Статті в журналах: "Texture orchestrale"

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Bosseur, Jean-Yves. "Texture et matériau dans la pensée musicale contemporaine." Muzikologija, no. 3 (2003): 129–39. http://dx.doi.org/10.2298/muz0303129b.

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(francuski) Le mot texture d?signe, selon la d?finition du dictionnaire Robert, la disposition des fils d'une chose tiss?e, s'appliquant tout naturellement aux principles du tissage et, par extension, peut concerner l'arrangement d' ?l?ments sonores. Dans le vocabulaire musical, le terme "texture" est peu fr?quent et le plus souvent ignor? par les dictionnaires sp?cialis?s; cette notion occupe pourtant une place d?terminante dans la r?flexion d'un grand nombre de compositeurs depuis les ann?es cinquante. Permettant d'envisager notamment sous un angle nouveau les questions du timbre et la conception de l'?criture orchestrale, elle sera envisag?e successivement dans des ?uvres de Ligeti, Lutoslawski, Brown, Carter, Feldman et ? travers la d?marche ?lectro-acoustique.

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Rakochi, Vadym. "Innovations of Presentation in Antonio Vivaldi’s Concertos and Their Impact on the Development of the Orchestra." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 21–35. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251790.

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Transformation of the presentation in Vivaldi’s instrumental concertos is considered in this paper. It is noted that the Corellian model of the concerto (concerto grosso, changeable number of movements, variety of tempos, thematic unity of tutti and solo episodes, trio-sonata-like instrumentation of the concertino) becomes the basis for Vivaldi’s modifications. His model is based on a solo concerto prevalation, a fast — slow — fast three-movements structure, ritornello musical form in the outer movements and the motivic mosaic of the first tutti. The significance of these transformations gives grounds to define them as a paradigmatic shift in the evolution of the genre. It is emphasized that these changes would be impossible without reviewing of the presentation in the orchestra. Innovations concern the ways of highlighting a soloist, the use of inexact (background-ornamental) doubling, activation of the internal orchestral soloists (especially in concertos for a wind instrument), increasing the significance of alternations, intensification of timbral, register, textural, dynamic, and thematic contrasts, changes in the orchestra’s composition (the double bass), and expansion of a palette of soloing instruments. It is pointed out that all these modifications had a strong impact on the development of the orchestra. First, the rise of wind instruments and reinforcement of expression in their parts resulted in the diversification of the orchestral sound: probably, we would not have heard the Mannheim Orchestra without Vivaldi’s concertos. Secondly, the dominance of the homophonic texture formed a proper basis for internal orchestral soloing and increased the relevance of a particular timbre color. Third, the standardization of a four-parts string section formed the basis for further changes of the orchestra. Fourth, the use of such orchestral techniques as the pedal (the future substitute for the basso continuo in the orchestra of Viennese classics), background-ornamental doublings, unison texture, etc. reflected in ways of musical material presentation in all orchestral genres. Everything convinces that the interdependence between the evolution of the instrumental concerto and the transformations of the orchestra is evident and strong.

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Ricketts, Matthew. "Texts—Textures—Intertexts: Brian Cherney’s Transfiguration (1990)." Intersections 37, no. 1 (May 17, 2019): 181–200. http://dx.doi.org/10.7202/1059894ar.

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Transfiguration ([1990] 1991) is one of Brian Cherney’s most ambitious compositions. Scored for large orchestra, the piece explores how memories transfigure reality and what that process might sound like. Cherney weaves together a dizzying mise en abyme of quotations—from the canonic repertoire, simulacra of European folk tunes, and his own earlier music (including most prominently Shekhinah for solo viola from [1988] 1992). Orchestral textures alternatively obscure and reveal material both directly and indirectly related to and inspired by the Holocaust, including the photograph of a Hungarian Jewish woman at Auschwitz who haunts the work. The fleeting figure of this unknown woman is represented in the way that material is transfigured—lost, re-emerging, and lost again—throughout. This article focuses on Transfiguration as an apotheosis of Cherney’s interest in the relationship between orchestral texture and intertextuality.

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Martynenko, N. N. "PECULIARITIES OFORCHESTRA FACTURE IN CONCERT FOR PIANO WITH ORCESTRA F.POULENC (CIS-MOLL)." National Association of Scientists 3, no. 27(54) (May 14, 2020): 9–14. http://dx.doi.org/10.31618/nas.2413-5291.2020.3.54.201.

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The article considers a concert for piano and orchestra by F. Poulenc in the context of the musical aesthetics of thecomposer and features of the orchestra texture as key components of the author s creative method. The basic principles of orchestral writing are analyzed. Using specific examples from individual parts of the concerts, interesting distinctive properties inherent in the orchestration jf the composer are examined.

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Anderson, Martin. "Lindberg, Concerto for Orchestra, Barbican, London." Tempo 58, no. 227 (January 2004): 60–61. http://dx.doi.org/10.1017/s0040298204260053.

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There would hardly seem to be a composer better placed to write a concerto for orchestra than Magnus Lindberg: his complete mastery of orchestral texture – demonstrated in a string of modern classics, Joy (1989–90), Arena (1994–95), Feria (1997) and Cantigas (1998–99) among them – makes it a wonder he hasn't tackled the genre before now. Indeed, he quietly billed the magnificent Aura (1994–95) as a concerto for orchestra, although in reality it's as good a symphony as anyone has written this past half-century – my suspicion is that the label allowed him to dodge the issue.

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Slakan, Tilen. "Analiza kompozicijskega stavka Alojza Srebotnjaka v orkestralni skladbi Slovenica / Analysis of Compositional Tehniques of Alojz Srebotnjak in the Orchestral Work Slovenica." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (January 10, 2021): 59–90. http://dx.doi.org/10.26493/2712-3987.16(33)59-90.

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The following article presents a detailed analysis of compositional techniques in the orchestral work Slovenica for Brass, Percussion and Strings (1976) by Alojz Srebotnjak. It discusses the composer‘s intertwinment of folklore elements with the sonority of compositional processes in the 20th century. Throughout all three sentences Srebotnjak uses multiple linking compositional elements that he complexly intertwines on different levels of musical texture. The structure is also tightly connected to the concept of constructing different musical textures, melodical patterns, orchestral and dinamic constrasts, and harmonic systems.

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Гордон, А. О. "Musical and Architectural Gesamtkunstwerk: on the Acoustic Determinism of the Orchestral Style of R. Wagner's Drama “Parsifal”." Журнал Общества теории музыки, no. 3(27) (October 8, 2019): 53–78. http://dx.doi.org/10.26176/otmroo.2019.27.3.004.

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В статье рассматривается оркестровый стиль драмы Р. Вагнера «Парсифаль» в целостной связи с акустикой Байройтского фестивального театра, даются характеристики архитектурно-звукового пространства вагнеровского Дома торжественных представлений, а также производится анализ оркестровой фактуры и тембровой драматургии «Парсифаля», на основе чего делается вывод об особом статусе феномена оркестра в композиторском мышлении Р. Вагнера. The article is focused on the orchestral style of R. Wagner's drama “Parsifal” in a holistic connection with the acoustics of the Bayreuth festival theatre, describes the characteristics of the architectural and sound space of Wagner's Festspielhaus, as well as represents the analysis of the orchestral texture and timbre dramaturgy of “Parsifal”, upon which the special status of the phenomenon of the orchestra in R. Wagner’s artistic thinking is defined.

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Stronko, Boryslav. "Orchestration of Proper Piano Pieces as a Self-Interpretation." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (December 30, 2023): 115–28. http://dx.doi.org/10.24193/subbmusica.2023.2.08.

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"The study is focused on the problem of composers’ self-interpretation in the orchestrations of their own piano pieces. This specific case of a creative re-thinking contains not only adaptation of a piano score to orchestral instruments, but also adding new semantic meaning, sound atmosphere and texture principles as well as further development of initial music idea. For the analysis two pieces of Maurice Ravel and Borys Lyatoshinsky – two prominent masters of orchestration and piano miniature of 20th century, were chosen. Their approaches are distinguishably different: (a) the detailed reordering of the initial idea from an “instrument Piano” to an “instrument Orchestra” (Ravel); (b) throughout development with essential changes firstly within piano means, than by orchestral means in the genre of Symphony (Lyatoshinsky). Keywords: creative re-thinking, self-interpretation, self-orchestration"

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Malyi, Dmytro. "“Four words about kolomyika”: author’s experience of orchestration." Aspects of Historical Musicology 34, no. 34 (April 10, 2024): 157–81. http://dx.doi.org/10.34064/khnum2-34.07.

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Statement of the problem. Orchestration is one of the spheres of a composer’s professional activity, and its ways and principles are a special subject of scientific research. There are a sufficient number of examples, when the composer turns to the orchestration of self-own piano works (F. Liszt, C. Saint-Saëns, M. Ravel, H. Villa-Lobos, M. Skoryk and others), but the orchestration of violin works is not widespread phenomenon. The proposed work reveals the ways of orchestrating the four parts of the cycle “Seven words about the kolomyika” for solo violin, written by the author of the article. The main idea of the piece is interpretation of the kolomyika genre as a keeper of the genetic code of the Ukrainian people, through different levels of texture and structure solutions. Objectives, methods, and novelty of the research. Numerous works are devoted to orchestration, among them the guides by Adler, Casella & Mortari, Belkin, Klebanov and others. Another field of research is works on the theory of orchestration by Savchenko, Rakochi, Korobetska, Borodavkin, Kashyrtsev, Bohatyriov. However, the study of the ways and methods of translating a violin texture into an orchestral one has not yet attracted enough attention of musicologists-scientists and practicing musicians, and it is extremely difficult to find works on the orchestration of a violin texture, therefore, the presented work has an innovative focus. The purpose of the publication is to reveal the specifics of the orchestration of the violin texture using the example of the cycle “Four words about kolomyika” through the analysis of the use of orchestral principles and techniques in it. It was required the involvement of such research methods: genre-stylistic to identify the features of the kolomyika genre; structural-functional for researching the functions of instruments in the orchestral texture, the orchestration techniques, the form of the work; comparative one for considering the original violin source and the derived orchestral version; historical to light the context of the writing of the work. Results and conclusion. As a result of the research of the original source and its symphonic, timbre reinterpreted version, the next statements has been revealed. 1. The structural compositional analysis of the texture and form of the original source is of great importance for the creation of an orchestration of both one’s own and someone else’s work – the identification of potential harmony, bass voice, accompaniment, determination of the boundaries of the form, the character and tempo, which helps to understand the way of building timbre drama in the orchestral version. 2. The melody often in a “collapsed” form contains certain orchestral textural and timbre solutions. So, in many sections of the symphonic cycle, textural layers hidden in the initial melodic line are revealed – orchestral pedal, figurations, bass line, counterpoint, et cet. 3. The type, nature of the melody and the form of the piece determine the choice of timbre and orchestration techniques. The cycle uses such techniques of orchestral writing as underlining, the transfer of textural lines from one instrument to another, an orchestral crescendo, timbre mixes, the overlaying of textural layers of different instrumental groups, which creates a sonorous effect. 4. Each instrument of the wooden and brass groups corresponds to a certain line of the texture, is not duplicated in unison according to the “a2” principle, except for a few bars of the bassoons in the first part. This allows us to interpret the orchestra as a large ensemble, which to some extent is due to the neo-folkloric style of the piece. 5. The main idea of the piece in the symphonic version is manifested through the timbre reinterpretation of the theme, the multi-layered texture, the significant role of the woodwinds in the melodic lines and percussion to emphasize the rhythmic pattern and mark the boundaries of the form, as well as through the coloristic effects. The named ways of the piece working create the orchestral style that is a valuable component of composer’s creative activity.

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Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.

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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a chamber ensemble); solo piano (violin and piano duet); solo violin (violin without accompaniment). It is proved that all these textured and stylistic varieties of concert violin music are combined on the basis of the idea of a concert style – “competition-agreement” (B. Asafiev) of the participants in the act of playing music. The measure of the correlation of performing forces in a concert dialogue ultimately determines the choice of criteria for classifying its varieties in their extrapolation to a concert violin. The article reveals the features of all four above-named options for this dialogue, taking into account their possible combination. It is noted that this combination is most fully reflected in a violin concert with an orchestra, where other forms of concert appear occasionally – solo without accompaniment (solo cadenzas), ensemble (microdialogues of the violin and other orchestral instruments). The classification criteria highlighted in the article, first of all texture-stylistic ones, together form the following system of genres of concert music for violin (with the participation of a violin), considered from the standpoint of: 1) concert dialogue in its textured manifestations (gradation in the dominance of the soloist instrument over accompaniment or, conversely, accompaniment over a solo part); 2) the principle of intimacy, bordering on concertness, but meaning the parity of the performing parts (a distinctive feature of chamber ensembles, in which it stands out as the leading violin part); 3) the self-sufficiency of the violin as a universal instrument suitable for the implementation of concert dialogue in the solo form of music-making (a wide range of genre forms of violin music – from miniatures and their cycles to suites, partitas and solo sonatas). It is noted that, in the future, the classification patterns identified in this article can be considered using the example of specific samples belonging to a particular genre group. The author of this article plans to do this on the basis of concert genres of violin music created by the composers of the Kharkiv school. Focusing on classical and modern samples, as well as the traditions of the Kharkiv stringbow performing school represented by A. Leshchinsky, A. Yuriev, S. Kocharyan, G. Averyanov, E. Shchelkanovtseva, L. Kholodenko, E. Kupriyanenko and other string players, Kharkiv authors interpret the concert-violin style in various ways, revealing in it both the general (the “image” of the violin in the system of specific instrumental styles), and the special (the styles of the national and regional schools), as well as the unique, individual (the representations of the latter are their best works).

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Savchenko, Hanna. "Orchestration of D. L. Klebanov and V. M. Zolotukhin: a comparative analysis." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 65–77. http://dx.doi.org/10.34064/khnum2-23.04.

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Background. In the last two decades there was a constantly increasing scholar interest to Kharkiv school of composition as a phenomenon of Ukrainian musical culture. Despite this, a lot of unstudied questions remain, which need to be researched. This includes problems of orchestral thinking, orchestral style and orchestral writing of Kharkiv composers, particularly, D. Klebanov and V. Zolotukhin. The novelty lies in the systematization of the principles of orchestration in the symphonies of D. Klebanov (based on the symphonies 1, 3, 6, 7) and the First Symphony of V. Zolotukhin. Analysis of literature. Orchestral music of both composers is researched quite sporadically. Its several facets are studied in works by M. Cherkashyna (1968), I. Frumina (1969), O. Gusarova (1988), T. Krasnopolska (1964), Yu. Malysheva (1967), N. Ocheretovska (2007), Е. Ponomarenko (2005), O. Roschenko (2005; 2016), А. Zamotaylo (2001), O. Zinkevych (2005), I. Zolotovytska (1980), A. Dmitriyeva (2016). There is an article by H. Savchenko (2018), specially devoted to orchestration of D. Klebanov The goal of this article is to reveal the principles of orchestration in symphonies by D. Klebanov (No. 1, 3, 6, 7) and V. Zolotukhin (No. 1) in aspect of comparative analysis. In the article the author operates such methods of research as analytical, functional, and comparative. Conclusions. In results of studying of orchestral works by D. Klebanov and V. Zolotukhin (First Symphony) in aspects of orchestral thinking and principles of orchestration, we have reached the following conclusions: 1) both composers prefer a triple orchestra, which is quite flexible, in order to achieve full-bodied orchestral texture and be able to operate different timbral colours; 2) in the works of both composer, there is an inclination to equal understanding of orchestral groups, including percussion in the first Symphony by V. Zolotukhin; 3) in the vertical projection there is a differentiation of the groups through orchestral functions, which causes a great transparency of the score; 4) much more slow changes of type of a texture and timbral combinations in horizontal projection sets apart orchestration of V. Zolotukhin from orchestration of D. Klebanov; 5) overall, orchestration of V. Zolotukhin is more dense, filled with doubles, it is dominated by “large touch”, which causes continuity and smaller degree of detailing; 6) a special trait of orchestration of D. Klebanov is thinking by timbral and textural layers with obvious distinction of orchestral function between them. Inside of these layers there is an additional split of orchestral functions which causes rather rare usage of doubles between instruments of different orchestral groups. For V. Zolotukhin, thinking with clearly defined timbral and textural layers is characteristic, which tells about realisation of orchestral polyphonic thinking on the macro level or the whole texture; 7) in orchestration of both composers there is a tendency to colouring: in the First Symphony by V. Zolotukhin it is brighter and more robust due to usage of more diverse timbral palette (from piano harp, celesta to extended group of percussion).

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McAdams, Stephen, Sandrine Vieillard, Olivier Houix, and Roger Reynolds. "Perception of Musical Similarity Among Contemporary Thematic Materials in Two Instrumentations." Music Perception 22, no. 2 (2004): 207–37. http://dx.doi.org/10.1525/mp.2004.22.2.207.

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Free classification was used to explore similarity relations in contemporary musical materials. Thirty-four subsections from the five themes of The Angel of Death by Roger Reynolds were composed identically for piano (Expt. 1) and chamber orchestra (Expt. 2) in terms of pitch, rhythm, and dynamics. Listeners were asked to group together those judged to be musically similar and to describe the similarities between the subsections in each group. Listeners based their classifications on surface similarities related to tempo, rhythmic and melodic texture, pitch register, melodic contour, and articulation. They were to some extent also based on similarity of the mood evoked by the excerpts. This latter factor was more prominent in the verbalizations for the orchestral version. Instrumentation, timbre, and type of timbral change (smooth, disjunctive) also affected classifications in the orchestral version. Perceptual relations among thematic materials within the piece and the interaction of form-bearing dimensions in musical similarity perception are discussed.

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Hansen, Niels Chr, and David Huron. "The Lone Instrument." Music Perception 35, no. 5 (June 1, 2018): 540–60. http://dx.doi.org/10.1525/mp.2018.35.5.540.

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Given the extensive instrumental resources afforded by an orchestra, why would a composer elect to feature a single solo instrument? In this study we explore one possible use of solos—that of conveying or enhancing a sad affect. Orchestral passages were identified from an existing collection and categorized as solos or non-solos. Independently, the passages were characterized on seven other features previously linked to sad affect, including mode, tempo, dynamics, articulation, rhythmic smoothness, relative pitch height, and pitch range. Using the first four factors, passages were classified into nine previously defined expressive categories. Passages containing acoustic features associated with the “sad/relaxed” expressive category were twice as likely to employ solo texture. Moreover, a regression model incorporating all factors significantly predicted solo status. However, only two factors (legato articulation, quiet dynamics) were significant individual predictors. Finally, with the notable exception of string instruments, we found a strong correlation (ρ = .88) between the likelihood that a solo is assigned to a given instrument and an independent scale of the capacity of that instrument for expressing sadness. Although solo instrumentation undoubtedly serves many other functions, these results are consistent with a significant though moderate association between sadness-related acoustic features and solo textures.

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Savchenko, Hanna. "Orchestral writing into the I. Stravinsky’s opera «Mavra» in the aspect of general and singular." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 104–14. http://dx.doi.org/10.33287/222021.

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The purpose of this article is to study I. Stravinsky’s opera «Mavra» in the aspect of embodiment of «universals» (by S. Savenko) of the composer’s orchestral logic and usage of specific devices of orchestration, spawned by original artistic idea and genre traits of the opera. The article applies such methods of this scientific research as genre, historical and system-functional. The scientific novelty of the investigative article is caused by the fact, that it is foremost research in domestic musicology of specifics of «Mavra’s» orchestral writing on intersection of general and singular. Conclusions. The analysis of orchestral writing in «Mavra» allowed us to draw the following conclusions a namely specifics of orchestral writing are caused by peculiarities of selected model’s genre as well as by orientation towards the theatre of representation; orchestral writing reveals multi-figure and combinative principles, which, if one is to use the terms of S. Savenko, might be described as «universals» of orchestral writing; specifics of orchestral writing is defined by the interaction of the two projection of I. Stravinsky’s orchestral logic: general and singular (special); composer tends to use multi-figure and combinative methods in a concealed way, with some transfigurations (rhythmic-intonation configuration of figures is being reduced as they become akin to formulae), that reflects universal artistic inclination towards game and variative thinking on multiple levels of artistically-aesthetic integrity; timbre and texture structure of the opera is marked by lack of full string group in the orchestra, relatively rare changes of timbres and timbre combinations compared to early ballets, smaller quantity of timbre combinations on the vertical axis, more pronounced continuity of time; omission of complicated combinative and multi-figure composition principles, that causes the orchestral space to be dimensional.

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Abdokov, Yuri B. "Weinberg revival. Suite for the symphony orchestra op. 26: Timbral poetics." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 114–32. http://dx.doi.org/10.35852/2588-0144-2023-1-114-132.

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On June 12, 2021, under the auspices of the International Creative Workshop “Terra Musica” at the Small Hall of the Moscow Conservatory one could hear a special concert. It began with the presentation of book written by Y. Abdokov “Nikolay Peyko. Having fulfilled his mystery…”. It was published by the Publishing House “Russian Conservatory” and the Moscow Patriarchate Publishers. The musical program of the evening was composed of the orchestral opuses by N. I. Peyko, N. Y. Myaskovsky, D.D. Shostakovich, B.A. Tchaikovsky and G.G. Galynin. Moreover, the climax of the program was the world premiere of the Suite for the Symphony Orchestra op. 26 by Moisey Samuilovich Weinberg (1919–1996). The author's manuscript of the work was kindly provided by the composer’s widow Olga Yulievna Rakhalskaya. In the few sources where the Suite is mentioned, there is no systematic analysis that allows to comprehend the etymology of the composer's orchestral thinking. Meanwhile, in the early opus there are the features in closest future will determine the physiognomy of Weinberg’s orchestral style: the graphic relief of orchestral melos, the priority of pure paint in the formation of the timbre palette, the importance of timbre-optical modulation (linear “overflows” and transformations of timbre focus) in orchestral deployment, the virtuosity of the agogic development of instrumental texture, when the characteristic strokes and principles of sound production are likened to various types of pictorial painting, etc. The article reflects the experience of reviving the score, studying its timbral poetics, embodying the most striking properties of Weinberg’s orchestral style. The analysis was undertaken with the broad context of issues of composer and conductor phenomenology.

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Любимов, Д. В. "ORCHESTRAL AND CHOREOGRAPHIC INTERPRETATION ROBERT SCHUMANN’S PLAY “PAPILLONS”." Music Journal of Northern Europe, no. 4(36) (January 15, 2024): 61–83. http://dx.doi.org/10.61908/2413-0486.2023.36.4.61-83.

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Статья посвящена оркестровой и хореографической версиям пьесы «Papillons» из фортепианного цикла Р. Шумана «Карнавал». Рассматриваются особенности оркестровки Н. Черепнина. При сохранении основных элементов структуры, тонально-гармонического плана, фактуры пьесы оркестровка Черепнина демонстрирует свободное обращение с регистрами и различную технику оркестрового письма. Красочная оркестровка вносит свежесть и новизну в музыку Шумана, помогая воплотить пластический образ Бабочки в одноактном балете Фокина «Карнавал». Сюжетным продолжением сцены «Бабочка и Пьеро» стал последующий одноактный балет Фокина «Бабочки» на музыку одноименного цикла Шумана в оркестровке Черепнина. The article is dedicated to the orchestral and choreographic versions of the play “Papillons” from R. Schumann’s piano cycle “Carnaval”. The features of N. Tcherepnin’s orchestration are considered. While maintaining the basic elements of the structure, the tonal-harmonic plan, the texture of the piece, Tcherepnin’s orchestration demonstrates free handling of registers and various orchestral writing techniques. Colorful orchestration brings freshness and novelty to Schumann’s music, helping to embody the plastic image of the Butterfly in Fokine’s one-act ballet “Carnaval”. The plot continuation of the scene “Butterfly and Pierrot” was the subsequent one-act ballet “Les Papillons” by Fokine to the music of the cycle of the same name by Schumann, orchestrated by Tcherepnin.

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Savchenko, G. S. "Constants and Innovations in the Orchestral Writing of I. Stravinsky’s Ballet “Agon”." Culture of Ukraine, no. 71 (April 2, 2021): 118–24. http://dx.doi.org/10.31516/2410-5325.071.15.

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The aim of this paper is to identify the specifics of orchestral writing in the later works of I. Stravinsky on the example of the ballet “Agon” (1953–1957). Significance of the topic. From 1953 begins the late (serial) period of I. Stravinsky’s work. Due to stylistic “modulation”, the study of orchestral writing in later works at the intersection of constant principles (multifigure, combinativity and plasticity) and innovations found out by us is relevant. Research methodology. I. Stravinsky’s late style is studied in various aspects. A topical issue is the composer’s interpretation of serial technique (Glivinsky, 1995; Rogers, 2004; Straus, 1999; Smyth, 2000). N. Kardash (2010) offers a multidisciplinary textological approach in the studying of recent opera and ballet. Renaissance dance forms are studied in “Agon” by M. Richardson (2003). Characteristics of later works are contained in the section of the monograph of M. Druskin (2009). V. Zaderatsky’s monograph (1980) is devoted to the polyphonic thinking of the composer. Historical, comparative, functional, systematic research methods are used in the work. Results. I. Stravinsky’s original orchestral writing was formed in his early works (1908–1910). They gradually formed the principles of multifigure, combinativity (Savchenko, 2019; Savchenko, 2020) and plasticity, found out by us, as universal principles of the composer’s orchestral writing. In the ballet “Agon” the composer applied a serial technique that determines the key role of polyphonic techniques of work with thematic invention, respectively, the dominance of horizontal thinking. At the same time in the creative comprehension and elaboration of techniques of serial technique the composer relies on the methods developed in his works (“formular” thematic invention, motives rotation technique, counterpoint combination of them) (Druskin, 2009, p. 226–227), motive-variant work (Savenko, 2001). Accordingly, ballet acts can be divided into two groups: with horizontal or horizontal/vertical priority in the organization of the orchestral texture. Where the priority is horizontal, we highlight the following variants of the composition of the orchestral texture: 1) monophony (unison) or splitting of unison 2) texture based on the counterpoint interaction of short lines (sometimes — sound points); 3) on the basis of contrasting polyphony; 4) on the basis of imitation polyphony. Conclusions. 1) In the orchestral writing of acts with horizontal/vertical priority, the constant principles of multifigure, combinativity and plasticity remain dominant; 2) Where the horizontal is a priority, innovative principles of organization of the orchestral texture prevail; constant principles are revealed covertly or in a modified form; 3) At the level of a ballet composition as a whole, the alternation of different types of organization of the orchestral texture is formed, in which different ideas about time and space are embodied; thoughtful timbre strategy and handling of different types of orchestral texture give rise to the original timbre-texture structure of the work.

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Klepova, Anna V., and Leyun Xian. "Orchestral Texture in Wang Xilin’s Symphonic Works." Contemporary Musicology 8, no. 2 (2024): 104–28. http://dx.doi.org/10.56620/2587-9731-2024-2-104-128.

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Wang Xilin (born 1936) is a Chinese composer currently living in Germany. In his home country, he is known as a musician of the Western trend. His works are occasionally performed in China and are widely known abroad. He has written about one hundred works in various genres, among which orchestral music plays a key role. In his symphonies and symphonic suites, Wang Xilin reinterprets in a new manner the diverse traditions of the Russian and Western European classics. On the other hand, these works vividly express the national Chinese color, manifested in the figurative and emotional sphere, melodicism and textural techniques. The composer has turned towards the orchestral genres during the course of his entire life. They have become a peculiar brand of chronicles of his style and reflect the periodization of his musical output, in which it is possible to highlight three styles. Each of them has its own priorities in his choice of textural means. Thus, his early period (1961–1977) is marked by the study of the Russian and Soviet schools of composition at the Shanghai Conservatory and of Chinese folklore during his exile in the province of Shanxi. The list of textural techniques in the orchestral works of this period — the suite Poems of Yunnan and Symphony No 1 — is not marked by any originality: the composer uses doublings, imitations and canonic expositions most frequently. Wang Xilin bears a striking resemblance to Dmitri Shostakovich in his construction of monodic lines. In his second period (1977–1990) Wang Xilin expanded his arsenal of textural means, in particular creating original “figuration canons” based on pentatonic chants based on intervals of seconds and fourths. These were first used in the suite The Impressions of Mount Taihang and were subsequently widely used by him in his symphonies and suites of his later period. Despite the ban on Western music during the Cultural Revolution, Wang Xilin studied the scores of Charles Ives and Krzysztof Penderecki. This influenced the third period of his work (starting from 1990), marked by a general chromatization of the harmonies and thematicism and the creation of different types of sonorous textures in his music. Overall, the textural basis of Wan Xilin’s works examined here is polyphonic many-voiced texture, but it also includes some homophonic-harmonic sections. Among them there are pastoral fragments with static textures and dance sections with tutti-pizzicato in the strings.

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Gilmore, Bob. "PHILL NIBLOCK: THE ORCHESTRA PIECES." Tempo 66, no. 261 (July 2012): 2–11. http://dx.doi.org/10.1017/s0040298212000228.

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AbstractThis article focuses on the six pieces for orchestra, the earliest from 1998 and the most recent from 2011, by the American composer and filmmaker Phill Niblock (b.1933). These works stand apart from Niblock's more usual practice: that of making compositions on tape (later on computer) by superimposing layers of recordings of held tones played by individual instruments, the tones pitch-shifted to make dense, microtonal drone textures. Yet there are many similarities, in intent if not in sounding result. The article examines the manner of construction of the orchestral works, with emphasis on their pitch structure, and describes the performance practice that has grown around them in recent years. It describes Niblock's particular use of microtonal intervals (approximated in his notation in increments of a sixteenth of a tone) in generating both the textures and the overall form of his compositions, as well as the intended spatial distribution of the musicians in several of the pieces.

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Bueno, José Lino Oliveira, Érico Artioli Firmino, and Arno Engelman. "Influence of Generalized Complexity of a Musical Event on Subjective Time Estimation." Perceptual and Motor Skills 94, no. 2 (April 2002): 541–47. http://dx.doi.org/10.2466/pms.2002.94.2.541.

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This study examined the variations in the apparent duration of music events produced by differences in their generalized compositional complexity. Stimuli were the first 90 sec. of Gustav Mahler's 3rd Movement of Symphony No. 2 (low complexity) and the first 90 sec. of Luciano Bério's 3rd Movement of Symphony for Eight Voices and Orchestra (high complexity). Bério's symphony is another “reading” of Mahler's. On the compositional base of Mahler's symphony, Bério explored complexity in several musical elements—temporal (i.e., rhythm), nontemporal (i.e., pitch, orchestral and vocal timbre, texture, density), and verbal (i.e., text, words, phonemes). These two somewhat differently filled durations were reproduced by 10 women and 6 men with a stopwatch under the prospective paradigm. Analysis showed that the more generalized complexity of the musical event was followed by greater subjective estimation of the duration of this 90-sec. symphonic excerpt.

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Rajabova, Mashhura. "Harmonic and Fret Features of "Tanovar" Processing by A. F. Kozlovsky and A. Nabiev." Eurasian music science journal, no. 1 (June 18, 2021): 95–105. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/55.

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In the modern musicology of our country, the issues of the modal structure of national music in its folk and classical branches are the most relevant. And they require a detailed study of the historical and theoretical aspects of fret thinking both in traditional classical and folk Uzbek music, and in the works of composers of our country. The article deals with some theoretical and historical aspects in the use of the means of musical expression of two composers of Uzbekistan: A. F. Kozlovsky and A. Nabiev. A brief comparative analysis of the stylistic features of orchestral and piano processing, its fret and harmonic organization, the sound representation of Uzbek folk instruments by means of a symphony orchestra and vocals, as well as in the piano texture – in two historical periods of the development of the composer's creativity of Uzbekistan is given.

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Bohatyriov, Volodymyr. "Orchestration as a factor of genre reproduction (on the example of analysing Zoltan Almashi’s Concerto Grosso no. 4 “Seasons”)." Aspects of Historical Musicology 33, no. 33 (December 28, 2023): 142–55. http://dx.doi.org/10.34064/khnum2-33.08.

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Statement of the problem. Among the many trends in the creative search in music of the XX–XXI centuries, one of the leading ones is the appeal to the ideas and models of the past. This has led to the revival of previous centuries musical genres. The accuracy of a genre’s reproduction is determined by its constituent elements, such as musical themes, harmony, form structure, etc. Orchestration plays an important role in this process, as it forms a timbre-textural complex that has structural, organisational and semantic functions in musical work. The considered piece, Z. Almash’si Concerto Grosso No. 4 “Seasons” for violin and orchestra, is an example of the use of the early genre in contemporary music. Despite the genre classification mentioned in the title, the composition has its own unique features that indicate a free interpretation of the genre model. In this regard, it seems necessary to to identify the features characteristic of the concerto grosso genre. Among them, orchestration can be considered the key one. Objectives, methods, and novelty of the research. The existing scientific sources do not pay enough attention to the orchestration in «Seasons» by Z. Almashi, as wee as its role in the reproduction of the genre, which determines the scientific novelty of this study. The purpose of the article is to identify the orchestration features attributable to concerto grosso in Z. Almasy’s work and to determine the specific principles of the structure of the orchestral texture. The study uses: the historical-typological method – to understand the contextual and socio-cultural belonging of Z. Almashi’s piece, the genre method – to reveal its typological and individual features with a projection on the orchestration, the stylistic method – to determine the artistic and aesthetic, linguistic and technological properties, a structural and functional method – to disclose the peculiarities of the organization of an orchestral texture. Recent research and publications. The work is based on sources devoted to the relationship of genre and orchestration (Korobetska, 2011; 2013), the use of contemporary composers with genre models of early music (Tukova, 2003), the formation and development of the instrumental concerto (Rakochi, 2021), to the orchestral style of Baroque composers (Borodavkin, 1998), orchestration as a component of compositional technique (Savchenko, 2021), and to the definition of the position of timbre and texture in orchestration (Kashyrtsev, 2021; Klebanov, 2019). Research results and conclusion. The analysis revealed those features in the orchestration that correspond to the genre of concerto grosso. First of all, it is the availability of two instrumental groups with different orchestral functions. The first ‘concertino’ group includes the principale violin, ocarina, flute, clarinet in B and piano; the second ‘ripieno’ group includes the string orchestra. Nevertheless, instruments from the first group (primarily woodwinds and piano) can be combined with stringed instruments in accompaniment of solo violin. When these groups of instruments interact, there is a juxtaposition of timbres, volumes and sound densities. Also, the contrast is enhanced due to the virtuosity of the parts in the ‘concertino’ group. This creates dialogue and competition, which necessary for the realization of the genre. A variety of orchestration techniques, among which are timbre mixtures, duplication, re-colouring, swinging, and sound painting, embodies the concerto principle. They form a timbre dramaturgy, which is essential for actualising the concert genre and the program title of the piece.

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Bohatyriov, Volodymyr. "The strategy of historically oriented orchestration of M. Verbytskyi’s play “Pidhiriany”." Aspects of Historical Musicology 35, no. 35 (July 15, 2024): 9–29. http://dx.doi.org/10.34064/khnum2-35.01.

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Statement of the problem. The historical circumstances that influenced Ukrainian culture throughout the XIX–XX centuries have given rise to the contemporary challenge of accessing musical scores, particularly original scores or orchestral voices of music theatrical works and orchestral compositions. Even the presence of copies of piano arrangements, individual instrumental parts, or segments of complete scores in private or state archives does not afford a comprehensive evaluation of the creative output of Ukrainian composers from the past nor enable its broad presentation to the public. This necessitates contemporary composers to engage in the restoration, reconstruction, or arrangement of compositions by Ukrainian classics. The article analyses the version of M. Verbytskyi’s play “Pidhiriany” created by the author of the study, in terms of orchestration strategy. Objectives, methods, and novelty of the research. Since the aspects of historically oriented orchestration have not been included in the scientific discourse, the purpose of this study is to establish an algorithm of actions that make possible this strategy. The actions are systematized as a result of the orchestration of M. Verbytskyi’s “Pidhiriany” by the author of this article. For these purposes, the following methods are used: historical, which defines the context of the emergence of the “Pidhiriany” play and the chronology of its productions; historical and theoretical to analyze the concepts of “authentic performance”, “historically informed performance”, “historically oriented performance” and their role in scientific discourse; technological, which defines specific orchestration techniques. The novelty of the work is to formulate the concept of “historically oriented orchestration” and to identify its key provisions implemented in the process of working on “Pidhiriany”. Recent research and publications. The work is based on sources devoted to the history of creation, context of appearance, and chronology of productions of “Pidhiriany” by M. Verbytskyi (Kozak, 2017a; 2017b), the linguistic aspect and stage fate of the play in Galicia (Antoshevska, 2023), the ban and restoration of the composer’s creative heritage (Kolomoiets, 2023b), the characteristics of his orchestral style (Kornii, 2001) and the style of the era (Korobetska, 2011), and some aspects of orchestral thinking (Savchenko, 2022). Some sources are devoted to the discourse of historically informed or authentic performance and the functioning of its concepts in Ukrainian musicology (Velychko, 2015; Lazarevych, 2017; Nikolaievska, 2017). Results and conclusion. The proposed definition of “historically oriented orchestration” in the article is a method of reorganizing the timbre-textural structure of the work, which allows to correlate the fixed final result with the traditions of the era in which the work was created. Among its key provisions are the following: 1) the chosen instrumental ensemble (orchestra) is similar or appropriate to the particular era; 2) the main features of the orchestral style of the era, national school and author of the original source are preserved; 3) characteristic genre features are emphasized in the orchestration; 4) the musical texture corresponds to a certain epochal style; 5) orchestration techniques and the range of musical expression (such as timbre colouring, agogics, articulation, instrumental techniques) are determined by the style of the era and a particular composer. In the analysis of M. Verbytskyi’s play “Pidhiriany”, the tools that enable the implementation of the strategy of historically oriented orchestration are revealed: • firstly, the instrumental composition corresponding to the style of the composer and the his era (a small symphony orchestra without trombones and tuba); • secondly, a differentiated interpretation of the orchestral groups functions (reliance on strings and bows with a wide range of functions, subsonance and harmonic accompaniment of woodwinds, rhythmic and harmonic function of horns, trumpets and timpani); • thirdly, the established methods of interaction between vocal voices and the orchestra (instrumental episodes have rich orchestration, during vocal episodes the orchestra performs a supporting function); • fourthly, the use of basic performance and instrumental techniques. As a result, a created timbre-textural structure of the work corresponds to its genre, epochal and individual style of the composer.

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

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My composition Finland is a vocal symphony for soprano, tenor and large orchestra set to the text of the early 19th century Russian Romantic poet Evgeny Baratynsky. The main idea behind this composition involves the combination of two contrasting approaches to musical composition: composing an abstract, independent musical work built on purely musical laws of structure and development and, on the other hand, writing a dramatic, programmatic work, the aim of which is to express emotions, to interpret and depict the subject matter of the literary text. The musical composition consists of six movements, following the poem’s six unequallength stanzas. Each movement is divided into a purely orchestral section and a vocalorchestral section, the latter featuring alternately the solo soprano and tenor. The work is written in the twelve-tone technique and involves references to a late Romantic musical language, emphasis on new textures and sonorities for the orchestra, occasional implications of tonality, and incorporation of serial rhythm in several of the work’s sections. The article gives a short account of Baratynsky’s biography and poetic writings and then proceeds to analyze the composition Finland in terms of both the large-scale structure and the details within the individual movements.

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Hanna, Savchenko. "І. Stravinsky’s orchestral writing of Neo-Classical and serial (late) periods: comparative analysis". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, № 60 (3 жовтня 2021): 36–56. http://dx.doi.org/10.34064/khnum1-60.02.

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Statement of the problem. Neo-Classical and serial (late) periods of I. Stravinsky’s creativity are marked by the shifts in his musical language, which found their reflection in his orchestral writing. “Universals” of style and genre (term of Savenko (2001: 105–163) retain their relevancy. Constant principles of orchestral writing (multi-figure composition, combinatorics and plastique) are used in different combinations. Analysis of recent research and publications. While there are numerous studies devoted to I. Stravinsky’s Neo-Classical and serial (late) periods, no works have composer’s orchestral thinking and orchestral writing as an object of special examination. Thus, scarce studies regarding aspects of composer’s orchestration become even more valuable: about orchestral texture (Schnittke, 1967; Schnittke, 1973, Savenko, 2001; Kashyrtsev, 2020), or interpretation of timbres (Savenko, 2001; Savenko, 2011, Kashyrtsev, 2020), or interconnection of orchestral and harmonically-modal thinking (Gurkov, 1987), or editions (Timofeev, 2014; Timofeev, 2019). The purpose of this article is an examination of specifics of I. Stravinsky’s orchestral writing from the standpoint of peculiarity of application of constant principles of orchestral writing (multi-figure composition, combinatorics and plastique) in the ballet “Jeu de cartes” and the Variations (Aldous Huxley in Memoriam). The novelty of the article is caused by: 1)reveal of beforementioned principles; 2) examination of their existence in evolutionary perspective; 3) bringing attention to relevant problems of orchestration in I. Stravinsky’s works of Neo-Classical and late periods of creativity; 4) formulation of original scholarly definition of the term “orchestral writing”. Methods. In this article stylistic method is used – to study evolutionary processes of composer’s style in dialectic unity of constant and innovative; functional – to examine specifics of functional organisation of orchestral texture; comparative – to reveal different ways in which constant principles of orchestral writing are used on different stages of composer’s evolution. Results and Conclusions. Constant principles of orchestral writing (multifigure composition, combinatorics and plastique), which have already emerged in the primary period, are present in the works of Neo-Classical and late periods in different configurations of their relations. In the ballet “Jeu de cartes” multi-figure composition loses its role in comparison to the early works and is applied hidden due to: 1) motive variants (with the motives being stressed by timbre, texture or register); 2) textural complementarity (which means that multiple figures are used in timbrally-textural algorithm); 3) creation of “protracted” melody, in which the role of motivic “formula” is reduced (which is typical for I. Stravinsky’s Neo-Classical period). At the same time, continuity emerging in Neo-Classical works meets the tendency towards discretion due to influence of such principles as combinatorics and plastique, which retain their relevancy, being realised in different variants in the conditions of functional “clarity” of a texture, as it is a trait of composer’s Neo-Classical musical idiom. The orchestral writing of the Variations (Aldous Huxley in Memoriam) is defined by the principle of combinatorics with the usage of plastique. Serial technique contributed to its reveal. At the same time, the role of multi-figure composition is reduced to a bare minimum, which was caused by rejection of melodic “formularity”.

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Lebedeva, M. A. "TIMBRE AND COLORISTIC FEATURES OF THE CONCERTO-SYMPHONY BY M. D. SMIRNOV." Arts education and science 3, no. 32 (2022): 165–71. http://dx.doi.org/10.36871/hon.202203020.

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The article deals with the one-part Concerto-Symphony for domra and orchestra of Russian folk instruments by the Ural composer M. D. Smirnov. The composition, as one of the first original opuses written in the genre of the concert, marked a new stage in the formation of Russian academic folk instrumental music for domra. The purpose of the work is to determine the specific timbre-coloristic means ("timbre-textured equivalent" — the term of A. M. Veprik) used by the composer in the work. The author defines the role of the solo instrument in the orchestral musical fabric and reveals the successive connections of M. D. Smirnov's music with the Russian school of composition of M. I. Glinka, P. I. Tchaikovsky and S. V. Rachmaninov. The results revealed a close relationship between the orchestral musical fabric in the work and the timbre features of the Russian folk instrument — the domra. The composer chose a weep-pardon, which had not previously appeared in such a context, as the figurative basis of the emotional sphere of the entire work, which led to a search for new technical means. As a result, the importance of M. D. Smirnov's work is emphasized, both in terms of his special contribution to the creation of the Concerto-Symphony, and for the development of Russian academic folk instrumental art.

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Savchenko, Hanna. "Combinatorics as a constant principle of I. Stravinsky’s orchestral writing." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 180–93. http://dx.doi.org/10.34064/khnum2-21.12.

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Background. I.Stravinsky’s orchestration is quite an original phenomenon; its essential characteristics are influenced not only by objective intra-musical factors (reconfiguration of musical language on the verge of XIX–XX centuries) or by subjective individual and stylistic determinants, but also by the changes, which occurred in the cultural context of the first half of XX century under influence of scientific and technical progress (Arkadev, 1992; Gerasimova-Persidskaya, 2012). The first two decades of XX century became the time, when the new generation of composers emerged, who reflected complexity of the world and different understanding of temporal and spatial relations in sound matter of their works. First, we mean C. Debussy, I. Stravinsky, the composers of the Second Viennese School and B. Bartók. Objectivation of the worldview largely influenced the orchestration as it is one of the means to organise musical matter in space-time. Literature review. Orchestration by I. Stravinsky is the object of research in the articles of V. Gurkov (1987) and A. Schnittke (1967; 1973). Valuable observation and commentary on composer’s orchestration are found in several monographs (Asafev, 1977; Baeva, 2009; Druskin, 2009; Savenko, 2001; Yarustovskiy, 1982). In the available works, orchestral writing by I. Stravinsky has not been examined, especially in the aspect of its constant principles. Results. Concept of “orchestral writing” needs to be clarified; it is widely used, although scarcely developed. We suggest our own definition of this concept. Orchestral writing is an individual system of technological devices and principles, determined by composer’s musical language and common, basic rules of orchestration, aimed at realisation of timbre and textural aspects of the work, conditioned by style, genre and artistic idea and incarnated in functional interaction of orchestral parts in horizontal and vertical axes. General principles of I. Stravinsky’s orchestral writing became discernible in his early works; we define them as multi-figure composition, combinatorics and plastique. Combinatorics can be understood as universal principle of I. Stravinsky’s compositional method and orchestral writing, which affects all the levels of compositional whole, the work itself. Combinatorics is widely used in visual arts, where it is interpreted as a method to find various combinations through rearrangements, moving, different configurations of given elements, their juxtaposition in a certain order. Used as a term to define orchestral writing, combinatorics supposes manipulation with small timbre and textural elements and structures; this is conditioned by type of the themes, used by the composer as well as by variability of intervals and motives. Frequent succession of thematic structures causes rushed tempo of changes of timbre and textural structures, which, in its turn, causes musical time to be densely filled with informational events, and musical space became heterogeneous, contrasting, motley. Combinatorics is embodied in such tools as timbre transmissions and switching, when thematic structures distributed between several timbre groups by the means of split, handoff or juxtaposition, combination of orchestral groups, while remaining in the same structural and compositional section; as a rule, this does not result in a change of orchestral texture. This engenders mosaic-like orchestration, intense contrasts of timbre. Combinatorics in I. Stravinsky’s scores is skillfully realized through increase and decrease in quantity of voices (timbres) in horizontal and vertical axes. In vertical axis it is achieved by usage of incomplete and inexact (fragmentary, variable) doubles, having role of timbre “highlighting”, creating timbre variants of the main line, filling orchestral texture with unremitting timbre move and spatiality. As fragmentary and variable doubles are used, density of the texture is regulated through pauses in doubling lines; thus, the composer avoids risk of overloading the texture. In horizontal axis combinatorics causes alternation of timbres and timbre mixtures within rather shorts periods of musical time with the same orchestral texture, which causes constant timbre development and indicates wise usage of orchestral resources. In the light of combinatorics it is possible to examine and a type of orchestral tutti, raising on the basis of multi-layered orchestral texture, composed from several timbre and textural strata. Conclusions. Continuous usage of combinatorics allows to interpret it not only as constant principle of I. Stravinsky’s orchestral writing, but also as “universal” (according to definition of S. Savenko, 2001) in composer’s orchestral thinking. The same can be applied to such principles as multi-figure and plastique. Their interaction spawns diverse combinations in the Stravinsky’s compositions of the “Russian”, “Neo-Classical” and late stages of his creativity, their influence might be either conspicuous or hidden. Abovementioned principles are used to different extent in each case, depending on the type of space-time that I. Stravinsky employs in the works of different periods: time filled with events and motley, heterogeneous space in the works of the “Russian” period; relatively continuous time, rich with information and events, and more homogenous space in the works of the “Neo-Classical” period; Eternity and simultaneous usage of different time models and strictly geometrical (pure in its abstractness) Space in the works of the late period.

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Graham, Cameron. "John Luther Adams Across the Distance, Meltdown Festival, Royal Festival Hall, London." Tempo 70, no. 275 (December 7, 2015): 89–90. http://dx.doi.org/10.1017/s0040298215000716.

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John Luther Adams holds a unique position in American contemporary music. His works are as tinged with minimalist virtues as they are rigorously experimental, offering sound worlds that seem at once unearthly and welcoming, unconventional yet accessible. At the core of the Pulitzer Prize-winning composer's work lies a major concern with translating the tenuous and illusory concept of acoustic and natural sonic space into densely textured instrumental works. Exploring the composer's oeuvre, one senses a deep fascination with acoustic phenomena; in works such as the orchestral soundscape Becoming Ocean (2012), and the percussion pieces Inuksuit (2009) and Strange and Sacred Noise (1997), the composer eschews any audible rhythmic and melodic complexities in favour of serene yet coursing sound masses and highly sonorous ensemble textures.

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Pliushchenko, M. Yu. "“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 124–44. http://dx.doi.org/10.34064/khnum1-53.08.

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Background. This article is devoted to the actual issues of musical interpretation in connection with one of the most common genres of modern art – genre of transcription in its various aspects. These questions are considered in aspect of genre specificity of transcription as the work with dual authorship that determines a special methodology of such musical samples study, the need of the comparative analysis of the original and transcription versions, the study of principles of composition and artistic interpretation, the manifestations of the performing characteristics in it. This field of creativity encourages researchers to study the principles of artistic thinking, inter-style communication, and virtual creative dialogue between the authors of the original and the version at all levels of musical content and form using the samples of transcriptions. The example of such approach is the given research, which studies the mechanisms of musical interpretation creation in the genres transcription and arrangement in aspect of the contemporary composing and performing practices. The object of the study is the creativity by a bright representative of the Kharkiv school of the playing on folk instruments, Andrii Strilets, the subject of consideration in this article are his orchestra transcriptions-arrangements. The purpose of the research is to determine the principles of interpretation and inter-style dialogue in the genre of transcription on the example of the musical piece “Jazz-slide” by M. Tovpeco for two accordions in the arrangement by A. Strilets. For the first time in musicology this composition becomes an object for the theoretical analysis in aspect of the artistic interpretation and inter-style dialogue in genre of transcription-arrangement. This determines the relevance and scientific novelty of the study. For the first time also, the research is focused on the multifaceted creative activity of the talented Kharkiv musician A. Strilets, which combines the various directions – composition, conducting, bayan performance and pedagogy. Results of the study. The list of the works by A. Strilets includes dozens of positions, in particular, the orchestral opuses – about 40, the vocal pieces – more than 40, there are also the dance music, vocal-choreographic compositions and others. Composer prepared for publication the author’s collection “Concert works for bayan”, which will be a musical presentation of his work. Pedagogical work of the musician is successfully combined with the performing activity. A. Strilets is a talented accordion / bayan performer (the winner of all-Ukrainian and international competitions, among them, the prestigious international competition “Vogtland Music Days” in Klingenthal, Germany; participant of tours as a bayan player-performer in Belgium, Germany, Poland, Ukraine) and conductor. He worked as a conductor at the Kharkiv City Theater of Folk Music “Oberegi”; he made a significant contribution to the creation of the “Slobozhanskii Big Academic Song and Dance Ensemble” (2011), which he conducts nowadays, and also acts as an author and arranger of a significant part of the musical repertoire of this ensemble. Being the head of the folk instruments orchestra, musician directs his actions, first of all, to improve the performing level of the musicians, to expand the concert repertoire and the genre diversity of the performed compositions, to change and complete the instrumental compositions. The study also highlights several signs of the pedagogy of A. Strilets. As a teacher, he encourages in his class the independent thinking of the performer and the searching of a reasonable interpretation, provides the information about stylistic features of works for fully disclosing of its content, he takes into account the analysis of their dramaturgy and form, carefully relates to the reproduction of author’s remarks, aims from the musicians the task of the most accurate composer’s intention disclosure. These pedagogical principles project onto the compositional features of A. Strilets’ works, which are clearly demonstrated in sphere of his arranger’s work. The study specifies a number of basic composer principles and methods used by A. Strilets in the transcription-arrangement of “Jazz Slide”. 1. First of all, the arranger updates the timbre-texture complex of the original, redistributing certain content and form-building components in the musical “space” and “time”, giving them new configurations, which leads to strengthening or, in opposite, leveling (down to rotation) of their original dramatic functions – general and minor, solo and accompanying, monological and dialogical, ensemble and orchestral, melodic, harmonic, rhythmic and others. 2. The sound-texture aspect demonstrates both smallest and systemic changes of musical and expressive complex of the original – from the separate elements to their cumulative action, which contributes to the genre-style qualities transformation of the work, strengthening the through development in it, up to the presence of signs of symphonization. 3. Hence, the genre concept of the work is updated, and it leads to the emergence of a new genre quality – “concert-ness” – and to the consolidation of the concert status of the work (which becomes similar to a concert for two accordions / bayans with an orchestra). The quality of “concert” is also achieved due to the growing role of soloists, in particular, the strengthening of solo replicas in the orchestra (separation of elements of the original melodic themes and distribution them to orchestral groups), which leads to the polyphonization of the musical facture, emphasizing (new coloring) some features of the melodic lines of the soloists and like other. 4. At the level of harmony, on the one hand, the emphasis of its original content, on the other hand, the search of its melodic potential is observed. 5. The rhythmic parameter of sound-facture complex contributes to the enhancement of genre-style semantics of the original source, taking into account its jazz “filling”. 6. Comparative analysis of the original and version reveals signs of a method of composer interpretation that involves a creative component in arranging, supplementing, and rethinking the content of the original. Conclusion. In course of studying it was found that the arranger, at the preserving of the structure of the original piece – a contrast-composite form, updates the procession-dynamic and dramatic sides of it, primarily due to the action of the timbre-texture complex as the key interpretative factor in creating of the orchestral version of the original. The prospect of the research. The considered issues require, of course, the further research – both from the point of view of the artistic significance of genres, arrangement and transcription, in particular, for orchestras and ensembles of folk instruments, and in the aspect of the action of mechanisms of artistic interpretation and the features of the transcription process, which naturally combines composer and performing arts. The work of the talented Kharkiv musician Andrii Strilets who is one of the most prominent representatives of the Kharkiv school of folk instruments, deserves a separate study.

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Kruglik, V. L. "Folk-instrumental bases musical style of Vadim D. Bibergan." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 126–29. http://dx.doi.org/10.30725/2619-0303-2017-2-126-129.

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In the article, the example of «Concerto for gusli with the orchestra» discusses Bibergan’s principles of work with musical material, shows color of gusli, discusses their potential as a solo instrument, and in collaboration with the orchestra. Also attention is paid to timbre and texture characteristics of an orchestra of Russian folk instruments

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Savchenko, Нanna. "Multifigure Technique in Igor Stravinsky’s Orchestral Composing of the Neoclassical Period (on the example of the ballet “Apollon Musagète”)." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 189–205. http://dx.doi.org/10.34064/khnum2-19.11.

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Background. The issue of time in Igor Stravinsky’s works attracts the attention of researchers constantly. The time is studied through revealing the meter and rhythm specifics of the works (the concept of irregular-accent rhythm (a term of V. Kholopova). In our opinion, in the study of the temporal and spatial parameter another reversal is possible – in the aspect of orchestration as a means of material and sound objectification of a composer’s conception in time and space. Taking into account the evolution of I. Stravinsky’s composer thinking, this approach allows us to demonstrate those changes that took place in the orchestration of the composer, and to reveal certain constants, universals (S. Savenko) of orchestral thinking and orchestration as a set of technological methods. Analysis of recent research and publications. The theme of time and its specificity in Igor Stravinsky’s works is studied discreetly in the monograph by S. Savenko (2001), which discusses it in connection with the study of meter and rhythm, motif technique, musical form. The notion of space is not a scientific problem in the monograph, but the author discusses it in relation to texture and orchestration. The separate sections of the monograph by M. Druskin (1982) are devoted to the issues of time (Motion) and space (Space). In the first one, the musicologist emphasizes the importance of the visual images and body movements for the composer. The author distinguishes two approaches of I. Stravinsky to the course of time: the first approach evenly regulates it, the second one constantly violates it, because it is full of emotions and psychic states (Druskin, 1982: 135). In the section Space, M. Druskin (1982: 140–141) emphasizes the composer’s intended attitude to the issue of space organization, in which he continues the discovery by Claude Debussy. The essence of innovation lies in the creation of a multicenter composition that involves the coexistence of many points of view (1982: 143–150). O. Sokol (1974) also discusses the above concept of time but in order to substantiate the principle of similarity in the creative method of the composer. A special study on the issue of rhythm and time in I. Stravinsky’s works is the doctoral dissertation by A. Makina (2010). The analysis of the rhythmic and temporal structures and the rhythmic technique of the Symphony of Wind Instruments allows the author to conclude that “Stravinsky’s innovation is to strengthen the structural rhythmic component of the composition as an alternative to tonal development...” (Makina, 2010: 12). Objectives of the researching. In the above works, the orchestration by I. Stravinsky as a system of technological methods of organizing material in time and space does not become a subject of special study. Therefore, the aim of this article is to study the specifics of the spatial and temporal organization of I. Stravinsky’s composition as exemplified by the work of his neoclassical period (the ballet Apollon Musagète) in the aspect of orchestral composing. Discussion and results. In the early works, I. Stravinsky develops the orchestral technique of composing based on the multi-figure principle. It allowed the composer to embody in his artistic system new ideas about time and space according to the worldview, which has changed dramatically in the modern culture. The figure in the orchestral texture means, as we define it, a formula that is delineated with intonational, rhythmic, texture, register, and timbre means, or with a set of means outlined in a plastic-characteristic, visual way. It can be repeated accurately (ostinato) or alternatively. The multifigure technique in horizontal projection is realized at microand macro-syntactic levels. In the organization of time, it generates increased eventfulness, semantic density. In vertical projection, the multifigure technique is manifested in the combination of different figures in a polysyllable texture organized on the principle of complementarity. This enriches the orchestral texture with spaciousness. The preservation of the multifigure technique as a constant of I. Stravinsky’s composer thinking comes from the peculiarities of his style system. The style of the composer, according to many researchers, is based on the dialectical interaction of universal (stable) and variant (mobile) aspects at different levels of stylistic integrity. The orchestration parameter contains new “neoclassical” qualities and stable orchestra composing techniques (the multifigure technique). Let us turn to the ballet Apollon Musagète (1928). The selected composition of the orchestra is expressly “classical”: the string orchestra forms a timbre-soldered organism, devoid of the bright color of woodwind and brass instruments. The result is a monochrome sound, essentially continuous, because it does not change its timbre throughout the ballet. In the works of the neoclassical period, the composer reproduces certain qualities of the model (Savenko, 1977). We assume that purposeful continuous time and homogeneous space are also subject to simulation. A powerful means of modeling continuous time is the “long” melody that the composer designs. Its unfolding in the context of timbre monochromaticism really creates an auditory illusion of a timeless expression that goes on in time. However, a visual analysis of the score testifies to the effect of the multifigure technique, which imparts a process of discreteness. The figures help break the melody line, register contrasts, timbre interception. Vertically, based on the figure composing, counterpoints and duplications (usually inaccurate) are built, which violates the homogeneity of the space and gives it a variable density. Conclusions. The analysis of the scores of the ballet Apollon Musagète has shown the effect of the constant principle of multifigure technique. The multifigure technique undergoes modifications, as it interacts with the techniques that matured in the neoclassical period (“long” melody, monochrome timbre), and it aimed at modeling the “classical” directed continuous time and homogeneous space. As a result, the multifigure technique breaks the continuity of time by giving it discreteness; creates an inhomogeneous space. The author sees the prospects of the study in the analysis of opera scores, in which the multifigure technique comes in the complex interaction with the words.

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Zhang, Zhen. "Comparative Analysis of The First Movements in Beethoven's and Mozart's C Minor Piano Concertos." International Journal of Arts, Humanities & Social Science 05, no. 04 (April 13, 2024): 129–41. http://dx.doi.org/10.56734/ijahss.v5n4a10.

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This paper compares the first movements of Beethoven's and Mozart's piano concertos in C minor, exploring the similarities and differences between these two seminal works. By examining various aspects, including the key, composition background, form, motifs, harmony, orchestral arrangements, dialogue between instruments, and piano writing, the study reveals Mozart's profound influence on Beethoven while highlighting the latter's unique innovations. The analysis delves into the significance of the C minor key for both composers, their use of the double exposition form, and the structural design of the movements. The study also investigates the composers' employment of similar motifs and materials, demonstrating how they maintained unity throughout their respective works by deriving most elements from the first exposition. Furthermore, the paper examines the intricate dialogue between the piano and the orchestra, showcasing how both composers utilized the orchestra for harmonic support, melodic enhancement, and imitative counterpoint. Particular attention is given to the way Beethoven paid homage to Mozart through his treatment of the cadenza and the coda. The comparison of piano writing reveals similarities in texture and general structure, with both composers employing arpeggios, scales, and trills as central themes, contrasted with lyrical sub-themes. However, the study also highlights Beethoven's more dramatic and extended treatment of the contrasting sections. Through this comprehensive analysis, the paper illuminates the profound influence of Mozart on Beethoven's compositional style while also showcasing the latter's innovative approach, which helped usher in a new era of musical expression at the dawn of the Romantic period.

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Goodchild, Meghan, Jonathan Wild, and Stephen McAdams. "Exploring emotional responses to orchestral gestures." Musicae Scientiae 23, no. 1 (May 12, 2017): 25–49. http://dx.doi.org/10.1177/1029864917704033.

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Research on emotional responses to music indicates that prominent changes in instrumentation and timbre elicit strong responses in listeners. However, there are few theories related to orchestration that would assist in interpreting these empirical findings. This article investigates listeners’ emotional responses to four types of orchestral gestures – large-scale timbral and textural changes that occur in a coordinated, goal-directed manner – through an exploratory experiment that collected continuous responses of emotional intensity for musician and nonmusician listeners. A time series regression analysis was used to predict changes in emotional responses by modeling changes in several musical features, including instrumental texture, spectral centroid, loudness, and tempo. We demonstrate the application of a new visualization tool that compiles the emotional intensity ratings with score-based and performance-based musical features for qualitative and quantitative analysis. The results suggest that the response profiles differ for the four gestural types. Following the increasing growth of instrumental texture and loudness, the emotional intensity ratings climbed steadily for the gradual addition types. The ratings for the sudden addition gestures sharply increased in response to the rapid textural change, peaking toward the end of the excerpt. There was a slight tendency for musicians, but not nonmusicians, to anticipate the moment of sudden addition with heightened emotional responses. The responses to the reductive excerpts, both gradual and sudden, feature a plateau of lingering high emotional intensity, despite the decrease of other musical features. The visualization provided a method to observe the evolution of listeners’ emotional reactions in response to the orchestral gestures and assisted in interpreting the results of the time series regression analysis.

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Bertagnolli, Paul A. "Amanuensis or Author? The Liszt-Raff Collaboration Revisited." 19th-Century Music 26, no. 1 (2002): 23–51. http://dx.doi.org/10.1525/ncm.2002.26.1.23.

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Liszt's reliance on copyists throughout his career and in every stage of the compositional process aroused controversly only after his death, when published letters impugned his authorship by suggesting others had orchestrated his symphonic works. Thereafter, compelling testimony from three members of the Weimar Hofkapelle during the 1850's——concertmaster Joseph Joachim, prinicipal cellist Bernard Cossmann, and the scribe Joachim Raff——has informed the secondary literature's highly partisan criticism. Suspected scribal influence is constructed as weakness in Liszt's character and music, dismissed as inconsequential, or reluctantly acknowledged as a factor in Liszt's transformation from pianist to symphonist. I propose a more balanced view based on previously univestigated manuscript sources for incidental music to Herder's Der entfesselte Prometheus, produced in 1850. Raff's full scores for an overture and eight choruses, prepared from Liszt's typically detailed short-score, offer unrivaled opportunities to assess scribal influence. An original typology sorts contributions into four categories: minor tasks any competent musician could perform; transcribing unmarked passages in score order; extra doublings; and genuinely autonomus work, including the occasional invention of primary motives. Some of Raff's independent choices reflect astute awareness of Herder's text; others merely betray fascination with orchestral technique. Liszt's revisions eliminated or varied the overwhelming majority of scribal accretions, although Raff deserves credit for several salient features of the choruses. In the overture, however, rejection of Raff's contributions is virtually complete. The revisions also disclose that Liszt adopted more transparent textures, articulated phrases through gradual increases in orchestral density, and exploited instrumental ranges more idiomatically.

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Paiva Santana, Charles de, and Didier Guigue. "The Role of Orchestration in Shaping Musical Form." Musicological Annual 58, no. 2 (December 27, 2022): 121–53. http://dx.doi.org/10.4312/mz.58.2.121-153.

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We introduce a method for computer-assisted analysis of orchestration. We also look into the role that texture and orchestration have in structuring musical form. The method comprises a numerical representation, a hierarchy of ‘textural situations’ and measures for heterogeneity, diversity and complexity of orchestral-textural configurations.

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Andriy, Strilets. "The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 216–38. http://dx.doi.org/10.34064/khnum1-60.12.

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Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the study on folk instruments orchestral performance has not been reflected in national scientific journals for a long while, but currently this is considered as an up-to-date issue. The articles by N. Bashmakova and V. Kikas and Yu. Fedotov (2018), Z. Stelmashchuk (2014), K. Maidenberg-Todorova (2019), I. Fedun (2020) are confirming this statement. The main purpose of the article is to find basic principles of the original repertoire formation for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts related to the creative activities of Kharkiv composers in the 1950–1960s. For the first time, the historical mission played by Kharkiv composers in the original repertoire formation of the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts is determined. The concept of the article is based on the interdisciplinary interaction of historiographical, holistic, genre-stylistic and performing methods of researching, as well as a phenomenological approach to the analysis of the individual style of a composer based on the example of the particular works. Results and conclusions. The selected works by O. Steblyanko, D. Klebanov, V. Borisov, B. Alekseev, I. Kovach, P. Haydamaka and V. Podgorny included in the concert program of the creative project of 2021 have been analyzed due to their compositional, intonation and dramaturgical structure. The compositions that have been arranged for the folk instruments orchestra from the scores of symphony orchestra or ones instrumented from the compositions for accordion, domra ensemble, domra accompanied by piano were identified. According to the results of analysis, the creative approach of the composers of Slobozhanshchina in the 1950s–1960s was based on the thematic development of folklore material (song and dance prototypes) or the creation of the original themes, which are as close as possible to the folk samples. Having created large forms for domra and balalaika, Kharkiv composers fulfilled a historical mission in the formation of the original repertoire and, correspondingly, genre and stylistic priorities of the Folk Instruments Orchestra of KhNUA named after I. P. Kotlyarevsky. Due to the arrangements of these works for the folk instruments orchestra, a high academic status of playing folk instruments was demonstrated. It is necessary to emphasize the genre and stylistic orientation of these works on the Western European tradition. Along with the traditional forms of processing and arrangement, the folk instrumental art received the entire genre palette of European music, from miniatures to suites and concerts (in terms of timbre and texture capabilities of the folk instruments). On this way we see the keys to the academic status of the folk instruments orchestra. The prospects for further development of the theme. On the basis of the formed original repertoire at a certain historical moment it is possible to substantiate other leading principles of the orchestra as a concert and educational unit: the combination of an orchestra performer’s training, the formation of his professional skills with the ensemble’s concert activity; the introduction of academic approaches in the training of the folk instruments performers, conductors etc.

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Di Martino, Julie S., Chandrani Mondal, and Jose Javier Bravo-Cordero. "Textures of the tumour microenvironment." Essays in Biochemistry 63, no. 5 (October 2019): 619–29. http://dx.doi.org/10.1042/ebc20190019.

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Abstract In this review, we present recent findings on the dynamic nature of the tumour microenvironment (TME) and how intravital microscopy studies have defined TME components in a spatiotemporal manner. Intravital microscopy has shed light into the nature of the TME, revealing structural details of both tumour cells and other TME co-habitants in vivo, how these cells communicate with each other, and how they are organized in three-dimensional space to orchestrate tumour growth, invasion, dissemination and metastasis. We will review different imaging tools, imaging reporters and fate-mapping strategies that have begun to uncover the complexity of the TME in vivo.

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Volodymyr, Bohatyrov. "PRINCIPLES OF ORCHESTRAL STYLE IN SYMPHONIC FRESCOES “TARAS BULBA” BY SERHIY TURNIEIEV." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 184–98. http://dx.doi.org/10.34064/khnum2-24.10.

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Statement of the problem. The works of Serhii Petrovich Turnieiev – Honoured Artist, composer, professor – have made a significant contribution to the musical culture of Ukraine. His creativity attracts the attention of musicologists from different generations and needs more extensive study. The novelty of the research. The article makes up for the shortage of scientific works covering the orchestral style of S. Turnieiev in connection with his compositional thinking. The work highlights the leading role of orchestration – an important expressive and logical-constructive tool in the music of the twentieth century – in organizing the artistic integrity of the Symphonic Frescoes “Taras Bulba”. Literature review. The theoretical basis of the article is the work on the study of orchestration and orchestral style (Kars, 1990; Blagodatov, 1963; Shabunova, 2008; Korobetskaya, 2011, Halmrast, 2000; Hundsnes, 2010;. McAdams 2019; Monel, 2012; Otto, 1983; Rakochi, 2020; Urniecius, 2018; Wallmark, 2019). In addition, the paper refers to the articles defining the term “Symphonic frescoes” (Tikha, 2009; Tishchik, 2019; Belova, 2020). The aim of the article is to study Symphonic Frescoes “Taras Bulba” by S. Turnieiev from the standpoint of orchestral style. The article uses analytical, genre, style, historical, structural-functional, comparative, systematic generalization methods of research. Results and conclusions. The orchestration of Symphonic Frescoes “Taras Bulba” by S. Turnieiev is characterized by: 1) a variety of orchestral texture as a supplier of semantics, which gives the orchestration semantic and logical-constructive functions in organizing a large-scale work; 2) a combination of functional and coloristic orchestration; 3) orchestral flavor, sound, picturesqueness; 4) large strokes, avoidance of details, which is motivated by the genre of the work. The orchestration analysis of S. Turnieiev’s large-scale symphonic work “Taras Bulba” made it possible to draw the following conclusions regarding his orchestral style: 1) the composer’s orchestration is determined by the principles of his compositional thinking and aesthetic ideas; 2) the orchestration of the work is influenced by the genre of the work and the individual genre decision; 3) the composer chooses the orchestral ensemble сonsidering the practicality of the performance and the concept of the work; 4) there is an interpenetration of functional and coloristic orchestration in accordance with synthetic composer’s thinking. The composer operates with different types of texture, which has an important form-making and dramatic role, and applies traditional and innovative techniques.

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Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky’s  Violin concerto and Piano concerto, the symphonic poems “The Juvenile” and “The Winds of Siberia”, the Symphony No 3 “Sevastopol”, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as: the timbre-texture embodiment of thematic invention (the peculiarities of orchestra compositions); the ensemble combinations of instruments and their meaning. The authors also analyze the composer’s favorite timbre-texture techniques. The authors define and consider the phenomenon of “timbre pointillism” typical for the timbre writing of the composer. The original symphonic works by Tchaikovsky have been studied many times. In 2019 a research by Yu. Abdokov was published in which the author considers the peculiarities of an orchestra in Tchaikovsky’s theatrical music. The orchestra in his symphonic compositions also has theatrical features, however with some peculiarities. The features of Tchaikovsky’s timbre-orchestra writing haven’t been analyzed yet, and this fact determines the scientific novelty of the research. The authors attempt to generalize the peculiarities of the timbre writing of the composer. Tchaikovsky himself always emphasized the necessity of a single and final variant of orchestration.   

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PAVLIV, Yarema. "СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)". Bulletin of the Lviv University. Series of Arts Studies 280, № 20 (2019): 133–46. http://dx.doi.org/10.30970/vas.20.2019.10646p.

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Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed in folklore, collaborated with well-known Hutsul virtuosos-performers on the flute traditional instruments – Vasyl Popadiuk (1940–1991), Mykhaylo Tymofiiv (1944), violinist Petro Terpeliuk (1941–2012), cymbalist Vasyl Myroniuk. He gained performance experience while serving together with them Huzul wedding ceremonies in a manner aimed at folk authentication and adopted traditional huzul folklore repertoire using oral method. At the time of obtaining higher education at the Kyiv Institute of Culture (specialty of folk bandmaster), S. Orel already had a two-year record of the soloist and bandmaster of the Hutsul song-and-dance ensemble of the Ivano-Frankivsk Philharmonia, as well as the experience of Kolomyia musical bands director. Musician’s move to the village of Deliatyn, Nadvirna district of Ivano-Frankivsk region in 1977 became fateful major shift, where he, having taken a position of the musical school director, founded together with his wife – singer Liubov Orel (Bilinkevych) the Arkan orchestra. Having rallied first nine participants he created his music piece – musical adaptation of Arkan Hutsul dance. Subsequently, the entire band’s repertory was developing of personal orchestrations and musician’s own works. The general features of his orchestral style include the improvisatory enriched themes of the violin-solo part, main texture load on the string group (violin solo, three parts of violin, viola, cello, contrabass), fipple flute and cymbal second parts, accordeon’s chordal and harmonic functions, tambourine rhythmic patterns, which highlight melody features. A year later, the orchestra gained “folk” title and represented Hutsul region in contests and festivals taking winner awards. Today, about 3,000 S. Orel’s note developments are known, including his own vocal and instrumental works, numerous orchestrations of Ukrainian and multi-ethnic folklore, interpretation of famous composer miniatures, church choral works, author’s music for children’s performances and theatrical productions, genre music pieces for violins and cymbals with orchestra. The phenomenon of the violin-interpreter had an impact on a style of play of presently municipal Arkan folk music orchestra founded by Serhiy Orel, which represents in complex the creative achievements of its artistic director across different scenes of Ukraine and worldwide.

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Rentz, Earlene. "Musicians' and Nonmusicians' Aural Perception of Orchestral Instrument Families." Journal of Research in Music Education 40, no. 3 (October 1992): 185–92. http://dx.doi.org/10.2307/3345680.

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The purpose of this study was to examine aural perception in a selective listening task using a Continuous Response Digital Interface (CRDI). Undergraduate college students (60 musicians, 60 nonmusicians) listened to an excerpt from Billy the Kid by Aaron Copland. Subjects indicated focus on instrumental family by manipulating the indicator of the CRDI. “Sound intervals” were determined by changes in predominant instrument family in the orchestral texture. Families were divided into five categories: (a) brass, (b) percussion, (c) woodwinds, (d) strings, and (e) all The “all” category indicated focus on three or more families simultaneously (e.g., tutti). Results were based on examination of subjects' category selections in terms of percentages of time focused on each category within each interval Analyses of cumulative seconds across all intervals indicated that nonmusicians focused on brass and percussion longer than did musicians. Musicians focused on strings longer and selected strings mare frequently than did nonmusicians. Musicians also indicated focus on three or more families simultaneously more than did nonmusicians.

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42

Bohatyrov, Volodymyr. "The conceptional system of orchestration in the works of European and American authors of the 19th and 20th centuries." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 140 (November 28, 2024): 171–87. https://doi.org/10.31318/2522-4190.2024.140.318664.

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Relevance of the study. A review of sources on the theory of orchestration is necessary because the knowledge of this art is extensive. This issue is complicated by the fact that each of the musical traditions (including English, American, French, German, Polish and Ukrainian) has its own terminological system, which may not always be consistent. Analysing the concepts of orchestration from the linguistic and historical perspectives allows us to form a unified system that can be used in educational and musicological discourse. Main objective of the study is to analyze and systematize the basic concepts of orchestration and instrumentation in treatises and manuals written by composers and teachers, which representing different musical traditions. The methodological basis of the study is based on sourced research method (to study various sources on orchestration and instrumentation), the historical method (to determine the evolution of concepts within the orchestration system in various musicological studies), and the comparative method (to compare similar concepts in the English, German, French, Polish, and Ukrainian musical traditions). Results and conclusions. The comparing of the concepts of orchestration in different musical traditions, specifically in English, German, French, Polish, and Ukrainian contexts reveals both similarities and differences in how key terms related to orchestration are understood. The terms such as sound, tone, color, timbre, range, register, texture, density, clarity, and sonority, which collectively form the modern system of orchestration. While these terms are generally interpreted similarly across different traditions, there are subtle differences rooted in the historical and cultural contexts in which the treatises, textbooks, and manuals were created. The main differences include how musical sound and tone are defined, with some traditions, like American, Polish, and Ukrainian, considering sound as a complex concept that includes pitch, duration, loudness, and timbre. In contrast, German sources distinguish between two terms, where «klang» emphasizes timbral qualities, and «ton» is a more general term. French sources, meanwhile, differentiate between «son» as the acoustic quality of an instrument and «ton» as referring to pitch and key. Timbral characteristics are crucial in German sources, which see timbre as a defining quality of an instrument and the various transformations of sound achievable through different techniques. French, Polish, and Ukrainian authors, however, often view timbre as adding emotional and expressive content to a piece. The term «color» refers to the unique acoustic atmosphere created by specific instrumental combinations, a definition that is shared across all traditions. Texture is another key concept analyzed, defined as the morphological structure of the music. While English sources often associate texture with orchestral structure and distribution of musical lines, German focus on register and timbre, which influence the clarity and density of orchestral texture. French authors emphasize the interplay between instruments and the relationships between their parts, including dynamic and timbral transitions. In polish sources, texture describes as the organization of sound layers, with each instrumental voice interacting with others. The concepts of clarity, density, and sonority are also explored, with clarity being the result of organized sound and structural control, particularly through rhythm, harmony, and timbre. Density, on the other hand, refers to the saturation of orchestral sound, created by instrument combinations and register shifts, which enhances the quality of the sound. Finally, sonority refers to the richness and fullness of texture, influenced by the movement of voices and timbral qualities, particularly in terms of register and dynamic shading The study concludes that while there are shared definitions, each tradition offers a unique perspective on orchestration, influenced by cultural, linguistic, and historical factors. These insights are valuable for both understanding and teaching orchestration, especially in the context of modern compositions. Future research could apply these concepts to analyze contemporary orchestral works, providing a tool for understanding current orchestration practices.

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43

Jackson, Stephen Ryan. "Tooth Necklace." Ricercare, no. 16 (February 16, 2023): 3–35. http://dx.doi.org/10.17230/ricercare.2023.16.2p.

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Tooth Necklace takes inspiration in the act of consumption (both metaphorical and literal). Therhythms and timbres are taken from transcribing source recordings of chewing and swallowing andthe resultant texture is orchestrated "hocket-like" throughout the ensemble. The unrelenting nature ofthis music creates this image in my mind where the ensemble functions as some imaginary creature orbeing that is consuming the audience.

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Presnyakova, Inga A. "Sergei Rachmaninoff. The Prelude in C-sharp minor Opus 3 No. 2: Jazz Band Versions in the Swing Era." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 79–89. http://dx.doi.org/10.56620/2782-3598.2023.2.079-089.

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Arrangements of classical music in popular genres comprises a discernible stratum of the artistic heritage of the swing era. The practice of jazzing the classics or swinging the classics affected the music of dozens of composers, including Sergei Rachmaninoff. The most highly sought primary text for instrumental transcriptions turned out to be his Prelude inC-sharp Minor. Its jazz band version (from the perspective of the correspondence to jazzing as a stylistic phenomenon and in regards to the techniques of transcription technique) have never formed the subject matter of special attention up to the present. In the article the author presents for the first time the results of examinations of jazzing-transformations of the piece. Each one of the “renewed” versions of the Prelude is endowed with common features for stylistic reorientation (the replacement of the high genres with applied ones, the “transfer” of the academic type of rhythm into swing rhythm, transformations of texture and timbre, etc.), as well as individually transubstantiated techniques of transformation of the original (first of all, the structural-compositional plane). The greatest amount of arrangements of the Prelude is designed for big bands, the sound of which may be called the sound brand of the swing era. Especially representative in this regard are the versions which sounded in performance by the orchestras of Duke Ellington (1938), Glen Gray (1939) and Jack Teagarden (1941). The arrangement from the repertoire of Jack Hilton’s orchestra (1930) stands apart among the band versions. The structure of the original is preserved precisely in it, which makes it possible to call this version a sound transcription of this piano piece. the tempo-rhythm of this example is discerned by its agogics and its absence of swing. Most specific is the sound of the arrangement oriented on Paul Whiteman’s sympho-jazz, following the example of which Hilton incorporates string instruments into his orchestra. The examined band versions of Rachmaninoff’s Preludes demonstrate both the typological correspondence to the phenomenon of jazzing the classics and the individuality of the transcription-based transformations.

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Piochi, Maria, Emma Chiavaro, Angelo Cichelli, Luisa Torri, and Lorenzo Cerretani. "Sensory properties of iodine-biofortified potatoes." Italian Journal of Food Science 33, no. 1 (January 2, 2021): 52–60. http://dx.doi.org/10.15586/ijfs.v33i1.1951.

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The present study assessed the sensory impact of potatoes biofortification with iodine and the stability of iodine during six months of storage. Four biofortified cultivars (Cupido, Marabel, Orchestra and Universa) and their controls (non-biofortified) were evaluated. The present study assessed the sensory impact of potatoes biofortification with iodine and the stability of iodine during six months of storage. Four biofortified cultivars (Cupido, Marabel, Orchestra and Universa) and their controls (non-biofortified) were evaluated. Descriptive analysis was applied with a panel to describe the sensory properties, and triangle tests were applied with consumers to evaluate perceivable differences between controls and respective biofortified samples at the end of shelf life. Iodine content was quantified on raw potatoes for three periods of storage. Descriptive analysis showed some differences between controls and iodine-biofortified samples, especially in texture (hardness). However, consumers did not significantly discriminate fortified from unfortified samples. Iodine was stable during storage in all varieties. Orchestra cultivar showed the highest iodine content, while Universa the lowest.

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46

Stoeckl, Hartmut, and Monika Messner. "Tam pam pam pam and mi – fa – sol: constituting musical instructions through multimodal interaction in orchestra rehearsals." Multimodal Communication 10, no. 3 (October 11, 2021): 193–209. http://dx.doi.org/10.1515/mc-2021-0003.

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Abstract Using multimodal (inter)action/conversation analysis, the present contribution inventories the repertoire of higher-level actions that constitute musical instruction in orchestra rehearsals. The study describes the modal complexity of the instructional actions as built from a varied combination of speech, gesture, gaze, vocalizing and body posture/movement. A high modal intensity of speech and vocalizing is explained with recourse to their contextually useful modal reaches. While some modes, like vocalizing and body posture appear to be action-specific, others turn out to be pervasive default modes. Besides modal intensity, the study also attends to the transitioning between higher-level actions through gaze and the role of the score as frozen action. The analyses help demystify orchestra rehearsals as a special type of professional communicative interaction, which builds on a rich multimodal texture motivated by recurring instructional functions. The methodological rationale demonstrated will be suited to exploring the social variation of instructional interaction in orchestra rehearsals.

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47

Savchenko, H. "Manifestations of the “non-classical” in the orchestral manner of C. Debussy." Culture of Ukraine, no. 72 (June 23, 2021): 136–43. http://dx.doi.org/10.31516/2410-5325.072.19.

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The relevance. Multidirectionality of artistic searches in the musical art of the first half of the XX century fully complies with the worldview and values of European culture of that time. The change of perception of the world, matter, time and space is objectified in the sound matter of musical works. Among the composers who have a defining role in paving the ways for new music, we should mention C. Debussy. The purpose of the article is to identify and systematize of “non-classical” features in the orchestral manner of C. Debussy. The novelty of the article is the study of the orchestral manner specifics of C. Debussy as “non-classical” in certain traits. The methodology. The article uses functional, historical, comparative, analytical and complex methods. The theoretical basis of the study are the works of V. Bobrovskyi (2018), H. Golovynskyi (1981), S. Iskhakova (1998), L. Kokoreva (2010), S. Mozhot (2006). The result. Extrapolation of scientific statements of V. Bobrovskyi, H. Golovynskyi, S. Iskhakova, L. Kokoreva, S. Mozhot to the sphere of orchestral thinking and orchestral manner of C. Debussy allowed to reveal signs of “non-classical” as the ones that draw a boundary between the principles of classical-romantic orchestration (based on functional harmony) and new music of the XX century. It is the “non-classical” features that allow to create a new sound matter, a new perception of space and time in the orchestral works of the composer. In our opinion, the manifestations of the “non-classical” are: 1) functional restructuring of the orchestral texture on the basis of non-hierarchy as the dominant principle; 2) building a dense, “concrete” in terms of eventfulness and, at the same time, light (massless), broad musical space, 3) levelling the boundary between the exposing (more integral and continuous) type of orchestration and developing (smaller, dialogical, discrete); 4) interpenetration of continuity and discreteness (discrete continuity) at the level of thematics and orchestration as a consequence of erasing the boundary between the functions of background and relief and the exposing and developing orchestration types. The practical significance. The results of the work can be applied in the training courses “History of orchestral styles”, “History of foreign music”, which are studied in higher education institutions; in further scientific researches.

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48

Notley, Margaret. "Berg's Propaganda Pieces: The ““Platonic Idea”” of Lulu." Journal of Musicology 25, no. 2 (2008): 95–142. http://dx.doi.org/10.1525/jm.2008.25.2.95.

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Abstract After finishing the short score of Lulu and starting to orchestrate it in the spring of 1934, Berg began to realize that his opera might not be staged in Berlin, long planned as the site for the premiere. In late May he decided to make a concert arrangement that he referred to as ““a Propaganda selection,”” which became the Symphonische Stüücke aus ““Lulu.”” In contemporary usage the German word ““Propaganda”” typically denoted advertising or publicity. Acting on advice from his editor, Hans Heinsheimer, and supported by the efforts of his student Willi Reich, Berg sought to create a ““Propaganda”” work that could be performed even in Hitler's Germany and would drum up interest in performances of the entire opera elsewhere. Letters and other sources, many unpublished, show Berg gradually coming to grips both with the reality of the political situation in Germany and with the offensiveness——even to some favorably disposed to modernist music——of the texts by Frank Wedekind on which he based his libretto. A comparison of his arrangement and the opera illuminates the different effects made by more or less the same music in the two works as well as what Berg valued in Lulu and was therefore reluctant to relinquish. Above all he resisted giving up the texts for the music that he arranged as the first and fifth movements, apparently wishing to preserve the striking textures that he had created by placing an operatic voice against a self-sufficient orchestral fabric. But mentored by Heinsheimer, he ended up distancing his arrangement from the opera that it was supposed to promote by removing most of the words; and assisted by Reich he wrote misleading program notes to fill in the resulting semantic gaps. Berg created an arrangement that could be enjoyed as, in his own words, ““pure music.”” Lulu became the platonic idea of Lulu.

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Kostohryz, S. О. "Genre-style priorities for the development of composer’s work for the balalaika in Slobozhanska Ukraine." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 87–99. http://dx.doi.org/10.34064/khnum2-13.07.

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The article proposes analyze of the balalaika art and technical potential. The complex of texture- and register and timbreand phonic methods of suites performing, which represent the Ukrainian interpretation tradition of the genre, is determined. Instrumentalism principles and impacts in balalaika performance in the composer’s works of the twentieth century are revealed. Texture features of the works for balalaika suite genre are considered, the characteristics on the genesis stage of balalaika are marked: simplifi ed chord texture with narrow range, predominant two and three-voice texture in cantilena, minute passage technique with a small set of traditional rotations. Texture types of musical thematic presentment and the level of virtuosity of the stringed instruments in the sound formation are determined. The object of research is the professional performance on the balalaika. The subject of research is performing on balalaikas of Kharkiv as a component of Ukrainian musical art. In terms of instrumentalism as a type of thinking the method of sound production on the balalaika, dependent by the direct contact of the right hand fi ngers with a string, which is basic, creating countless bar, dynamic and timbral combinations, is revealed. In for balalaika M. Stetsun “With Balalaika in Spain” analyzed genre prototypes of the, that the impacts of the new romantic suite, characterized by a compound of stable (required) and free-variable cycle parts, based on the experience of the other genre forms of music-making, are immediately traced. Attention is paid to the unplugged (where violin takes the leading position), dynamic (where piano owns leading positions) and texture capabilities. Balalaika qualities are analyzed: limitation of natural acoustic properties requires texture mobility and frequent use of the tremolo; dynamic capabilities are also limited, as the result the “step” dynamics development is applied; texture possibilities are largely constrained by the range and technology. The principle of genre and stylistic synthesis, in which song and dance origins of national folklore and shaping structural logic borrowed from the experience of the Ukraine tradition are organically combined, is formulated. Multiple ties with folk traditions, which include: reliance on folklore themes and quotes; development techniques of the song thematic (inner thematic variation, imitation roll, undervoice polyphony, hidden two-voice texture); metro-rhythmic formula, coming from the dance genre; irregular accent, intended to the saturation of images with internal dynamics are revealed in the Concerto for balalaika and orchestra by A. Gaidenko. The use of styling techniques of playing folk music instruments in the balalaika party, which was used for the creation of a bright and deep national painted images typing, is specially emphasized. Overbalance of the lyrical narrative thematic invention, where folk type of the thematic invention makes to rearrange semantic accents in the genre interpretation, is identifi ed in “Variations on the Ukrainian Theme” by Gregory Tsitsalyuk. Improvisation, interpreted by the composer as a fi xed freedom, numerous brilliant colored soloist’s ritornels together with the main themes performing at the piano, broken chords, scale-wise passages – all marked methods indicate a high level of both externally-demonstrative and deep-semantic level of the music content. The arsenal of technical complexity methods of performing (articulation, strokes, complex elements), running on the disclosure of the musical work style; diversity of the texture design of musical thematic invention; genre and semantic specifi city (landscapes, personal experiences, household sketches, dance and song images), which is also connected with the balalaika specifi cs; and the dynamic profi le of musical drama cycle is detected. The idea of the historically formed specifi cs of textured and tonal articulation intoning on the balalaika in its academic status is adopted. Such levels of analysis like detection of existing texture and melodic formulas and connected with it fi ngering and articulation complex; timbre and texture and register variance confi rmed the instrumentalism genre specifi city. Articulation, timbre and texture technological formulas of balalaika performance, in terms of suite genre, which are universal from the point of view of the instrumental thinking specifi city, are found; their role in other genre and stylistic creativity conditions for balalaika are justifi ed. There are identifi ed such outlooks of research as the Concerto for balalaika and orchestra by P. Haydamakа, A. Gaidenko and the creation of a special “dictionary” as a system of typical historically selected texture and genre formulas. Piece, which reveal the balalaika evolution in the musical performing culture, served the basis for research. Current stylistic processes and their transformation in modern concert- and pedagogical practice were depicted in f piece for balalaika by G. Tsitsalyuk, P. Haydamakа, A. Gaidenko like in the mirror. Analyzed examples demonstrate the individual stylistic interpretation of genre, typical for the development of academic instrumentalism in the XX century. It was found, that art of balalaika performing infl uences the instrumental style of composing and keeps a memory of genre of composing and performing art in this sphere (methods of instrumental phonation and timbre- and phonic development).

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50

Ming, Xia. "«Scenarity» as the Basis for the Formation of the Drama Genre in K. Tsepkolenko First Piano Concerto." CONTEMPORARY ART, no. 18 (November 29, 2022): 243–54. http://dx.doi.org/10.31500/2309-8813.18.2022.269739.

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The article reveals the peculiarities of creating the dramatic form of the Concerto-Drama for Piano and Orchestra. The paper substantiates the principles of dramatization of the composer’s piano concerto from the position of her creative method — her own genre concept, namely “scenario development” of musical material and general stylistic foundations of her creative work. The internal dramatic effect of the concerto is achieved thanks to the through development of musical images in the concerto-drama thanks to thematic bridges that unite all three parts into a single performance, in which the relief and convex script-fabula layers of the work are literally perceptible, revealing to the listener a world of emotions and vivid feelings. The article shows that the composer, developing the concerto genre in a dramatic turn, uses playful methods of form-making to enhance the dramatization of his works. In the orchestra part she widely uses the competitiveness of the individual instruments and orchestra groups, in the climactic moments the texture is saturated by poly-linear multi-layered semantic structures. The composer makes innovative use of piano cadenzas that appear on the crest of the hero’s emotions, appearing in various structural sections of the concerto and serving as unifying material that binds together the dramatic plot of the concerto. The individual project of the work based on the script featured development of the drama is decisive in the composer’s concerto-symphonic works. Here the composer acts as another function that emerged in connection with the application of the script development method, namely that of the director of the musical process, who shapes the musical material taking into account its texture, temporal and spatial forms.

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