 7, 11), Francesco Puoti (No. 9), Victor Hugo (No. 6). Also the poems of the anonymous poet (No. 3) and the folklore text (No. 5) are used here. The cycle is “multilingual”, the Italian language coexists with the Neapolitan and French. The love theme prevails. We can talk about creation of a poetic-collective image entitled Homo amore. Solo songs (Nos. 1–6) form conditional self-contained cycle, which is distinguished by genre diversity. This is evidenced by both the designations of the composer himself (Barcarolle – No. 1, Romance – No. 2, Arietta – No. 3, Ballade – No. 4, Neapolitan song – No. 5), and signs of other genres (opera monologue – No. 1, Chivalric romance – No. 2, Serenade – No. 3, Alba – No. 6). The second little cycle is formed by the duets Nos. 7–12. The composer designates Nos. 7–11 as nocturne, while Nos. 12 as brindisi, or drinking song. G. Donizetti’s nocturnes are glad and lyrical, motile, virtuosic, theatrically spectacular. Life and earthly pleasures are glorifi ed in sounding. The atmosphere of a brilliant ball evening is felt here. The unifying factor in duets are the principles of the texture organization of vocal parts. The fi rst one is associated with the interaction of voices-parts with each other according to the principle of anti-phoning singing (Nos. 7, 9, 11). The second principle is associated with the simultaneous sounding of two voices (Nos. 8, 10, 12). The role of intonation relatedness at the songs is signifi cant. The thematism of twelve songs can be divided by the type of melodic core. As a result, there are three groups: I – themes Nos. 1, 2, 5, 8, 10; II – Nos. 3, 6; III – duets Nos. 7, 9. Conclusions. The applying of the “intonation vocabulary” of the epoch is refl ected in numerous allusions between the melodies of the romances by G. Donizetti and the works of his contemporaries (M. Glinka, F. Schubert) and successors (R. Hahn). The biggest interest is the composer work with the form. Acting within the framework of the repeatability (melodic and structural) and stanza form, G. Donizetti seeks to overcome this necessity in every possible way by various means. The structure of his romances “lives”, naturally unfolds in time, obeying the laws of vocal music. The results of “Summer Nights in Posillipo” analysis allow us to conclude about the originality of G. Donizetti’s creative decisions in the genre of romance.