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Mustafayev, Femiy. „Ukrainian vocal music of the 20th – early 21st century in the pedagogical repertoire of the soloist-vocalist“. Collection of scientific works “Notes on Art Criticism”, Nr. 39 (01.09.2021): 154–59. http://dx.doi.org/10.32461/2226-2180.39.2021.238712.
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The purpose of the article. The paper describes the contemporary vocal pedagogical repertoire from the standpoint of its representativeness in relation to musical trends of the 20th – early 21st century. The methodology is based on a combination of historical, cultural, systemic, analytical, predictive methods, which made it possible to demonstrate the limited educational repertoire of vocalists, respectively, with didactic tasks and potential openness to expand its genre and style palette in connection with the need to train a universal academic singer. The scientific novelty of the paper lies in the fact that in Ukrainian science for the first time the problematic issues of the content of the pedagogical repertoire of academic vocalists in the context of the genre and style diversity of vocal music of the 20th – early 21st centuries were revealed. Conclusions. The contemporary pedagogical repertoire used in the preparation of academic vocalists does not reflect the stylistic and genre diversity of the musical art of the 20th – early 21st centuries, in particular, it does not contain avant-garde compositions, which have long been a constant of contemporary musical culture. Practical acquaintance with avant-garde classics is possible as part of an elective for those vocalists who plan to specialize in this direction of academic music, however, the pedagogical repertoire of training an academic vocalist does not provide for the performance of works of an avant-garde character and the acquisition of appropriate skills. The reasons for the inexpediency of including avant-garde music of the 20th – early 21st century in the main educational repertoire is the absence of a temporal distance, not always a high artistic level of contemporary works, the impossibility of including contemporary vocal music of an avant-garde character in the anthology due to the peculiarities of its notation and forms of existence, as well as the priority for the educational process of the classical vocal repertoire as such that forms the vocalist’s executive apparatus. At the same time, Ukrainian variety classics of the 20th century is an integral part of the educational repertoire of a contemporary academic vocalist, as it serves as a bridge between elite and popular musical culture.
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Kaushnian, Y. M. „On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)“. Aspects of Historical Musicology 13, Nr. 13 (15.09.2018): 141–53. http://dx.doi.org/10.34064/khnum2-13.11.
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Background. Ukrainian vocal pedagogy represents almost all types of instructive vocalises, which take into account both the specifi c features of the national vocal school and the individual style of authors and originators (both composers and performers). The aspect of national stylistic extends to such a component of vocal style as pedagogy. The national-specifi c features manifest themselves, fi rst of all, in the tone of material used to teach singers. The aspect of the musical Ukrainian “linguistics” in the modern language situation is associated with a certain type and the national form of language/speech. Dialogue of languages in the form of traditions and national musical lexicon is represented in Ukrainian vocalise, even in its instructional variants. After all, vocalization, which lays in the beginning of an academic singer teaching, plays one of the leading roles in understanding the art of solo singing. Such a teaching is based on the corresponding vocal exercises and more or less completed samples that came to vocal pedagogy from the traditions of academic and folklore practice, both world and the national one. It is obvious that there is no need to draw a direct parallel between the artistic samples of the national vocal music and training in their performance based exclusively on Ukrainian vocalises. It is only about the fact that the variety of methods for the voice training and development also includes a mandatory national-specifi c component, which is developed through the national vocal school practice and is based primarily on the embodiment of folk tones in vocalization interpreted in the curriculum. Therefore, the creators of Ukrainian instructive vocalises, focusing on substantial intonation, combine it with the singing techniques arising out of Italian bel canto. At the same time, a number of methodological and methodical issues related to Ukrainian vocalises require further coverage. The question of Ukrainian vocalise in two of its varieties – instructive and artistic – has not been almost studied which is an important aspect of the relevance of the paper. Thus, the relevance of the paper is determined by the following reasons: - the signifi cant value of vocalise in the practice of vocal art; - the need to fi ll a gap in studying the genre of vocalise based on samples created by Ukrainian authors. The aim of the study is to determine the specifi city of vocalise in Ukrainian vocal art, as well as related vocal-intonational exercises in the practice of Ukrainian vocal schools. The object of research is vocalise in Ukrainian vocal art. The subject of the study is its varieties and stylistic features in the Ukrainian vocal school. The material of the study consisted of samples of various types of vocalises and related vocal-intonational exercises in Ukrainian vocal literature: collections by M. Zavalyshina, S. Pavlyuchenko, О. Voronin and R. Voronina. One can distinguish another characteristic feature common to Italian and Ukrainian vocal stylistics, which is spoken by many Ukrainian vocal pedagogues, including representatives of the Kharkov Vocal School: P. Golubev, M. Mykhailov, L. Tsurcan, N. Grebenyuk, T. Madysheva. The matter is that in their genre specifi city, vocalises always refl ect the peculiarities of vocal music with the text, where the national language imposes its imprint on melody and rhythm, as well as on harmony (Harmony of Solo Singing by B. Filts). The Ukrainian “nightingale language”, characterized by the fl uidity of the transitions from word to word, the special role of vowels being singed, emotionality in the intonational rise of words, is close in many respects to the Italian, in which the same features are presented. Therefore, the presence of these two linguistic principles, which, although presented in non-verbal forms, through vocalization, is always felt in Ukrainian vocalises, refer both to instructional and artistic samples. The multidimensional nature of the tasks facing pedagogues and students in instructive vocalises is refl ected in certain specializations on which certain collections and selections are being created. Vocalises are an international genre, in which for several centuries of its exis tence, various musical and linguistic sources and techniques of singing, coming from them, were assimilated. In the vocalises, referring to different national schools, not only “our own” musical and mental features, coming from national folklore and professional creativity, but also “strangers”, come from the sources of foreign style (far, near, own; “theywe- you”, if you recall the triads of Е. Nazaikinsky). Relevant material is needed to develop multi-ethnic stylistics in the genre of vocalise. Teachers of vocalise widely use folk songs arrangements. The practice of such arrangements forms the basis for the creation of a national musical language, and the interest of composers-arrangers in other peoples’ songs helps extend such a language base. It is known that the national vocal school style acts as a general aesthetic phenomenon and is refl ected in all spheres of vocal art. This is about the vocal style of national authors, which is closely related to the peculiarities of verbal language (“music” and “word” as a key problem of vocal tone), as well as the refl ection of such a style in performing art, where syntheses of foreign national traditions and indigenous aspects of singing related to the national culture. The national specifi c features of instructive vocalises should be considered. One should not forget that this genre is traditional in nature and dates back to classical singing schools, especially to the Italian ones.
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Muhamedova, Galina. „Methodological Aspects of Studying Uzbek Folk Songs in the Academic Singing Class“. Eurasian music science journal, Nr. 2 (04.11.2021): 37–43. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/67.
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In the educational process of training a young vocalist, it is planned to study and master the most diverse repertoire, which includes Baroque arias, romantic music of the XIX century, and works by modern composers. Folk songs are also an integral part of the educational process. In the performance of folk songs, the best qualities of the singer's voice, his timbre, musicality, possession of national melismatics are revealed.
In the work "Methodological aspects of studying Uzbek folk songs in the academic singing class", the features of the structure of Uzbek folk songs, such as "Barnolarning barnosi" (The beauty of beauties), "Intizor etding meni" (I yearned for you), “Gul yuz uzra” (Delicate and charming face), “Sayyora” (Planet), "Chaman Ichra" (In the garden), “Kaylarga boray?” (Where should I go?) are considered, a detailed performance-theoretical analysis of some of them is carried out, educational and methodological recommendations are given for young vocalists-performers.
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Vynohradcha, Dina, und Olena Hrytsiuk. „Methodical Features of Academic Vocals Studying“. IMAGE OF THE MODERN PEDAGOGUE 2, Nr. 2(185) (2019): 80–83. http://dx.doi.org/10.33272/2522-9729-2019-2(185)-80-83.
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Sharnina, Lyubov Alexandrovna. „Singing breathing: methodological recommendations and practical developments“. Culture. Art. Education, Nr. 1 (26.12.2022): 92–104. http://dx.doi.org/10.37816/2949-1762-2022-1-1-92-104.
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А modern professional singer must have a huge arsenal of vocal techniques to create artistic images of the world vocal repertoire. This is a well educated musician-performer.
The training of modern vocalist must begin with the formation of the correct foundations of vocal technique, to instill a taste for the performance of academic vocal music. Incorrect classification, incorrect voice setting during training can lead to flaws in timbre. The singing of outstanding singers is always striking in its freedom: wide open throat, smooth, flowing singing without shocks in sound production.
Singing breath has a huge role in the development of vocal technique which is necessary for the formation of a professional sounding of the voice. The article deals with the main methodological issues of staging singing breath among vocalists, it provides recommendations and practical developments for mastering the technique of singing breath, based on work eхperience.
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Кабулниязова, О. А. „Formation of professional qualities of a performer in vocal lessons“. Review of pedagogical research 6, Nr. 3 (07.05.2024): 233–40. http://dx.doi.org/10.58224/2687-0428-2024-6-3-233-240.
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в статье рассматриваются условия, способствующие формированию профессиональных артистических качеств на уроках вокала. Приведены разные определения профессиональных качеств, значимых для артиста. Особый акцент сделан на том, что, помимо собственно голосовых и артикуляционных качеств, у артиста должны быть определенным образом развиты и психологические качества, такие, как: стрессоустойчивость, критическое мышление, креативность, артистизм, трудоспособность, воля, стремление к самореализации в условиях сцены, стабильная самооценка и другие. Автор убежден, что педагог-преподаватель вокала способен и должен развить в своих воспитанниках профессиональные артистические качества широкой палитры на уроках вокала. Приведены результаты проведенного автором статьи эксперимента по изучению профессиональных качеств молодых вокалистов, применялся метод экспертных оценок, изучение мотивационно-потребностного, эмоционально-творческого, когнитивно-рефлексивного и художественно-операционального компонентов в структуре профессиональных качеств вокалиста. Представлены условия их формирования на уроках вокала, включая: использование творческих заданий, методов театрализации и моделирования ситуации исполнительства, методов целостности анализа нот, ролевую подготовку, мысленное моделирование звучания произведения, упражнения в актерском мастерстве и хореографии, тренинги творческой интерпретации и импровизации. Показан количественный и качественный рост уровней сформированности профессиональных качеств вокалистов на начальном этапе и спустя один учебный год, который они провели в изучении вокала на уроках, что подтверждает, что профессиональные качества артистов могут быть сформированы уроками вокала уже в подростковом возрасте, при правильной стратегии выбранного педагогического воздействия и педагогического мастерства преподавателя по вокалу. the article discusses the conditions that contribute to the formation of professional artistic qualities in vocal lessons. Various definitions of professional qualities that are significant for a performer are given. Particular emphasis is placed on the fact that, in addition to the actual vocal and articulatory qualities, the performer must also have psychological qualities developed in a certain way, such as: resistance to stress, critical thinking, creativity, artistry, ability to work, will, the desire for self-realization in stage conditions, stable self-esteem and others. The author is convinced that a vocal teacher is capable and should develop professional artistic qualities of a wide range in his students during vocal lessons. The results of an experiment conducted by the author of the article to study the professional qualities of young vocalists were presented; the method of expert assessments was used, the study of motivational-need, emotional-creative, cognitive-reflexive and artistic-operational components in the structure of the professional qualities of a vocalist. The conditions for their formation in vocal lessons are presented, including: the use of creative tasks, methods of theatricalization and modeling of the performance situation, methods of integrity of note analysis, role training, mental modeling of the sound of a work, exercises in acting and choreography, training in creative interpretation and improvisation. The quantitative and qualitative growth in the levels of formation of professional qualities of vocalists at the initial stage and after one academic year, which they spent studying vocals in lessons, is shown, which confirms that the professional qualities of artists can be formed by vocal lessons already in adolescence, with the right strategy of the chosen pedagogical influence and pedagogical skill of a vocal teacher.
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Balashova, S. I., und A. Sh Rudi. „Priorities of professional training of academic vocalists“. Alma mater. Vestnik Vysshey Shkoly, Nr. 8 (August 2017): 97–100. http://dx.doi.org/10.20339/am.08-17.097.
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Ishchenko, M. V. „HEALTH TECHNIQUES IN BREATHING EXERCISES FOR ACADEMIC VOCALISTS“. Innovate Pedagogy 1, Nr. 31 (2021): 95–98. http://dx.doi.org/10.32843/2663-6085/2021/31-1.19.
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Krom, Anna E. „David Lang’s Postminimalist Musical Theater“. Vestnik of Saint Petersburg University. Arts 12, Nr. 3 (2022): 432–48. http://dx.doi.org/10.21638/spbu15.2022.302.
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The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019), and “Anatomy Theater” (2016) — the author identifies the main features of Lang’s musical and theatrical style and traces a close relationship with the operas of his predecessors. They are brought closer by the appeal to postmodern dramaturgy (fragmentation, discreteness, commentarity), social problems, the desire for genre uniqueness of each performance, repetitive methods of organizing musical facture. In his theatrical work, Lang relies on postminimalism and repetitive technique, which manifests itself at different levels — dramatic, verbal (repetition of syllables, words, phrases in the libretto) and musical. A characteristic feature of Lang’s stage opuses is the synthesis of academic opera traditions and non-academic genres and directions (Musical, jazz, rap), which allows us to draw analogies with the art of crossovers. The Musical in some cases acts as the genre basis of the work (non-academic vocals, dances, a speech episodes). Lang’s theater is a chamber theater, it assumes a small composition of participants, placement of vocalists and orchestra members on the stage, laconic timing of plays. All these factors allow us to make an assumption about the formation in Lang’s musical and theatrical work of the next phase of the evolution of postminimalism, which can be characterized as postpostminimalism.
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Martos Carrera, Marco. „Apuntes sobre Ricardo Palma y el español del Perú“. Aula Palma, Nr. 16 (11.05.2018): 39–51. http://dx.doi.org/10.31381/test2.v0i16.1335.
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Debido a la colonización lingüística y a la hibridación del lenguaje por su contacto permanente con las lenguas indígenas, el castellano es una lengua que ha ido cambiando con el tiempo, adquiriendo variaciones en cada región de América. En el caso del Perú, la imposición de una lengua en un territorio que tenía muchas otras, ha generado la aparición de peruanismos, incorporando muchos vocablos de origen nativo a la lengua general. La figura de Ricardo Palma es importante, no solo por su escritura literaria sino por su actitud de defensa cerrada del castellano andino y de la incorporación de nuestros vocablos al diccionario de la Real Academia Española en 1892.
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Na, Sui. „Implementation of Performance and Technical Skills of the Vocalist as the Basis of Manifestation of his Artistism in the Process of Stage Activities“. Часопис Національної музичної академії України ім.П.І.Чайковського, Nr. 1(54) (21.03.2022): 47–60. http://dx.doi.org/10.31318/2414-052x.1(54).2022.255423.
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Vocal theories of voice formation (myoelastic, neurochronaxic and resonant) are analyzed, which made it possible to elucidate the essence of the concept of "performing and technical skills of a vocalist" from the standpoint of genetics and genesis. It is found that these skills are associated with his integrated ability to vocal phonation, which through repetition acquires signs of permanence, and the processes of voice-creation and of voice-leading to timbre and aesthetic color of the sound necessary for successful stage activities. The main types of performing and technical skills of a vocalist are described, as well as their influence on the manifestation of his artistry from the standpoint of physiology. It is established that these skills are not innate, but acquired during special exercises and while working on musical works, as well as improved in the final form of reporting (tests, exams, academic concerts, etc.). The content of the concept of "vocalist artistry" is substantiated, which depends on his individual "manner" of applying performance and technical skills of sound production. It is proved that the performing and technical skills of the vocalist form the basis of his artistry in the process of stage activity due to the manifestation of the ability: to full lower rib diaphragmatic vocal breathing without the use of so-called "clavicular breathing"; to possess rare distribution of vocal breathing depending on the tempo of the musical work and the duration of a relatively independent continuous musical line or phrase; to use variably the head and chest resonators, taking into account not only the nature of the musical work, but also the choice of appropriate timbre, which best reflects its image and emotional content; to create performance of high-quality with tessitura complex elements of vocal works also with preservation of internal freedom in the process of reproduction of facial expressions; to pronounce clearly with articulatorydictation the text of the vocal work, aimed at conveying its content to the audience; to use virtuously executive and technical mobility of the voice, etc.
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Yagovets, Natalia. „СПЕЦИФИКА ХОРОВОЙ АРАНЖИРОВКИ РУССКИХ НАРОДНЫХ ПЕСЕН РЕБРИХИНСКОГО РАЙОНА АЛТАЙСКОГО КРАЯ (РОССИЯ) ДЛЯ СЦЕНИЧЕСКИХ НАРОДНО-ПЕВЧЕСКИХ КОЛЛЕКТИВОВ“. Proceedings of Altai State Academy of Culture and Arts, Nr. 2 (2021): 68–72. http://dx.doi.org/10.32340/2414-9101-2021-2-68-72.
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Based on long-term experience of vocalic-choir work with academic ensembles of the Altai State Institute of Culture (Barnaul, Altai Krai, Russia) on pieces of local music folklore, the author discloses some theoretic and instructional aspect of adaptation of people's song material to people's vocal ensembles of various team compositions, and also describes specifics of choral arrangement of Russian people's songs that reflect stylistic peculiarities of ethnic song tradition of Russian areas of the South of Western Siberia (Rebrikhinsky District of Altai Krai, Russia).
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Boldyrev, Volodymir. „A folk song in the repertory of a vocalist as the way of forming multicultural performing traditions“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, Nr. 50 (03.10.2018): 181–92. http://dx.doi.org/10.34064/khnum1-50.13.
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Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.
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Jekiel, Mateusz. „L2 rhythm production and musical rhythm perception in advanced learners of English“. Poznan Studies in Contemporary Linguistics 58, Nr. 2 (01.06.2022): 315–40. http://dx.doi.org/10.1515/psicl-2022-0016.
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Abstract The aim of this research is to investigate the relation between musical aptitude and the acquisition of L2 rhythm by Polish advanced learners of English. A longitudinal study was conducted among 50 Polish students of English reading the “Please Call Stella” passage before and after an intensive two-semester accent training course supplemented by an extensive practical course in English phonetics and phonology. Participants also completed two musical hearing tests (Mandell 2009) and a survey on musical experience. Automated alignment was performed in DARLA (Reddy and Stanford 2015) and reviewed in Praat (Boersma and Weenink 2019). We compared the rhythm metrics calculated in Correlatore (Mairano and Romano 2010) before and after training and juxtaposed them against the pronunciation teachers’ results. We reported a significant difference between the scores for vocalic intervals across all rhythm metrics, indicating that participants’ produced higher vocalic variation after training, more similar to their teachers. However, we observed no significant relationship between the participants’ rhythm metric scores and their musical hearing test scores or musical experience, suggesting that musical aptitude might not play a crucial role in the L2 rhythm production in a formal academic learning environment.
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Cano Silva, Octavio, und Ioana Alexandrescu. „Algunos vocablos del léxico capilar en el español de México : Octavio Cano Silva, Ioana Alexandrescu“. Acta Hispanica 19 (01.01.2014): 113–24. http://dx.doi.org/10.14232/actahisp.2014.19.113-124.
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Our paper deals with some words belonging to the hair-related vocabulary in Mexican Spanish. It aims to track these words in five recent dictionaries of Spanish, in order to achieve a panoramic view on two issues: their coverage and the way they are dealt with in these dictionaries. The five dictionaries compared are the following: Diccionario del español de México, Diccionario de la lengua española by the Real Academia Española, Diccionario escolar, Diccionario de mexicanismos y Diccionario académico de americanismos. The methodological contribution of our paper lies on the fact that it puts on the same level these dictionaries, while the point of comparison usually is the Real Academia Española's dictionary, and its cultural one is given by the attempt to retrieve words that are very common and widely used in Mexican Spanish but lack lexicographical registration.
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Hamiedi, M.A., Instructor Ya'arub Mahmood. „Contextualisation of Academic Terminology Collocations“. ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, Nr. 1 (01.12.2017): 65–102. http://dx.doi.org/10.36473/ujhss.v223i1.314.
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This paper investigates the significant role of ' context' in the clarification and explication of words in English. It also sheds light on the linguistic environment within which the word operates, i- e- the collocates that occur in concomitance with this word .The research aims at exploring the formulation of words and vocables within the due context. This exploration, however, is conducted through the use of academic terminology in the framework of well-maintained context under certain semantic restrictions. Moreover, this work is an attempt to come up with answers to such questions as : What is meant by 'context'? How important is 'contextualization' for the clarification of words ? Do 'context' and 'collocationality' both contribute to the full understanding of words ?
The objective of the study is to investigate, explore and probe into the unraveling role of 'context' and 'contextualisation'. The study is a two– fold investigation aimed at getting acquainted with on- campus terms as well as the framework within which such terms operate and perform their communicative function . The study concludes that "context" is inevitable for the conscious awareness desperately required by learners of English to fully grasp the sense intended. This, above all , saves the learner both the effort and time that may be consumed in the quest for the meaning of a word out of context.
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Kruglova, Elena. „"Ancient music – Historical singing" ("Alte Musick – Historischer Gesang") in German Music Universities“. Философия и культура, Nr. 2 (Februar 2023): 12–26. http://dx.doi.org/10.7256/2454-0757.2023.2.39688.
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The article is devoted to the actual problem of historically grounded performance of Baroque vocal music by academic vocalists. Listening activity, the demand for ancient music in Russia raises issues for performers that need to be resolved within the framework of historical performance practice. To fulfill all the conditions, it becomes important to receive an appropriate specialized education. In Russia, little attention is paid to the professional training of academic vocalists in the field of historical singing or baroque singing, whereas in Italy and Germany independent faculties of ancient music are intensively working, including, along with instrumentalists, the training of singers. The author reveals the features of the content and organization of the educational process in universities in Germany and Russia. The purpose of this article is to identify possible ways to form a solo academic singer of historical specialization. The methodological basis of the work consists of historical, analytical methods that reveal the topic from various angles. Using the example of a number of educational institutions that train specialists in the field of historical singing, such as the University of the Arts Bremen, the University of Music and Theatre “Felix Mendelssohn Bartholdy” Leipzig, the Cologne University of Music and the Nuremberg University of Music, the article presents a comparative analysis of curricula, examines the studied disciplines within various modules. The conclusion is made about the prospects of using the experience of foreign countries in the training of specialists in the field of baroque singing.
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Glosemeyer Petrone, Robin, und Scott Pfeiffer. „A space for teaching opera performance“. Journal of the Acoustical Society of America 151, Nr. 4 (April 2022): A210. http://dx.doi.org/10.1121/10.0011072.
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Within an academic context, learning and practice of performance is as important as the performance itself. The Brockman Hall for Opera at Rice University’s Shepherd School of Music has been designed to wrap the vocal performer with an intimate and immediate response without sacrificing envelopment achieved though reverberant energy. The result is a stage that allows the vocalist to stretch their sound to meet each of the 600 audience members while honing their skills of articulation. Orchestra musicians’ training is expanded in a pit that can support a wide repertoire from the baroque to a grand opera of 70 musicians, providing a space that allows musicians hone their skills as they accompany voice on stage.
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Peña Arce, Jaime. „Léxico de Cantabria en la decimoquinta edición del diccionario académico (DRAE-1925)“. Revista de Lexicografía 25 (24.02.2020): 35–58. http://dx.doi.org/10.17979/rlex.2019.25.0.5988.
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El objetivo de este trabajo es alcanzar una descripción total, cuantitativa y cualitativa, del léxico de Cantabria recogido en el diccionario de 1925, texto considerado un hito en la historia de la lexicografía académica. Hay que destacar, por un lado, el espectacular aumento del corpus analizado en esta edición (+ 140 %); por otro, los materiales empleados para realizar tal aumento: por primera vez, la Academia, en lo que respecta al léxico montañés, recurre a los materiales incluidos en repertorios locales. Dentro de estos, destaca el compilado por Eduardo de Huidobro (1867-1936), quien recogió los vocablos empleados en las obras narrativas de José María de Pereda (1833-1906).
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Башмакова, Н. В., und Т. П. Окіпна. „G.F. Handel’s arias in the academic repertoire of the modern singer (performance aspects)“. Музикознавча думка Дніпропетровщини, Nr. 16 (19.12.2019): 97–109. http://dx.doi.org/10.33287/221926.
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The purpose of the article to identify the place and role of Handel'sarias in two types of contemporary academic performing practice:vocalists and bandura singers, by analyzing the actual concert and trainingrepertoire. The series methods of this study are based on the application ofperforming and comparative analysis that allows us to considerinterpretations of Handel's works. Particular attention is paid to methods ofempirical nature, namely the interview, which helps to summarize theissues of this topic of the article. The scientific novelty of the article is toreveal the peculiarities of using the arias of Handel, relevant tocontemporary concert vocal and bandura art, which have not yet appearedas research material. Conclusions. The analysis of Handel's popular ariasby well-known singers of today and the tendency of their interpretations inbandura creativity indicate that these compositions are very useful andconvenient from the point of view of developing not only stage stamina,stylistic conformity, but also the musical thinking and creative skills of theperformers. The vocalist, who sings by the accompaniment, has theopportunity to concentrate on the technology of vocal performance, theembodiment of imaginative content of the composition, artistry, while thebandura singer develops polyphonic thinking when performing thecomposition, following the development of each line. In this aspect, it isworth noting that the practice of using bandura-singer Handel’s arias inconcert activities implies the experience of his own instrumentalaccompaniment, which develops the skills of controlling the sound balanceof vocal and instrumental parts and practice of editing and arrangingmusical text.
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Rizka Safitri. „Taṭwīr Ta`līm Kitāb “Khulāṣah Nur al-Yaqīn” Bi Istirātījiyah al-Jahīrah (Vocalize) `Alā Asās al-Madkhal al-Kullī Wa Ṭarīqah al-Qirā’ah Li Tarqiyah Qudrah aṭ-Ṭalabah `Alā Fahm an-Nushush (Dirāsah al-Baḥṡ Wa at-Taṭwīr Bi Ma`had Insan Qur’ani Aceh Besar)“. EL-MAQALAH : Journal of Arabic Language Teaching and Linguistics 4, Nr. 1 (27.06.2023): 34–52. http://dx.doi.org/10.22373/maqalah.v4i1.2819.
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The strategy is a plan, method, or activity designed to enhance students’ learning and achieve certain educational goals. Strategy relates to the execution of the idea, planning, and execution of an activity within a certain period. This study aims to determine the learning process using Al-Jahera Strategy (Vocalize) at Dayah Insan Qurani Aceh Besar, and to determine the effectiveness of using the Al-Jahera Strategy (Vocalize) based on the Whole Language Approach and Reading Method to improve students' ability to understand text in the book of Khulasha Noor Al Yaqeen, also to find out the response of students’ class VIII at Dayah Insan Qurani Aceh Besar. The Research Method referred to Research and Development (R&D) with ADDIE models. The object of this Research is 31 students (VIII-A) for the 2022/2023 academic year at Dayah Insan Qurani, Aceh Besar. The result of this study, the researcher finds a new Teaching Strategy, namely " Strategy of Al-Jahera (Vocalize)" after going through experts’ validation. Based on the results, this strategy has proven to be effective in increasing the ability of class students (VIII-A) at Dayah Insan Qurani Aceh Besar in understanding the text. Researchers obtained a higher average test result of 67.77 < 50.32 < 36.93. Researchers also got t-count results greater than the results of t-table 2.26 > 3.46/2.60/5.56. Student response to the development of this learning strategy amounted to 84.03% which indicates a standard result of between 80-100% "very good".
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Vinitska, А. А., L. A. Sarafyniuk, O. P. Khapitska und M. V. Yoltukhivskyy. „Peculiarities of spirometric indicators in volleyball players and girls engaged in academic singing“. Reports of Vinnytsia National Medical University 28, Nr. 2 (28.06.2024): 239–43. http://dx.doi.org/10.31393/reports-vnmedical-2024-28(2)-09.
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Annotation. The basis for the relevance of this study is the widespread prevalence of lung diseases and the necessity to apply timely rehabilitation measures. According to scientists, singing can be one of the alternative methods of physical rehabilitation. The purpose of the study was to compare external breathing indicators of girls who are engaged in academic singing, volleyball players of a high level of skill and female students who do not sing and do not play sports. An examination of 3 groups of subjects was conducted, which included 57 female persons aged 15-25. The first group included 19 girls who were engaged in academic singing, they were students of National Pirogov Memorial Medical University, Vinnytsya and students of Vinnytsya Vocational College of Arts. The second group includes 18 volleyball players of the Super League of Ukraine “Dobrodiy-Med University–ShVSM” team, who have been playing volleyball for at least 3 years and have reached a high level of skill. The third group included 22 female students who did not play sports, had no chronic diseases and health complaints, they formed the control group. External breathing parameters were determined on a spirograph “Medgraphics Pulmonary Function System 1070 series” according to the methodology of the American Pulmonology Association and the European Respiratory Society. It was determined that the absolute values of the peak exhale flow, the reserve volume, the maximum free ventilation in volleyball players was significantly higher than in the group control, and the vital capacity of the lungs of volleyball players was significantly higher than the control group and the group of girls engaged in academic singing. Group of vocalists have the tendency to higher values of the average arithmetical point of spirographic indicators compared to the girls of the researched control group. The volleyball players and singers, together with the control, had significantly higher percentages of detections relative to the appropriate values depending on the spirographic indicators, such as the Tiffeneau-Pinelli index, the exhalation capacity, the volume of the forced exhalation during the first second. There are no significant differences in the value of spirographic indicators between volleyball players and female vocalists. The development of a physical rehabilitation program with elements of academic singing for respiratory diseases will be promising for further research.
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Buenafuentes de la Mata, Cristina. „La décima edición del Diccionario de la lengua castellana de la Real Academia Española (1852): el aumento y la supresión de voces“. ELUA: Estudios de Lingüística. Universidad de Alicante, Anexo-5 (23.12.2019): 205. http://dx.doi.org/10.14198/elua2019.anexo5.09.
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El objetivo principal de este trabajo es dar cuenta de la reconstrucción del modelo de “revisión y aumento” que se llevó a cabo en la décima edición del DRAE publicada en 1852. Para ello, esta investigación se centra en la macroestructura del DRAE 1852 a partir del análisis de las voces que constituyen su aumento y también de los vocablos que se suprimieron en esta edición. Asimismo este examen del aumento y la supresión de voces del DRAE 1852 se complementa con un contraste con las ediciones precedentes. Con ello, se pretende evidenciar la contribución del DRAE 1852 no solo en la construcción de la historia interna de la lexicografía académica sino también en la descripción del léxico del español del siglo XIX.
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SEMKIN, Dmitry, und Lyubov BUSHUEVA. „Giacomo Puccini's Operatic Legacy and Its Study in the Practice of Vocalists“. WISDOM 15, Nr. 2 (23.08.2020): 199–209. http://dx.doi.org/10.24234/wisdom.v15i2.355.
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The purpose of this article is to analyze the Opera legacy of Giacomo Puccini from the standpoint of philosophy and practical vocal pedagogy, which, according to the authors, is necessary for the formation of vocal and performing skills of young singers of the academic direction. The authors suggest a historical overview of the main works of the composer in this genre, based on the study of their vocal characteristics, the author reveals the features of his unique Arioso-recitative style. On the basis of various research methods (among which the special place is occupied by the philosophical, aesthetic, vocal-technical and methodological analysis) concluded, that vocal performance the point of view of the works G. Puccini are useful for the development of vocalists ' singing breath, musicality, imaginative thinking, mastering of the technique of cantilena, continuous legato (as the basis of belcanto), improving the timbral colors of the voice, its dynamic nuances, developing the right senses of agogics.
The above is confirmed by the analysis of the peculiarities of the technique of performance and interpretation of one of the composer's most famous works for the tenor repertoire – Calaf's Aria "Nessun dorma" from the Opera "Turandot" (which was the main subject of this study).
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Pasaribu, Agustinus Liberty, Irfan Sudahri Damanik und Ilham Syahputra Saragih. „Sistem Informasi Kursus Musik Di Inggou Victory Pematangsiantar“. Brahmana : Jurnal Penerapan Kecerdasan Buatan 3, Nr. 1 (30.12.2021): 10–17. http://dx.doi.org/10.30645/brahmana.v3i1.87.
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Inggou Victory is a non-academic institution that runs a business in providing teaching and art development in terms of music, choir, and vocals in Pematangsiantar city. Inggou Victory as an art platform in Pematangsiantar City tries to present this by more actively opening registrations for private music and vocal classes. In practice, the Admin as an employee still uses conventional methods in recording scheduling using paper which is considered less effective especially in industry 4.0 and wastes a lot of paper. Therefore, this thesis writing aims to design and create a Website-based Information System and can be presented and implemented in the company's work scope. The development and manufacture of the system is used with the Rapid Application Development (RAD) model where this RAD presents a development stage that is quite fast and dynamic compared to other conventional methods.
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Wan, Xin. „Internationalization of academic vocal pedagogy and education: on the example of opera vocalists’ training in Russia and China“. OOO "Zhurnal "Voprosy Istorii" 2023, Nr. 8-2 (01.08.2023): 208–25. http://dx.doi.org/10.31166/voprosyistorii202308statyi55.
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The article is devoted to the study of historical retrospectives of the development of vocal art and education in China. The nationally typical sources of the formation of the Chinese vocal school are revealed in comparison with the peculiarities of vocal pedagogy in Russia. An analysis is made of the problems of academic success of Chinese students going to Russian universities to receive professional vocal education.
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Katz, Maria L. „Technologies for Training in Singing Breathing of Teenagers in Pop Vocal Class“. Uchenye Zapiski RGSU 20, Nr. 1 (30.03.2021): 172–80. http://dx.doi.org/10.17922/2071-5323-2021-20-1-172-180.
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The vocalist’s breath is one of the important areas of work in the pop vocal class. This area of work is especially relevant in adolescence, since at this age stage this process will become conscious and meaningful, and not intuitive, and complex works that are included in the repertoire of adolescents will require a more attentive attitude to breathing technique. The problem of singing breath received a theoretical justification from the point of view of different methodological approaches and is considered both in the context of the features of the vocalist’s work in different vocal styles (academic, folk, pop-jazz) and in the context of solo and choral vocal performance. However, breathing technologies in teenagers involved in pop vocals remain poorly illuminated. The object of the study is the singing breath of teenagers of the pop vocal class in the institution of additional education.
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Iyengar, Sujata. „Queen of Egypt and Queen of the Bey-Hive: Sophie Okonedo's Cleopatra at the National Theatre (2018)“. Shakespeare Bulletin 41, Nr. 2 (Juni 2023): 201–22. http://dx.doi.org/10.1353/shb.2023.a910439.
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Abstract: Combining the methods of traditional theater history with semiotics and digital cultural studies, this article focuses particularly on Simon Godwin's production of Antony and Cleopatra at the National Theatre (2018) and on the avowed inspiration of the Nigerian-Jewish-descended British actress Sophie Okonedo by the world-famous vocalist, digital producer, and media celebrity Beyoncé Knowles-Carter (usually known simply as Beyoncé). Godwin's production carefully used a multiethnic cast and placed particular emphasis upon the relationship between Cleopatra and other women, both allies and enemies, in part by strategically reassigning Dolabella's lines to Octavia and thus creating an encounter between Cleopatra and Octavia that never happens in the Folio text. The article speculates that using allusions to Beyoncé out of context (away from the rich intertext of the film Lemonade [2016], for example, and away from transnational Black feminist debate) and to a majority-white British audience membership risked diluting Beyoncé's nuanced and politicized commentary—and, perhaps, diminished the nuanced treatment of labor and gender in Shakespeare's play. The investigation concludes, however, with a reflection upon the pros and cons—for artists and for audiences—of foregrounding digital subcultures in this way on stage and in academia.
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Rudyakova, Alla E. „On the First Graduation of Vocalists of the Saratov Alekseyev Conservatory“. Scientific and analytical journal Burganov House. The space of culture 18, Nr. 2 (10.05.2022): 71–79. http://dx.doi.org/10.36340/2071-6818-2022-18-2-71-79.
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A picture of the initial period of the activity of the Saratov Alekseyev Conservatory, formed in 1912, is recreated based on rare unpublished works from the Central State Historical Archive of St. Petersburg, the State Archive of the Saratov Region, the Archive of the Saratov Sobinov Conservatory, as well as its library’s fund of manuscripts. It is revealed that the first final exams, which took place in 1915, were held in accordance with the Charter of the conservatories of the Imperial Russian Musical Society (IRMS), in which all the conditions for the implementation of final tests were included in detail. The Directorate of the IRMS in St. Petersburg appointed the outstanding musicologist and theorist, B.Yavorsky, who had considerable authority in musical circles. A written report by Yavorsky to the Chairman of the IRMS, Princess Elena of Saxe-Altenburg, (the document is introduced into scientific circulation for the first time) contains valuable information that makes it possible to assess the level of vocal training of singers graduating from a higher educational institution. Analysis of the report showed: the presence of all types of singing voices among the students of the conservatory - soprano (coloratura, light lyric, spinto), mezzo-soprano, tenor, baritone, bass; the presence of problems in the technical aspect of the performance (lack of a full range and basic vocalisation skills) and performing skills (freedom of behaviour on stage, artistry, charisma, charm, temperament); problems in the repertoire (vocal programs had different complexity for all graduates, although there were all the traditional vocal genres for academic singers: arias and romances by Russian and foreign composers), shortcomings in sound science (presence of tremolation, voice clamp, unrevealed timbre, lack of even sound science, which consists in the heterogeneity of timbre colouring and the non-smoothness of the transitional registers of the singing voice), as well as insufficient musical development for some graduates of a higher educational institution. At the same time, it should be noted that the chairman of the graduation committee, Yavorsky, attached great significance to emotional fullness in revealing the figurative content of the works performed by the vocalists. This criterion was often more important to him than the technical side of the performance. Based on the content of the report, it can be concluded that the level of vocal graduates was generally sufficient for professional activities (although Yavorsky did not always share the opinions of the teachers of the Saratov Conservatory - members of the commission), which indicates effective teaching of solo singing at the initial stage of the activities of the Saratov Alekseyev Conservatory.
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Molina Sangüesa, Itziar. „Binomio y binómino, la confluencia de dos nombres en textos matemáticos renacentistas: algunas consideraciones etimológicas sobre la designación de las expresiones algebraicas“. Revista de Lexicografía 20 (04.12.2018): 107. http://dx.doi.org/10.17979/rlex.2014.20.0.3876.
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El siguiente trabajo consiste en una revisión, análisis y propuesta etimológica de dos nombres: binomio y binómino, empleados por los tratadistas matemáticos del Quinientos, para designar a «la expresión compuesta de dos términos algebraicos». La coexistencia de ambos vocablos da lugar a la creación de dos paradigmas de expresiones algebraicas: el de las formas en -nomio, entre otras, trinomio, cuadrinomio, etc., por un lado, y el de las formas en -nómino, trinómino y cuatrinómino, hoy extintas, por otro; cuyas etimologías plantean una cuestión controvertida y mal interpretada en algunos de los repertorios lexicográficos de referencia del español, como el diccionario de la Academia, así como de otras lenguas romances. Motivo por el que consideramos que este acercamiento puede arrojar alguna luz a los estudios de historia de la lengua española, concretamente, a la terminología matemática relativa al Álgebra.
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Alcaide-Aranda, Lourdes Ivonne del Carmen, Helfer Joel Molina-Quiñones., Carlos Enrique Aguilar Alcaide, María del Carmen Otero Romero, Doris Isabel Goicochea-Parks und Pahola Janira Herrera Estrada. „FEMENINO DE CARGOS, PROFESIONES Y ACTIVIDADES LABORALES SEGÚN PERCEPCIÓN DE LA POBLACIÓN Y LA REAL ACADEMIA ESPAÑOLA“. Vivat Academia 157 (05.10.2023): 1–15. http://dx.doi.org/10.15178/va.2024.157.e1493.
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Existe un avance lento en las nominaciones de cargos, profesiones y actividades laborales, desde un enfoque de género, por parte de la Real Academia Española (RAE), que además no está acorde con el lenguaje hablado por la mayoría de la población y es inverso al uso y aplicación de algunas expresiones. Es por ello que el propósito de esta investigación fue desarrollar un estudio sistemático del uso de los vocablos con marcador de femenino relacionados con el ejercicio de un cargo, profesión o actividad laboral, propuestos en el Diccionario de la Lengua Española (DLE) en su vigesimotercera edición del año 2014 para contrastar la posición normativa de la RAE con su uso real y cotidiano. Con enfoque cuantitativo, diseño no experimental de corte transversal, descriptivo comparativo y muestra no probabilística de 465 estudiantes y docentes de instituciones de educación superior de cuatro regiones políticas del Perú. Los resultados evidenciaron que, de los 24 cargos, estudiados con denominaciones recomendadas por la RAE, el 42% (10) no fueron aceptados por los docentes y estudiantes; asimismo, se evidencia que aún siguen predominando los sesgos sexistas en el empleo de las palabras que se aplican a hombres y mujeres. Se concluyó en que la RAE está incorporando las denominaciones de cargos, profesiones y actividades de manera lenta y que las denominaciones propuestas por la RAE no están acordes con el uso de la población.
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Huamán Flores, Richard. „Presencia sustratística del aimara en Arequipa“. Escritura y Pensamiento 20, Nr. 40 (10.05.2021): 399–415. http://dx.doi.org/10.15381/escrypensam.v20i40.20071.
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El conocimiento de la lengua, su historia y filiación idiomática es una aventura académica llena de sorpresas; en el sur peruano y por la confluencia de lenguas en el tiempo, tiene características que ponemos a disposición de los especialistas. Esta variedad se verá enriquecida, recreando una morfología especial: quechua-castellano, quechua-aimara, aimara-quechua, aimara-puquina. El castellano arequipeño es el resultado del sustrato quechua, aimara y puquina en el habla de los chacareros en los diferentes valles de la región, vocablos posibles que aún no son aceptados por la academia. Muchas glosas fueron registradas por el Dr. Ugarte, maestro arequipeño; primero lo hizo como Arequipeñismos y luego de manera integral con el nombre de ‘Vocabulario de peruanismos’(póstumamente). Nos permitiremos someter a un examen los aportes de Ugarte a la luz de los nuevos conocimientos en andinística, considerando el registro que usó nuestro homenajeado.
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Krinitskaya, Svetlana Sergeevna, und Marina Vasilievna Zhukova. „Development of artistic music perception and the ability to convey the content of the performed musical work to the audience“. Uchenyy Sovet (Academic Council), Nr. 7 (25.06.2022): 471–75. http://dx.doi.org/10.33920/nik-02-2207-06.
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The modern system of professional higher education in the field of academic vocal has rich experience and time-tested traditions. The multi-level complex of vocal education includes not only the development of hearing, musical memory, singing skills, etc. One of the most important tasks for the teacher is the problem of developing the correct artistic perception of music and the ability to convey to the audience the content of the performed musical work, conceived by the author. A modern pedagogue should reveal the potential of future vocalists in the conditions of their professional training in higher educational institutions of our country. Educational standards require a more complete, optimal approach to the learning process, the achievement of unity in the perception and understanding of music, and the assessment of musical works by students.
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Lianhong, Zhang. „DEVELOPMENT OF VOCAL TRADITIONS IN CHINA AND UKRAINE: HISTORICAL CONTEXT“. Педагогічні науки: теорія, історія, інноваційні технології 9(103), Nr. 9(103) (30.11.2020): 500–512. http://dx.doi.org/10.24139/2312-5993/2020.09/500-512.
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The article reveals the features of vocal traditions development in China and Ukraine in the historical context. The stages of vocal traditions development in China and Ukraine are outlined. The essential characteristics of vocal traditions at each stage of development in the studied countries are defined. The comparative analysis of both vocal traditions enabled defining the main differences and the common features in the development of the studied phenomenon. The differences lie in the fact that Ukrainian vocal tradition has been constantly improving, while Chinese – has experienced periods of decline; in China the basis of vocal training is philosophical, while in Ukraine – spiritual. The common features include implementation of foreign experience in the content of vocal education and training of vocalists in various fields – academic and folk, as well as the spread of pop singing.
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Kucher, L. I. „Activity of the Opera Studio under Lviv State Conservatory named after M. V. Lysenko as a training subdivision in 1970–90s.“ Aspects of Historical Musicology 14, Nr. 14 (15.09.2018): 108–21. http://dx.doi.org/10.34064/khnum2-14.08.
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Background. This article continues a series of works by the author on the study of the history of educational activities in the field of opera art in Ukraine. On the basis of archival materials, the chronology and features of the educational process in the Opera Studio of the Lviv State Conservatory named after M. V. Lysenko (now the Lviv National Music Academy) are recreated in the important period of formation of the principles of studio working on the education of an opera singer. Relying on his own many years of experience as a teacher and a researcher, the author gives estimates of the role of the departments of solo singing and opera training of the Conservatory involved in the educational process. The material on the history of the Opera Studio performances from its foundation to the end of the last century has been systematized. The results of the study. From the time of the Opera Studio foundation under the Lviv State Conservatory named after M. V. Lysenko, the artistic oversight of this training subdivision was belonging the teachers of the Solo Singing Department. The lack of creative contact between two departments of the vocals faculty, the Solo Singing and the Opera Training Departments, was leading to the shortcomings in education of opera singers. Due to the impossibility to cover all senior students with practical training in performances, they were engaged in fragments of opera in opera classes. To the end of 1973 the separate best pieces of the opera classes was shown several times, using different stages and concert venues. However, O. Hrytsak, who was appointed the Head of the department of Opera Training in the end of academic year 1973–74, resolved that the opera classes will only be focused on junior students of the Conservatory, as per curriculum. With his appointed the new round of Opera Studio’s activity started. Ukraine’s Honored Arts Worker Oleksandr Hrytsak (1924–2001) joined to Opera Training Department in the position of senior lecturer. Prior to joining the Conservatory, O. Hrytsak worked as a conductor in Lviv Opera Theater, where he released tens of opera and ballet performances. He managed to establish a creative atmosphere in the teachers’ team. When educating an actor singer, O. Hrytsak believed his main task is to teach him/her a self-guided work, since no further growth can be possible for a young musician without such a habit. While working at the studio, O. Hrytsak staged the numerous pieces of West European and national classics, having contributed a lot to popularization of modern music (“Anna Snegina” by V. Agafonnikov, “Mususi” by O. Taktakishvili, “The Dawns Here Are Quiet” by K. Molchanov…). In his article entitled “Both Vocalist and Actor” published in “Muzyka”(“Music”) journal (1985, no. 4 ), the author displays his deep knowledge of modern education’s focus on training of actor singers at opera training departments of higher musical schools. His belief that vocals students should not only master a spectrum of vocal and stage skills, but general culture as well, seems relevant to us. O. Grytsak recommended thorough elaboration of “Speech Culture”, “Dance” and “Stage movement” curricula. In 1977, a 5th-year student I. Kushpler (later People’s Artist of Ukraine) was chosen to play the part of Don Giovanni in the opera by W. Mozart. The performance was shown two times during the year with no further shows in the next year. This was a vivid example of how the absence of full-time soloist results in rare demonstration of opera performances of the Studio. It educational practice of Lviv Opera Studio used to happen that working on some performance made it entirely impossible to work on other ones, though it was emphasized that the attainment of high results of operation requires increase in the number of performances. For example, in 1977, during rehearsals of “Ten Days That Shook the World” opera by M. Karminsky, wherein the students’ choir and Opera Studio orchestra participated, no performances were shown of the Studio. Sure, such a practice cannot be deemed a good training. But as early as in academic year 1979–80, at the joint meetings of solo singing and opera training departments, their teachers expresses the opinion that the level of professional training in the Opera Studio grew considerably versus prior years. Fifteen performances were shown during that year, with “Nocturne” by M. Lysenko and “Sotnyk” by M. Verykivsky (conductor O. Hrytsak, director O. Huy) having been renewed. The repertoire continued extending with new pieces – “Zagrava” by A. Kos-Anatolsky, “Mususi” by O. Taktakishvili. Among that period’s prominent interpretations, one can mention the “Iphigenia in Tauris” by K. Stetsenko commemorating its author’s 100th jubilee, with further TV version release (1982). Since 1985, “Zaporozhets za Dunayem”, the opera by S. Hulak-Artemovsky returned to the studio’s repertoire. In 1989, the Opera Studio staged “Kupalo”, opera by A. Vakhnyanin, which is Western Ukraine’s first musical piece based on opera drama principle, as revised by M. Skoryk (conductor O. Hrytsak, stage director F. Strygun). The opera was chosen by the Studio to celebrate the 50th anniversary of Ukrainian lands’ reunion and Lviv State Conservatory foundation. The performance was broadcast on Ukrainian radio. Being the leader of talented and experienced experts such as directors V. Dubrovsky, O. Huy, A. Lymerev, choirmaster M. Telishevsky, O. Hrytsak fruitfully conducted the education of young actors. Despite pecuniary burdens, each year the studio staged new performances, in which vocals students acquired their professional experience. He revived the studio’s activity, having tuned up the regular practical training of the vocal department students. Summing it up, it is fair to say that O. Hrytsak’s management of the department allowed boosting discipline and regularity of training of opera singers and revived the Opera Studio under Lviv State Conservatory. However, the lack of material resources (the need for the rental of premises for rehearsals, lack of singer staff for performances etc.) and creative misunderstandings between the departments of the Conservatory engaged in operatic training were becoming the cause of some flaws in the organization of the educating process of the opera singers. In the same time, one cannot but highlight such a positive factor in Lviv Opera Studio activity, as its constant addressing to the heritage of Ukrainian composers.
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Hromchenko, Valerii V. „Distance learning for specialized musical disciplines: problems and the ways of solution“. Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, Nr. 45 (2022): 114–23. http://dx.doi.org/10.17223/22220836/45/11.
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The scientific article is devoted the investigation of the most actual questions concerning distance educational form into the light of the specialized training disciplines a namely „Ensemble” and „Special class”. The author has approved that the problem of distance educational form in relation to underlined musical subjects is maximally indicated their practical nature, what have had presentation in the professional communicative sensation of general (simultaneous) performing act, in the process for development and correlation of musician's performing apparatus, in detail-hearing comprehension of particularity for artistic musically-expressive means a namely timbre and attack of sound, traits and articulation, strong and dynamic of instrument (vocal) sounding. The importance of introduction to the contemporary educational process the mixed thematic-integrated learning, specifically the synthesis of distance and full-time educational forms. This interaction must be in the presence of academic musical compositions solo at the training repertoires, specialized musical pieces that were written by vocational composer for playing only one performer-soloist (instrumentalist, vocalist). It is necessary to emphasize that maximally active, result way for keep qualitative high level of creatively artistic practice, musical lessons into the special class (wind wood and brass, drums, vocal, string-bowed, string-plucked specializations) is creative appeal of contemporary pedagogue-musicians to the academic compositions, that were written by authors in to performing form solo, namely the address to masterpieces for performing only one artist-soloist. These academic stagesingle musical pieces are artistically self-sufficient, at the same time, this kind compositions are performed by musician without fortepiano. The pieces of music solo absorb by the power of composer's talent, artistic thoughts the excellently most potential of artistically expressive possibilities, intonation sounding means one or another instrument (voice) - chord sounding (monophonic instruments), microinterval (microchromatics), sound oscillation, playing with four mallets, hidden polyphony and others. This type of compositions (music solo) will be giving the distance professional development of artistically expressive means for student's practice, the formation of independence concerning artistically imaginative thinking of pupils, as well as the upbringing of academic ensemble performing skills among contemporary students.
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Hamdi, Ahmad Zainul. „Dinamika Hubungan Islam dan Lokalitas: Perebutan Makna Keislaman di Madura“. TEOSOFI: Jurnal Tasawuf dan Pemikiran Islam 8, Nr. 2 (15.12.2018): 433–56. http://dx.doi.org/10.15642/teosofi.2018.8.2.430-454.
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The discussion about Islam and local culture has resulted in a number of monumental academic works. The relation of Islam and the Javanese culture along with its dynamics have frequently colored intellectual debates in the field. Among the din of such fascinating academic debates, Islam Madura has been nearly neglected as an uninteresting academic discourse to observe. It has been argued that Madura is viewed as a “back door” of Java. It implies that observing Java means observing Madura automatically. This study seeks to raise the issue of contestation over the meaning of Islam within the relational context between Islam and the local culture of Madura society. Based on field research conducted under the light of Beatty’s multi-vocality concept, the study finds that Islam Madura is a communal identity, but it defines nothing about the Madurese Muslim community in general. Although each group acknowledges Islam as a shared identity, every individual and group, or sub-group, will have no a common understanding about the meaning of Islam. Islam has, certainly, unified all the Madurese people within a common perspective of mankind, God, and worldly matters, but this identity represents no one and does not specifically define any conception of anyone. The meaning of Islam Madura has been, therefore, endlessly knitted within compromising and synthesis process.
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Prickett, Stacey. „Defying Britain's Tick-Box Culture: Kathak in Dialogue with Hip-Hop“. Dance Research 30, Nr. 2 (November 2012): 169–85. http://dx.doi.org/10.3366/drs.2012.0045.
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With questions of identity and multiculturalism remaining at the centre of debates in the press, political and academia arenas, a dance production tackles these issues head on in a surprisingly humorous and accessible way. Birmingham-based Sonia Sabri Company's Kathakbox is a collaborative production exploring the theme of ‘ticking boxes’ which sets out to challenge preconceptions about identity. Four specialists in kathak, hip-hop, African Caribbean and contemporary dance are joined by three musician-vocalists who eschew instruments, utilising their voices and bodies to create a vibrant rhythmic score influenced by a cosmopolitan mix of styles. Aesthetic and ideological meeting points occur onstage in the critically praised hour-long show, while counter-hegemonic possibilities emerge in associated workshops. The article explores how the narrative potential of kathak opens the way for Muslim women participants to delve into movement possibilities and improvisational potential of both the South Asian dance form and hip-hop.
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Anufrieva, Natalya I., und Ekaterina V. Bulkina. „Specifics of Formation of Professional Skills of Musical Theater Artists in College“. Uchenye Zapiski RGSU 20, Nr. 1 (30.03.2021): 189–97. http://dx.doi.org/10.17922/2071-5323-2021-20-1-189-197.
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Every year in Russia there is a growing number of people who want to devote themselves to stage professions. Pop and academic singer, actor of musical and dramatic theater, ballet dancer – here is an incomplete list of specialties that can be obtained in educational institutions of culture and art. The main task of these educational institutions is the professional formation of future stage masters, the formation of competencies that allow students to carry out further acting activities. The basis for the preparation of the future artist is the formation of stage skills, since this complex concept includes the internal (psychological) and external (physical) data of the actor, the possession of the art of reincarnation in the process of creating a stage image, the possession of stage freedom. The professional training of a musical theater artist in college becomes a multifaceted process, where the combination of vocals, dance, acting is aimed at solving the dramatic problems of a musical performance. The purpose of the article is to theoretically justify and identify empirically the specifics of the formation of professional skills of musical theater artists in college.
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Avineri, Netta, und Danny C. Martinez. „Applied Linguists Cultivating Relationships for Justice: An Aspirational Call to Action“. Applied Linguistics 42, Nr. 6 (08.05.2021): 1043–54. http://dx.doi.org/10.1093/applin/amab065.
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Abstract This special issue features applied linguistics scholarship that cultivates relationships for justice. The collection of papers in this special issue challenges the field of applied linguistics to move beyond an acknowledgement of social inequities (through observation, analysis, and critique) toward cultivating relationships for justice (CRJ) - in order to undo past harms and collectively imagine more just futures. The authors/collaborators demonstrate how building systemic social change involves decentering the individual researcher’s interests and instead foregrounding processes of collective solidarity (Martinez et al. 2021), demonstrating how justice is relational and aspirational. In this editorial, we discuss the particular contributions of each paper, alongside thematic connection points across the articles. Our intention in including an editorial, commentaries, and a range of papers is to create space for multi-vocality and diverse genres as part of CRJ. We conclude with an aspirational call to action for members of our applied linguistics academic community.
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Galloso Camacho, M. ª. Victoria, und Montemayor Martín Camacho. „La disponibilidad léxica en el Diccionario de onubensismos para la enseñanza de ELE“. Ogigia. Revista Electrónica de Estudios Hispánicos, Nr. 25 (13.02.2019): 211–31. http://dx.doi.org/10.24197/ogigia.25.2019.211-231.
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Este trabajo surge a partir del estudio de léxico disponible de Huelva, nivel preuniversitario, realizado por Prado y Galloso (2005), en el marco del Proyecto Panhispánico de Disponibilidad Léxica, en cuyo corpus se localizaron un considerable número de onubensismos (entendidos como palabras que tienen una significación especial en Huelva, siendo así interpretado el concepto a la manera de Alvar en su Diccionario de madrileñismos, 2011). La metodología de la disponibilidad léxica permite recopilar voces de aquellos lugares en los que se realiza el estudio. En este sentido, nos planteamos la importancia que estas palabras propias de Huelva, que tienen el empleo en Huelva, o que hacen referencia a las realidades de Huelva, tienen para la enseñanza del español en esta área geográfica. Merecen especialmente nuestra atención aquellos vocablos que hacen referencia a palabras no recogidas en el Diccionario de la Real Academia Española, considerados, por tanto, no normativos en base a la norma hispana actual, y sin embargo, reflejos de realidades imprescindibles en el entorno geográfico en el que han aparecido.
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Hromchenko, Valerii. „Vocal instrumentality as the ethno-cultural feature of V. Martyniuk's composer style (the case of compositions for wind instruments)“. Culturology Ideas, Nr. 20 (2'2021) (2021): 99–106. http://dx.doi.org/10.37627/2311-9489-20-2021-2.99-106.
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The article discloses the instrumental language nature of Dnipro composer Valentina Martyniuk from the perspective of the ethno-cultural features for master's author style. The investigation is being carried out on the basis of compositions for wind instruments, namely "Interview on a given topic" for clarinet solo, Vocalize for flute and piano, as well as Melody for horn (or flute) and piano. The investigation has established the defining foundation of the vocal of the composer's instrumental language to be the phenomenon of folk singing style of artistic instrumental creations. This phenomenon is born on the productive basis of national genre, namely Ukrainian solo singing. V. Martyniuk realizes artistic creative potential in the singing expressive melody, improvisation, priority of solo representation of musical compositions, the composer removes the assignment of a certain instrument for a specific musical composition, creates the priority for secondo-third interval connections. The author of the article affirms the contemporary conception of Ukrainian instrumental solo singing in the academic instrumental music.
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Rudyakova, Alla Eduardovna. „On the Pedagogical Priorities of Teachers-vocalists of the Initial Period of Activity of the Saratov Conservatory“. PHILHARMONICA. International Music Journal, Nr. 5 (Mai 2023): 1–8. http://dx.doi.org/10.7256/2453-613x.2023.5.44211.
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The object of this study is the initial period of activity of the Saratov Conservatory; the subject can be called the pedagogical priorities of vocal teachers of this period under consideration. In the article, based on rare archival data, surviving printed evidence, and student memoirs, an attempt is made to restore the pedagogical priorities of the most famous and influential in the musical circles of Moscow and St. Petersburg, active participants in concert events of the Imperial Russian Musical Society: Mikhail Efimovich Medvedev - the first performer of the role of Lensky in the opera P. I. Tchaikovsky's "Eugene Onegin" and Alevtina Mikhailovna Paskhalova, who embodied the image of the Snow Maiden in the opera of the same name by N. A. Rimsky-Korsakov. The scientific novelty of the study includes the fact that the author identifies and for the first time introduces into scientific circulation data on the pedagogical priorities of the most prominent vocal teachers who have made a significant contribution to improving the educational process of the department of academic singing. It is revealed that the pedagogical priorities of M. E. Medvedev and A. M. Paskhalova include: a fairly low type of breathing, increased attention to developing a sense of support for sound, a cautious attitude towards the development of the full range of the voice, the development of clear diction, evenness of sound production, smoothness of register transitions; soft sound attack; the ability to qualitatively vocalize various dynamic gradations of sound; the use of the “concentric” teaching method in the pedagogical process, increased attention to the education of the emotional and dramatic component of the performer’s personality. The analysis also showed that the features that distinguish the pedagogical views of the professors of the initial period of the Saratov Conservatory include the use of the repertoire of Russian composers in class work with a beginning singer.
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Voskoboinikov, Yakov. „George Gershwin’s jazz transcriptions in piano performance of academic tradition“. Aspects of Historical Musicology 19, Nr. 19 (07.02.2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.
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Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing interest of classical performers in the music of the American composer is the successful holding of the IV G. Gershvin International Music Competition in New York (on November 7–10, 2019). Director and main organizer of the competition, Michael Bulychev-Okser, is the American pianist, the main winner of many international competitions in the United States, Italy, Andorra, Spain and Mexico. How does a musician of academic direction, whose inner professional intentions and way of thinking are brought up on the classical repertoire, perceive Gershwin’s jazz compositions? What is the specificity of modern reading of his music? In which cultural traditions should we look for the key to understanding Gershwin’s musical language, its rhythmic and intonational specifics? Finally, can a jazz pianist consider himself completely free from the culture of the academic tradition by playing Gershwin? The search for answers to all these questions has identified the problematic perspective of this article. The purpose of the article is to reveal the characteristic features of the performance of G. Gershwin’s transcriptions by modern academic pianists using specific examples and to determine the interpretational tasks of the performer. The research methodology is based on a comprehensive genre andstyle approach to the study of musical material, and also includes a comparative method used for concidering different performance versions of the same work. The main results of the study. Jazz and the culture of academic music work closely together in the style of G. Gershwin. Indicative in this sense was the idea of a concert eloquently called “Reunion of Classics and Jazz” (1924), for which the “Rhapsody in Blue” was created and where it was first performed by the author with the orchestra of Paul Whiteman. G. Gershwin, more than any other composer of his time, communicated with African-American musicians: he knew Will Voderi, Lucky Roberts, Duke Ellington; heard New York pianists play downtown and often visited the “Cotton Club” and other places in Harlem to hear the bands of Duke Ellington, Cab Calloway and other jazz musicians. But not only jazz was the area of interest and creative acquaintances of Gershwin. Along with jazz culture, there were many other musical styles. In the works of G. Gershwin, Ch. Ives, A. Copland in the early 1920s – mid 1940s there is an original combination of deep folk intonation with the composer’s technique of the XX century, up to the use of dodecaphonic-serial technique (Copland). The fusion of jazz and academic branches in Gershwin’s music, above all, takes place at the level of form. “I took the blues and put it in a larger and more serious form”, said the composer (as quoted by Schneider, 1999: 67). As a pianist, Gershwin did not receive a systematic professional education as a child, although he later had enough teachers. But that didn’t stop him from becoming a real pianist-virtuoso and a brilliant improviser. One should listen to archival recordings of Gershwin’s performance to get an idea of his performance style. Samples of his piano performances have been partially preserved: some acoustic and electric recordings, radio recordings, two sound films and a large number of piano videos (Gibbons, 2002). The studio recording of “Rhapsody in Blue” demonstrates Gershwin’s completely “academic” pianism – with clear, well-founded articulation, bright sonic fullness, thoughtful agogics of expressive declamation, which is only emphasized by the well-organized metric pulsation and dynamics by active rhythmic movement – and his true virtuoso skill. Should a modern pianist, performing Gershwin’s works, follow the example of a balanced and rather “academic” performance, as in his studio recording “Rhapsody in Blue”, or follow Gershvin’s interpretation, which can be observed in the transcription “I Got Rhythm”, where he clearly prefers the jazz element? It makes sense to compare different examples of Gershwin’s popular piano transcription of “The Man I Love”. The performance version of the English pianist Paul Barton is an attempt to imitate the specifics of the freedom of sound of instrumental jazz styles, however, as one can hear, the musical intonation is not always convincing, the breath is a bit torn, the agogics of chord melodic constructions performance the agogics of chord melodic constructions (upper layers of texture) is greatly exaggerated and the performing is practically “released” from calculation and feeling of time. As an undoubted plus of this version it is necessary to note huge attention to harmony as such, to vertical and balance within a chord – Barton’s harmony “breathes” and moves. This approach can be justified, because the harmony of Gershwin’s songs is always diverse, bright and inventive. The record of Gershwin’s 1959 “Songbook” by Ella Fitzgerald is available today. The composition “The Man I Love” in her performance can be one of the possible orienting points in the intonation of the main melodic voice, the calculation of its unfolding in time, the display of interval “tensions” and melodic intentions in Gershwin’s music. E. Fitzgerald’s vocal-jazz style presupposes a different temporal organization of the melody, different from the one suggested by P. Barton – the movement of its vocal recitation-intonation and improvisational vocals is accelerated, then somewhat slowed down, thus creating “compensated time” of a musical work, and it is with soft, relaxed, naturally light breathing. The modern media space presents the album of French pianist Alexandre Tharaud “Swing in Paris”, which includes two compositions by Gershwin: “The Man I Love” and “Do it Again!”. Three different interpretations of “The Man I Love” are popular on the You Tube website, where each video is original in its own way. These performings are variants, but the concept of details – melodic constructions, organization of rhythmic accents, as well as a sense of Gershwin’s style, is preserved. The sophistication of the Parisian salon is what distinguishes the game of Tharaud. The musician has a sense of proportion and uses the full range of expressive means of academic pianism. At the same time, the development of the melodic line takes place organically and effortlessly, alluding to vocal genre examples, to free breathing and “blues” articulation of jazz vocalists; rhythmic accentuation is unobtrusive but clearly felt. Summing up, we note that the “Tharaud approach” is certainly the closest to the reference. Conclusions. Proceeding from the synthetic nature of G. Gershwin’s music, comprehension of its stylistic and cultural origins, analysis of listened musical samples, let us single out the interpretation constants that must be taken into account by the performer of his compositions. Among them – the inheritance of agogics, articulation, “light” breathing, inherent in the vocal jazz manner, in the intonation of the melody; “Breathing” harmony with a colorful timbre filling of chords and subvoices united into a movable vertical-horizontal complex; understanding of rhythm as an independent expressive sphere that has ethnic roots in the music of the African American tradition.
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Volodymyr, Boldyrev. „Spiritual component of the students-vocalists’ work (based on the Ukrainian composers’ repertory)“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, Nr. 63 (23.01.2023): 75–90. http://dx.doi.org/10.34064/khnum1-63.04.
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Statement of the problem. The history of Ukrainian culture is a continuous ascending path of trials, on which the mental level of Ukrainian music – its song melos, from crying and lyrics to heroics and jokes – appears as the quintessence of spirituality. A large layer of the Ukrainian folk song tradition and academic genres of music, in particular chamber and opera, from the past to the present, embodies spirituality as a guiding principle. Through the worldview position of its author, artistic images convey the “spirit of the time”. The creativity of a singerperformer is connected with the knowledge of the inner world of a person, its artistic “reflection”, with reliance on a strong spiritual foundation for realizing higher spiritual priorities in the hierarchy of values of national musical culture. So, the topicality of the topic is due to: a) the need to preserve national Ukrainian art at the current stage of development of higher art education in Ukraine; b) the needs of spiritual and personal education of young singers; c) understanding of the spiritual content of vocal works of various genres and styles, which are included in educational programs for solo singing. The significance of the formation of spiritual values of a creative personality is actualized in the scientific works of I. Bekh (2018), O. Oleksiuk (2017), V. Antoniuk (2007), O. Rudnytska (2001); the question of the spirituality of music is considered by L. Shapovalova (2014), S. Ship (2016). The innovativeness of the study is conditioned by consideration of the spiritual component of the vocal students’ creation based on the national musical background. The purpose of the study is to substantiate the role of external and internal levels of manifestations of spirituality as components of the student’s creative experience in the class of solo singing. The study of the problem of the singer’s spiritual education presupposes the application of general and special scientific approaches and methods, including: comparative typological analysis of the interpretation of vocal works; interpretative and instructive understanding of the performance through the reflection of the mentality of the imaginary hero (Shapovalova, 2014: 30); a personal and creative approach in creating a “spiritual circle” in the “teacherconcertmaster-student” system. The results of the study support the necessity of realizing the spiritual content of vocal works of different genres and styles included in the solo singing curricula. The special significance of Ukrainian song examened in the spiritual and personal dimension in the performing work of vocal students is emphasizes. Vocal pieces based on T. Shevchenko’s poems as the embodiment of a deep national idea are presented. L. Kolodub’s opera “The Poet” is given as an example of the genre of tragic-lyrical phantasmagoria, where the figure of Taras Shevchenko himself is presented. Another dimension of folk spirituality continuing of the traditionally funny images of Ukrainian opera, is considered in the example of the V. Hubarenko’s opera “The Reluctant Matchmaker”. Colorful images created on the stage of M. Lysenko KhNATOB by outstanding singers (E. Chervoniuk, V. Grashchenko) are considered in aspects embodying spiritual components of vocal image. The problem of the spiritual experience of creative communication between a teacher and a student in the solo singing class is considered in the individual context (according H. Rickert). The ways of forming a spiritual model of creative relations in the system “teacher-accompanist-student” are analyzed. Conclusion. It is proved that the professional self-affirmation of a vocal student is impossible without spiritual self-improvement and social orientation of his work, without realization the essence of the “inner feat”: during the performance he is both a spiritual reflection of the author and the personification of an imaginary hero. It was revealed that the precondition to form the spiritual foundations of the creative process is the general uplifting mood of the student and teacher, a feeling of festivity and “holiness” of the creative process. Individual manifestations of interpretive independence in combination with models implementing spiritual components within the creative circle “teacher-accompanist-student” become the basis for the formation of spiritual experience of a future singer.
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Kucher, L. I. „Educating the Actor Singer in the Opera Studio of Lviv M. V. Lysenko State Conservatory“. Aspects of Historical Musicology 13, Nr. 13 (15.09.2018): 166–78. http://dx.doi.org/10.34064/khnum2-13.13.
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Background. Western Ukraine’s cultural musical life had its own paths of development. The fi rst musical school began working in this region in September 1903. The issue of creating a specialized musical educational institution with native-language teaching was repeatedly highlighted in Lviv newspapers in XIX and early XX centuries. Nevertheless, most musicians were forced to obtain knowledge either on their own or in Polish, German and Czech educational establishments. Composer S. Liudkevich was the most ardent fi ghter for foundation of a Ukrainian conservatory in Lviv. He became one of the fathers of professional musical education not only in Lviv, but in Western Ukraine as a whole. Yet, Lviv’s fi rst educational institution – the Higher Musical Institute – was created other than a standard conservatory of Russian Imperial Musical Society with quite a perfect educational system – it was closer to West European establishments on a parallel basis attended by secondary and higher school students, who studied only musical disciplines in the conservatory. A. Vakhnyanin (who taught theory and history of music) has become the fi rst Director of Lviv Higher Musical Institute with O. Bandrovs’ka and L. Ulukhanova teaching solo singing. In the year of 1912, after the death of M. Lysenko, the Higher Musical Institute was given his name. Lviv’s M. Lysenko Higher Musical Institute gained authority and prominence by constantly improving its educational system. Together with the conservatory of Polish Musical Society and K. Shimanovski conservatory, it became one of those educational establishments, on which basis M. Lysenko Lviv State Conservatory was created upon the reunion of West European lands. As of today, it is among our country’s leading musical universities. Vocals faculty exists since the day of Lviv conservatory’s foundation. In this period, they prepared numerous singers for opera and operetta theaters, philharmonic halls, teachers of secondary and higher schools. Having been founded in 1959, the opera studio functions as a training subdivision of the conservatory, being the source of professional growth for outstanding representatives of national vocal arts and opera conductors. The studio’s fi nancial position has been troubled for many years – there is no own premises and full-time soloists. And yet, teachers’ dedication has always allowed the studio to work so as to serve the basis for practical training of the vocals faculty students. The studio was offi cially opened on November 16, 1959 in M. Zan’kovetska Theater. A year later, on November 16, 1960, the premiere performance of “Zaporozhets za Dunayem” opera by S. Gulak-Artemovsky took place (conductor M. Lobaniv, director V. Shevchenko, assistant conductor – 4th year student S. Turchak). The entire faculty worked on the performance – vocals students enthusiastically participated in ballet scenes, their teachers sang leading parts together with students, teaching the mastery lesson to their mentees onstage. But it was emphasized in 1960 annual report by the Director of Lviv State Conservatory professor M. Kolesa that, with opera studio’s certain achievements, there also was a weak point, and namely the absence of creative and organizational contact between solo singing and opera training departments. In autumn 1963, Lviv opera studio performed in Kyiv at the Republican conference dedicated to education of actor singers, representing fragments from “Taras Bulba” (M. Lysenko) and “La traviata” (G. Verdi) performances. The conference stressed the necessity to alter the course of training – to educate actor singers, performer singers, rather than just “sound professional”. By the Order of the Ministry of Culture of Ukraine of January 25, 1966, opera training department was founded in Lviv State Conservatory. The functions of the Head of department were vested in the associate professor of solo singing department V. Kobrzhitsky. In this period, absence of creative contacts between the two departments of the vocals faculty continues to be felt, with their teachers exchanging accusations. They do not show aspiration to do the common cause – to educate actor singers. In the beginning of academic year 1971-72, the department was joined by Ukraine’s Honored Artist conductor O. Gritsak, who already in his fi rst year of work showed himself as a talented manager. It was stated in the department’s annual report that working stability, which is defi nitely a positive factor, is not always typical for the students. The number of performances for students’ practical training is insuffi cient. The repertoire must have at least three performances, so that students could be involved in several parts for a multifaceted disclosure of their creative abilities. The department made the resolution to improve its operation by fundamentally altering its organizational principles and the methodology, for which purpose to replace the department’s management.
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Sokalska, Małgorzata. „Melodeklamacja, czyli pogranicza piosenki“. Konteksty Kultury 20, Nr. 2 (2023): 78–98. http://dx.doi.org/10.4467/23531991kk.23.011.18351.
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Melodeclamation that is Borderlands of Song-Writing The notions of melodeclamation and melorecitation are almost synonymous with the genre definition of a song understood as multi-code unity of textual and musical components, for which the appropriate existence form is an audio realisation. Meanwhile, a broader academic research on the phenomenon of melorecitation is lacking, aside from short dictionary descriptions as well as relatively recent connection with the performance style characteristic for rap music. It seems that only there the expression of recitation is treated as something inspiring in connection with the musical element, as in other styles and genres the recitation with music in the background has become synonymous with being kitschy, vocally unskilled and characteristic for school as well as amateur performances of poetry. However, the historical tradition of melodeclamation and the modern examples of introducing recitation and melorecitation to songs with high art aspirations encourage us to looks at such practices more closely. Melorecitation can become a more widely used artistic choice amongst the professional performers (actor song, poetry song) but also a unobvious experiment by the artists using other’s voices – of the poet reciting his own poems – in their own projects.
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Yuliia, Shchukina. „Development of the dance-rock opera genre in the creative content of ‘Mykhailo Vodianoi’ Academic Theatre of Musical Comedy, Odesa“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, Nr. 60 (03.10.2021): 111–25. http://dx.doi.org/10.34064/khnum1-60.06.
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Background. Staging of rock opera began in Ukraine simultaneously in theaters of drama, opera and musical comedy in the mid-80s. The first drama and ballet performances were based on the works of Russian authors. From 1986 to 1993 Kharkiv Theater of Musical Comedy made stage production of rock operas based on the works of Alexander Zhurbin, Andrew Lloyd Webber and Alexey Rybnikov leaders of its repertoire policy. Since the 2000s, Odessa Theater of Musical Comedy has staged a dance-rock opera as a new modification of stage play with rock opera. The relevance of the article. Stage performances of dance-rock operas have not yet been sufficiently studied in Ukraine. Such Ukrainian musicologists as Olga Verkhovenko, Iryna Palkina, Halyna Filkevych fragmentarily have studied genre features and performance forms of dance-rock operas. In addition, some periodicals have covered these productions in their critical reviews. Methods. The work is based on a typological method, which made it possible to classify performances as a rock opera genre. The biographical method has also been applied to determine the artistic influences on the choreographer Heorhii Kovtun. The comparative method made it possible to separate the dancerock opera from other productions related to the genre of rock opera, as well as from apologetic performances that exploit already invented forms. When analyzing the performances, some elements of the reconstruction method were used. Results of the study. Odessa Musical Comedy Theater presented four performances in the genre of dance-rock opera, three of which were staged by Heorhii Kovtun. The first (and most successful) production with a new performance approach was the play “Romeo and Juliet” based on Shakespeare’s tragedy with music and libretto by Yevhen Lapeiko (Odessa). A new type of leading performers (selected at casting) appeared in the play. The type of rock opera artist represented by Kyryl Turychenko is characterized by freedom from musical comedy clichés. A pop singer with appropriate acting, athletic and dance training, he could sing when falling, climbing a two-story stage tower, or during a dynamic dance. Scenography by Stanislav Zaitsev showed a tendency towards brevity, constructiveness and simultaneous development of action in three stage dimensions. Other productions of Heorhii Kovtun – “The Canterville Ghost” and “Silicon Silly Woman.net” based on the works of Russian authors D. Rubin, A. Ivanov, O. Pantykin and K. Rubinsky developed rock opera principles invented by the choreographer rather than deepened them. The director of “The Canterville Ghost” did not quite clearly indicate the vector of the main idea. This led to the breakup of stage action into spectacular theatrical attractions with pyrotechnics and impressive stage design transformations. In fact, it is still not clear what the director was trying to recreate – a melodrama, a comedy with elements of satire or Guignol. The play “Tristan and Isolde” based on the works of the Ukrainian composer Alexander Nezhigai and playwright Serhii Piskuriov was staged by the theater director Vladimir Savinov. His ignorance of musical theater specifics contributed to the vocally and musically weak performance. Most of the action in the stage production was organized by the choreography of Anatolii Bedichev. Contrary to expectations, V. Savinov’s performance was also significantly inferior to Н. Kovtun’s performances in relation to libretto adaptation, stage design and tempo-rhythm of the performance. All rock-dance opera performances were aimed at teenage and youth audiences. Conclusions. Unlike rock operas of the previous decades, the production proposed by choreographer H. Kovtun is characterized by a synthesis of modern choreography, spectacular show, performance universalism and dynamс crowd scenes. As a choreographer, he did not pay much attention to the actors’ work on the characters. Vocally the singers gravitated towards the pop style (using microphones). Unlike earlier productions of rock operas in Ukrainian theater (with phonograms or symphonic jazz instrumentation of the theater orchestra), the troupe of Odessa Musical Comedy Theater performed rock operas with combined accompaniment (studio phonogram, theater orchestra, rock band). Further study of the multiple issues identified in the article requires a deep analysis of the repertoire, types of rock opera in the theater of musical comedy in Ukraine and the distinctive vocal and acting performance features.
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Carolina, Derista Lidya, Nurlinda Safitri und Elly Sukmanasa. „ANALISIS MOTIVASI BELAJAR PESERTA DIDIK KESULITAN BERHITUNG PERMULAAN“. Pedagogia: Jurnal Ilmiah Pendidikan 12, Nr. 2 (29.12.2020): 64–69. http://dx.doi.org/10.55215/pedagogia.v12i2.2936.
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ANALYSIS OF STUDENTS 'LEARNING MOTIVATION IN DIFFICULTY CALCULATING THE BEGINNING Difficulty in completing calculations is often experienced by students in learning. One of them is a student who has difficulty in preliminary counting such as completing addition, subtraction, multiplication and division that needs to be analyzed the motivation of these students. So that this study aims to determine the learning motivation of students who have difficulty counting at the beginning of a class VB student at SDN Genteng, Bogor City. This research was conducted using a case study qualitative research approach. In practice, the data collection and recording techniques used by researchers are triangulation of combining information between observations and interviews and documentation. This research was conducted in the Even Semester of the 2019/2020 Academic Year. The results of this study indicate that there are internal and external factors that affect the learning motivation of students who have difficulty in arithmetic. These students have the smallest number of scores during the Mid-Semester Assessment compared to their classmates. Even so, students who have difficulty counting have advantages and are uniqueness when singing. Her beautiful voice made everyone who heard it amazed. Apart from singing pop songs, these students have beautiful voices in recitations. Because these students take part in marawis activities and become vocalists.
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Järvenpää, Tuomas. „Listening to Intergalactic Sounds – Articulation of Rastafarian Livity in Finnish Roots Reggae Sound System Performances“. Temenos - Nordic Journal of Comparative Religion 50, Nr. 2 (07.01.2015): 273–93. http://dx.doi.org/10.33356/temenos.48463.
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Rastafari is an Afro-Jamaican religious and social movement, which has since the 1970s spread outside of the Caribbean mainly through reggae music. This paper contributes to the academic discussion on the localization processes of Rastafari and reggae with an ethnographic account from the Nordic context, asking how Finnish reggae artists with Rastafarian conviction mobilize this identification in their performance. The paper focuses on one prominent Finnish reggae sound system group, Intergalaktik Sound.The author sees reggae in Finland as divided between contemporary musical innovation and the preservation of musical tradition. In this field, Intergalaktik Sound attempts to preserve what they consider to be the traditional Jamaican form of reggae sound system performance. For the Intergalaktik Sound vocalists, this specific form of performance becomes an enchanted space within a secular Finnish society, where otherwise marginal Rastafarian convictions can be acted out in public. The author connects the aesthetic of this performance to the Jamaican dub-music tradition, and to the concept of a ‘natural life’, which is a central spiritual concept for many Finnish Rastafarians. The article concludes that these sound system performances constitute a polycentric site where events can be experienced and articulated simultaneously as religious and secular by different individuals in the same space.