Zeitschriftenartikel zum Thema „Professionell tonalitet“

The article considers the psychological components that reveal the essence of the method of dominant attention in ensemble performance. The psychological factors concerning improvement of ensemble game are analyzed. Dominant in culture is identified with the main artistic ideas, values. In aesthetics – with the dominant ideal. In the literature – with ideas, context, concept, style characteristics. In design – with shape and space. In architecture – with the dominant element of the composition of space. Dominant – in music theory – V degree of the system relative to the main tone (tonic). The fifth degree of tonality is also called dominant. In European music, the dominant key has always been given a special role, the dominant meant a contrast to the main key. Among all related tonalities, the dominant was considered the dominant (hence the name), the most intense tone, which requires a solution. The professional qualities of an ensemble player are a system of appropriate psychophysiological and mental resources, namely attention, intuition, reflection, empathy, coordination, which is a chain of psychodial elements required for the formation of dominant attention as a generalizing link in the creative realization of a musician-ensemble player. Thus, the considered structural elements of dominant attention as the leading professional quality of the ensemble player, namely intuition, reflection, empathy, coordination are perceived by us as semantic unity. The components are analyzed in terms of content, and a chain of theoretical conclusions is presented, which embody the substantiation of the concept of «dominant attention» of a musician-ensemble player. Analysis of musical-cognitive processes and practical training of specialists contributes to the successful functioning of the dominant attention in the process of its creative realization. Further research may be related to the study of the intuitive component of the musician-ensemble.

RésuméFruit d’un processus engagé au XIXe siècle, le code des catégories socio-professionnelles est élaboré en France entre 1951 et 1954 et n’a que peu été modifié depuis. Alors sans habillage théorique fort et d’une tonalité réaliste, il donne corps aux classes sociales dans la description de la société d’après-guerre. Lieu d’effervescence sociologique à l’occasion de sa « refonte » (1978-1981), il figure l’espace social à deux dimensions de la sociologie de Pierre Bourdieu et sert de laboratoire à la sociologie pragmatique de Luc Boltanski et Laurent Thévenot. Lors de sa « rénovation » (1995-2001), la prudence administrative des changements opérés contraste avec l’évolution du droit conventionnel et une ambition de pureté analytique soutenue par l’économétrie. L’histoire de la nomenclature rend compte de la situation d’un outil de représentation du monde censé demeurer inchangé quand rien ne l’est, ni l’institution qui en assure la gestion, ni les catégories ordinaires ou juridiques auxquelles il renvoie, ni les théories et usages sociologiques qui lui sont liés.

The teaching of harmony in the United States, if judged objectively, has been a massive failure, even though a dedicated corps of fine musician-scholars labors to impart the curriculum to eager if not always adequately prepared students. These students are taught "about" harmony, as if the topic were really about tonality or the imaginary desires of chords. The only students who can perform and create harmony at a professional level are those who learned such skills outside the academy. The situation was not always so bleak. Nadia Boulanger, for example, learned the art of harmony from her teacher at the Paris Conservatory, Paul Vidal. Even though she was not taught roman numerals or chord functions, she learned harmony as a performative art, as something to express what was implicit in a given melody or bass. The article describes what Paul taught Nadia, and how the incredibly high standards for crafting harmonic-contrapuntal musical fabrics at the Paris Conservatory could be mastered by students willing to memorize the intricacies of a centuries-old art.

In this paper the communicative personality of Russian-speaking talk-show host is analyzed. The authors present the results of study of communicative personality of talk show host V. Soloviev, which were derived as the result of verbal-semantic speech level analysis. Lexical-semantic components of this level are analyzed. Moreover, in the process of this study was stated that on cognitive-value level of implementation the communicative personality of talk-show host is characterized by high level of language skills, professional competence; cultural and national identity is valued highly by the host of talk-show. It is noted, that the host of the talk-show uses different tactics, for example the tactic of taking care of his image and ignoring the image of the opponents to state a line between friends and foes. Nevertheless it is underlined that the dominance of the talk-show host and the harshness of some statements is to some degree is toned down by usage of informal communication style and ironic tonality of speech.

Acoustical privacy and noise control design and implementation guidance is needed, regarding Facility Guidelines Institute (FGI) criteria for outpatient medical facilty tenant improvements (TI). TI in existing commercial buildings or medical office buildings may not have capital budgets or expected facility/lease life that hospitals enjoy. Full conformance to FGI criteria and guidelines may be limited; by economic feasibility and by constructability. Design professionals can use "good practice" space planning, demising assembly selection, and electronic sound masking to achieve appropriate acoustical privacy within reasonable capital expense budgets. Consider FGI criteria for demising partition, ceiling, door and window selections plus infrastructure equipment and material selections that can provide cost-effective lightweight, common construction standards. The objectives are to protect the privacy of patient information and provide quiet spaces, free of transient disturbance for clear speech communications. Continuous ambient sound increases speech privacy including speech transmitted from enclosed quiet spaces. Criteria for acoustics, speech privacy,continuous noise and masking exists in FGI. Temporal level changes (on/off, transients) and tonality (spectrum smoothness or balance) should be considered in basis-of-design (BoD). This paper will present design guidelines for selecting demising assemblies and supplemental sound masking for outpatient clinical spaces in commercial or medical office buildings.

Joint action (JA) is ubiquitous in our cognitive lives. From basketball teams to teams of surgeons, humans often coordinate with one another to achieve some common goal. Idealized laboratory studies of group behavior have begun to elucidate basic JA mechanisms, but little is understood about how these mechanisms scale up in more sophisticated and open-ended JA that occurs in the wild. We address this gap by examining coordination in a paragon domain for creative joint expression: improvising jazz musicians. Coordination in jazz music subserves an aesthetic goal: the generation of a collective musical expression comprising coherent, highly nuanced musical structure (e.g., rhythm, harmony). In our study, dyads of professional jazz pianists improvised in a “coupled,” mutually adaptive condition, and an “overdubbed” condition that precluded mutual adaptation, as occurs in common studio recording practices. Using a model of musical tonality, we quantify the flow of rhythmic and harmonic information between musicians as a function of interaction condition. Our analyses show that mutually adapting dyads achieve greater temporal alignment and produce more consonant harmonies. These musical signatures of coordination were preferred by independent improvisers and naive listeners, who gave higher quality ratings to coupled interactions despite being blind to condition. We present these results and discuss their implications for music technology and JA research more generally.

Sound or audio engineering is a branch of the field of engineering, which involves the process of recording sound and reproducing it by various means, as well as storing in order to be reproduced later. Known as sound or audio engineers, these trained professionals work in a variety of sound production fields and expert in recording methods. They can be instrumental to implement the affordable technologies and technical process to distribute the audio data hence, making it accessible for future generations. The current role of these engineers not only to perform or limited to recording session but they create metadata for archiving and preservation for future needs. Currently, product sleeves of ethnographic recordings represent no technical elements of how traditional music recordings are produced. The product details focus only to some extent on historical elements and musical notation. To an audio archivist, declaring what devices are in a recording is not linked with preservation data. Apart from the format, the sleeved design, technical specification is essential to other social scientists such as audio engineer and field recordist of the future. The aim of the present research is to capture optimum dynamic range of the sound and applying a signal processing that would not alter the tonality, timbre and harmonic of the sound. Further applying a suitable information storage for the metadata to be preserve or archived for future accessing and reproduction.

There is something daunting about writing an homage to an artist who just died. One is faced with questions of proximity, expertise, and knowledge: questions on how to evoke the person and oeuvre without giving oneself too much prominence, questions on the intended audience and adequate tonality as well as the standpoint one is speaking from. This is especially true with the Algerian writer, filmmaker, historian, and playwright Assia Djebar: “As a Moslem woman, educated in the French system while her country was still under de-facto colonial rule and witness to eight years of brutal war while still in her twenties, Djebar is the only writer of her sex and her generation who has managed an impressive output both before and after her country's accession to independence” (Zimra, Afterword 163). As Clarisse Zimra further reminds us in “A Daughter's Call,” “By the time of her death, Assia Djebar had been writing for nearly sixty years.” The range of her training, her professional experience on three continents (Africa, Europe, North America), and her practice of different genres are just as impressive. She received several prestigious awards, including the FIPRESCI Prize at the Venice Film Festival in 1979 for her film La nouba des femmes du mont Chenoua (1978; “The Nouba of the Women of Mount Chenoua”) and the Neustadt Prize (1996), often considered a gateway to the Nobel Prize (for which she was short-listed twice). Elected to the Académie Française in 2005, she is, as Zimra remarks, “une immortelle.”

Purpose – The purpose of this paper is to analyze the crisis information posted by publics on the social media platform Instagram about leading fast food companies as well as the responses by the companies and their general use of Instagram. Design/methodology/approach – In two quantitative content analyses, 711 Instagram posts were identified in a two-week constructed time period that related to the ten largest fast food chains in the world. Findings – It was found that negative content about these companies is posted by customers and employees alike and that the negative tonality primarily stems from issues with service and the work environment. The study also showed that the companies are just starting to discover Instagram and have very little engagement with users. None of the companies responded to the negative posts of customers and employees. Research limitations/implications – The analysis only evaluated posts with negative hashtags about ten fast food companies. Future research should expand the analysis to all posts about a certain sector as well as expand the scope of the research beyond the fast food sector. Practical implications – The results of the study are a call-to-action for public relations professionals to engage with their publics on Instagram and actively use the app as a pre-crisis monitoring and crisis response tool in their social media plans. Originality/value – Instagram is a fast-growing social media channel, yet research into this platform is lacking. The findings of this study should be a challenge to public relations practitioners to put Instagram next to Facebook and Twitter at the center of their social media strategy.

Background. One of the typical trends of modern musicology is the increasing interest in the problem of components dialogue in the synthetic forms of art. In the context of this global topic, the issue of music and choreography interaction in the stage dances of musical theater productions of the 17th – the first half of the 18th century is of particular interest. The connection of music and choreography in the art of stage dance of the 17th – the first half of the 18th century appears as a kind of continuation of the syncretic unity of ancient art seen through the prism of the professional experience of the creators of court musical and stage productions in the French classicism style. In the court operas, ballets and other types of performances such of the composers, as A. Kampra, J.-B. Lully, J. F. Rameau, the spirit of the antique art was reviving in its own special way representing the “ensemble of arts” in a miniature. The research objective is to identify the features of the combination and interaction of musical and choreographic arts in the stage dances of French musical and theatre productions of the 17th – the first half of the 18th century. The article uses the method of comparative analysis. This method allows to analyze the features and the ways of interaction between the elements of dance and musical syntax. Results. The art of choreography is a rhythm and plastic form of thinking and self-expression, which can reflect reality not only in its eventual plot related manifestations, but also to rise to the broad abstract generalizations. In view of its rather conditional nature, dance requires, to one degree or another, the interpretation of its content. In the 17th and early 18th centuries, the need for such an explanation increases significantly because of the great role of emblems and encoded content in various aesthetic and artistic phenomena. In the dance, the close relation to the court ceremonial, which did not allow the expression of emotions, initiated this feature additionally. For example, at that time one was believed that stepping a minuet means “drawing up secret signs of love”, which were recognized in movements, poses, facial expressions and gestures. In the Baroque Epoch the audience easily was recognizing the content of such dances, whereas for the modern observer and researcher it remains unknown. The dance moves and their combinations in stage dances of the 17th and early 18th century receive a specific meaning in the context of poetic, musical and dance phrases. However, first, the moves of dancers-performers were consistent with the music. As a rule, the result of making a choreographic production depended on the composer’s choice of the musical form. Most of the dances within the researched period were set to music in a two-part form. Less often we can find the samples in the form of a couplet rondo and ostinato variations. When making the dance productions, French choreographers took into account the features of other popular musical forms of the 17th –18th centuries. In some cases they emphasized or combined with their own author’s decision the symmetric basis laid down in the musical structure (the form of rondo), in others – they disclosed the effect of the continuity principle. An example of the embodiment of a choreographic idea set to music in the form of a rondo is the passepied production (fr. passé-pied) “La Gouastalla” realized by R. A. Feye to the music of the unknown composer. The choreographic composition consists of five dance periods corresponding to five sections of the musical form. A slightly different choreography scheme – ABCBC is combined with the symmetric scheme in the musical variation– ABACA. In this production the combination of the musical form and the choreographic composition is somewhat changed, however, this does not mean the complete neglect of the musical form regularities in the construction of the dance general plan. One of the aspects of the musical and choreographic arts combination in French stage dances of the 17th and 18th centuries is the connection with of the choreographic component of the latter with the tonal plan of the musical work. The tonal coloring of the music was reflecting in the formation of a choreographic drawing of dance, in the process of expressing in the movements of various emotions and feelings. Changes of tonalities, the most used of which, as a rule, a certain circle of images and affects, their own “character” carried along at that time, were associated with a variety of transitions in the emotional coloring of the dance. It is from such, emotional, the perception of tonality, the versions of the tonal plans of French dances follows, which are unusual for later canons of Viennese Classicism, in particular, with the violation of the harmonic sequence of T-D-S-T. Conclusions. Thus, the stage dance of the 17th and early 18th century is a peculiar form of embodiment of the “miniature ensemble of arts”, where dance moves and their combinations receive a specific coloring in the context of poetic, musical and dance phrases and certain allegorical meanings. Nevertheless, first and foremost, the moves of dancers-performers were consistent with the music. Obvious is the great dependence of the choreographic production on the musical form and its components – the rhythm as well as the tonal and harmonic plan, which combined with the choreographic elements, prompt the feelings transmitted in the dance, which give to it the life and inspiration.

The relevance of research. The music of leading contemporary composers, representing the style of «new simplicity», becomes a manifestation of a certain attitude associated with a «new» approach to the technique of musical composition, in a wide sense – to the ontological foundations of music as a specific form of art and culture. Accordingly, the concept of «new» acquires special significance, which contains the essence of the novelty of the composer's understanding of music as an object of its creative realization and a way of communication with the listener. This issue is not often discussed in native researches of contemporary music (as well as the «new simplicity» in general), it is not presented as a special subject of musicological studies. The purpose of the research is to determine the conceptual foundations of the «new simplicity» as a phenomenon of contemporary musical art in the context of the semantic content of the concept of «new music». The methodological basis of the research is the systemic method, the method of comparative studies, as well as the methods of historical musicology and genre-style analysis. The scientific novelty of the article is determined by the theoretical development of the «new simplicity» as a genre and stylistic phenomenon of musical art in the context of the artistic and aesthetic foundations of contemporary composer's creativity. Main results. The conceptual meaning of «new music» as a phenomenon of professional musical art of the 20th century had a straight influence on the development of the aesthetic idea of the «new simplicity» and its creative implementation in individual composer’s styles at the turn of the 20th and 21st centuries. The essence of the «new» in the «new simplicity» consists of the fundamental rejection of the need to constantly changing the norms of the musical language and its total individualization, as well as in the return to a more accessible («simple») musical style. The return of the «new simplicity» to triad and consonance as the main constructive elements of the musical language represents a fundamentally different approach of modern composers to the technique of musical composition in the context of the «ban on consonance» proclaimed by the Western European musical avant-garde. «New» in this case is the understanding of the basic function of triad and consonance: it is associated not with the functional side of tonality, but with the phonic image of music – the factor that ensures its harmony in terms of auditory perception and the possibility of an emotional response. Conclusion. Musicological development of the conceptual aspect of the «new simplicity» opens up opportunities for studying this phenomenon of contemporary musical art in a wide historical perspective and understanding it as a natural link in the evolution of European academic music.

The purpose of this article is to determine the main musical performance features of the vocal repertoire of students-actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) and highlight their role in the selection of vocal works in the field of stage arts. Research methodology. General scientific methods are used in this article: cognitive, analytical, comparative; particular musical-theoretical methods: musical­analytical method, vocal­performing analysis. Results. Some of the most significant musical and artistic features of the arrangement of Ukrainian folk songs, which serve their widespread use in the repertoire of future specialists of the dramatic scene, in particular, are: the variety of their genre and thematic composition, the lightness of the verbal text, the simple form of musical verse, which together create suitable conditions for solving musical, vocal­technical and artistic-performing tasks of the work. Widely used in the vocal repertoire of students-actresses (on the example of KhSAC) are the Ukrainian composers’ arrangement of folk songs of a narrow range (from a minor sixth to a perfect octave), where performers are not given complex vocal and technical tasks, however, they require future actresses to master such important factors of singing phonation as singing breathing, various types of sound science (legato, staccato), expressive articulation, as well as a vivid acting embodiment of the vocal and artistic image of the work. Novelty. For the first time, the article considers the specificity of the singing repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) in the musical­performing plane and identifies the main parameters of introducing this musical material into the vocal repertoire of future stage art specialists. The practical significance. The article contains information that is useful for professional representatives of drama arts sphere, vocal pedagogy and students-actors in the aspect of vocal and performing skills development. Сonclusions. The main musical performance characteristics of the vocal repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for female voice accompanied by a piano) are defined as follows: a narrow vocal range of the song, which is important for the vocal performance of actresses, whose singing range is generally not complete (most often reaches up to one and a half octaves); consistency of the musical material with a change in the mode and tone altitude (fretonal pitch), which allows to freely select the desired tonality that is most convenient for the performer; expressive artistic and emotional content of the work, which together play a leading role in the selection of the singing repertoire of future specialists in the dramatic sphere.

Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.

Formulation of the problem. The present article is devoted to the mental differences of the Chinese song tradition and analyzed the peculiarities of fret structures upon harmonizing the melody by modern authors. The musical stylistics of the Chinese folk song is based on the synthesis of the intonation (melodic, fret and rhythmic) features of traditional Chinese music with the lexemes of European classical music. Its content reveals the analysis of a major-minor functional system, qualitative (bar) rhythmics, containing genre formulas and techniques of the textural presentation (various forms of polyphony). The purpose of the article is to reveal the stylistic originality of the Chinese song – on the one hand; and on the other hand, to reveal the fret-harmonic features relating Chinese music with the folklore of other nations. For the European ear, the fret-harmonic originality of the Chinese melos, in addition to pentatonics, is marked by synthesizing various elements of the systems of the pitch-high organization which have set in the history of European music: archaic, modal, and tonal-functional. The relevance of the topic is due to the absence in the European theory of melody (“melos”, in the terminology by B. Asafiev) of the national-characteristic component. The study of the fret-harmonic content of the Chinese melos will partially fill in this gap. The purpose of the study is to reveal the stylistic originality of the Chinese song – on the one hand, and on the other, to discover the fret-harmonic parameters that relate Chinese music to the folklore of other nations. The object of the study is China’s song tradition in the diversity of authentic and modern samples of materials existing in the notation; the subject is the melos of the Chinese folk song in its relations with other principles of intonation. The presentation of the main material. In most of the samples of modern Chinese folk songs, the modal principle of the pitch-high organization, characteristic of folk music and European professional music of the pre-classical period, is combined with the tonal system of European classical music. For example, in “The Shepherd’s Song” exposition, not so much a single tonal center orientation (according to the European classical romantic tradition) was revealed, but rather the basis on several equal tones-foundations: h, e, a and d. If the fret-harmonic content of the entry is to be viewed from the angle of modality, then the fret structure of this tune turns out to be a mixed diatonics, combining the scale of the Ionian frets from c and the Dorian frets from d with the step rising in cadence VII, and from the point of view of the tonal principle of the pitch-high organization – as a movement from the tone C-dur to the tone d-moll. In song 15, the modal principle of the pitch-high organization is absent, although elements of the modality can be heard due to the use of side triads and seventh chords. With all the variety of melodic and rhythmic formulas, genre semantics, it is precisely the fret-harmonic content of selected song samples that reveals the general principles of the pitch-high organization. This is the archaic diatonic, based on the frets of the traditional musical cultures of the world; modal principle; European functional harmonic system; elements of the extended tonality from the experience of the music of the turn of the 19th and 20th centuries. Their interaction constitutes the fret-harmonic specificity of the Chinese folk song tradition. The harmonization of the melodies selected as the material differs from the original by the presence of authorship; the fret-harmonic content, first of all, serves as its embodiment. Conclusion. Composers – authors of the modern arrangement of authentic melodies – are in search of an organic synthesis of various pitch-high systems and principles of organization. Among the main ones there is the archaic diatonics, based on the frets of the traditional musical cultures of the world; the modal principle; European functional harmonic system; the elements of an extended tonality borrowed from the experience of the music of the turn of the 19th and 20th centuries. By the nature of the interaction of the components the analyzed samples of Chinese melodies can be divided into several groups: 1) the songs in which the modal principle of the pitch-high organization prevails over the tone-functional one; 2) the songs, where both of these principles act simultaneously: for example, modal elements arise on a tonal basis; or on a modal basis – orientation to a single tonal center; 3) the cases in which the tonal-functional principle in melodies unambiguously prevails over the modal one; 4) the songs in which these principles “divide the spheres of influence”, acting in different sections of the form; 5) the samples of songs where the modal and tonal principles are in the organic unity, and they are not separated in time and do not suppress each other. Thus, the Chinese folklore material can be perceived by the ear, brought up in other musical traditions, quite adequately thanks to the reliance on the pitch-high systems that are universal for all musical cultures.

The founder of modern Serbian ethnomusicology, collector of folk songs ethnomusicologist, and music pedagogue, Miodrag A. Vasiljevic (1903?1963) was a younger contemporary of the famous Hungarian composer and ethnomusicologist B?la Bart?k (1881?1945). Bart?k was the author of the first synthetic study of Serbian and Croatian vocal folk traditions, which was also the first such study in English. During the same period and immediately after Bart?k had completed his study, Miodrag Vasiljevic, along with other pioneers of modern ethnomusicology in former Yugoslavia, started to research musical folklore on field at home. Bart?k's study was published a year after Vasiljevic's first book; by 1965 Vasiljevic's other collections, studies and articles had been published (most of them in Yugoslavia, i.e. in Serbia). Independently of Bart?k, yet almost simultaneously, Vasiljevic had written down hundreds of melodies and studied some elements of Serbian and South Slavonic traditional culture: tonality, rhythm, melodic modes and terminology. This was in addition to his great work experience on field and his empirical insight into the fundamental characteristics of musical folklore in this area,. The final result that he wished for, but unfortunately, did not manage to complete, was a synthetic study of Serbian and South Slavonic musical folklore. Vasiljevic's margin notes, handwritten comments on Bart?k's findings, published here for the first time, are considered to be a source of information about his attitude towards Bart?k's assumptions and explanations, as well as showing the results of Vasiljevic's own work, and the ambit of his study focus. Bart?k's and Vasiljevic's primary motives in their approach to South Slavonic traditional music were different. While Bart?k was interested in features of South Slavonic tradition, so that he could note the particular features of the Hungarian music heritage more clearly, Vasiljevic studied the regularities of Serbian folk music approaching it in comparison with other South Slavonic traditions. This diversity determined their approach to the material. Bart?k often leaned on his excellent knowledge of other traditions and drew conclusions from facts that were familiar to him. In contrast, Miodrag Vasiljevic paid more attention to questions relating to the wider issue of the autochthonous development of Serbian musical folklore. Many of Vasiljevic's comments on Bart?k's study are classified here in the following categories: 1) comments in which he expresses agreement with Bart?k; 2) comments in which he gives precious supplements to Bart?k's observations; 3) comments in which he expresses disagreement with Bart?k: a) argument and b) with no evident arguments; 4) comments in which an incomplete understanding of Bart?k's findings is reflected; and 5) comments which indirectly refer to a professional aspect of Bart?k's work. Some of the comments, according to their wide, still unstudied subject matter, demand greater added elaboration and thus have not been covered in detail in this paper. Insight into Vasiljevic's comments on Bart?k's study is significant for experts outside Serbia who have little information on continuity in the development of the Serbian school of ethnomusicology, and are also important because of the huge degree of disproportion in the two scholars' work display.

The scientifi c fi eld of the problem «folklore and composer» has a lot of aspects of its subject manifestation. One of them is the creative heritage of L. van Beethoven in the context of the composer’s addressing the folk song sources and analysis of the author’s arrangement. Although the selected theme is not a scientifi c discovery, it contains signifi cant prospects. These include: the expansion of a well-known typology of the folklore embodiment in the author’s work, the search and discovery of the Beethoven’s method of folklore arrangement, which in its turn complements the context of the already existing “psychogram of the artist” (see Varnava’s thesis, for more details). In addition, the chosen theme will help to expand the idea of musical and cultural life development in the early 19th century Objectives. The paper will consider and analyze, fi rstly, the history of writing and the subsequent fate of the author’s Ukrainian song «Ikhav Kozak za Dunaj» in European culture at the end of the eighteenth and early nineteenth centuries; secondly, harmonization of I. Prach from the «Collection of Folk Russian Songs with their voices set to music by Ivan Prach» as the one that could be known to the German master; thirdly, L. van Beethoven’s vocal-instrumental arrangement of this song in the collection «The Songs of Different Peoples» – No. 19 «Air Cosaque». Methods. The methods applied in this work are hermeneutic, structural, historiographical and genre-stylistic. The historiographical method in the article represents the problem of «composer and folklore». Hermeneutic method is universal, and its task is to interpret texts and understand their meanings. The use of the structural method is necessary for simultaneous presentation of the whole, its parts and their interaction with each other. The systematic use of the above-mentioned methods will help to enrich the analytical part and reveal genre-stylistic metamorphoses in the Ukrainian song arrangement. Results. The results of the analytical part are as follows. As the article says, the Ukrainian song «Ikhav Kozak za Dunaj» was taken by L. Van Beethoven from the Russian collection «Folk Russian Songs with their voices set to music by Ivan Prach». So, we think it is necessary to make its thorough analysis. I. Prach’s arrangement (harmonizer and arranger of this collection) is a four-voice harmonization of the Ukrainian melody. In general, the harmonic sequence in the arrangement consists of quarto-quintal basses in the left hand and chords of main degrees in the right hand. Harmonious peculiarities of the song are directly interconnected with the rhythmic component of the work, both musical and verbal. The well-known content of the song (the Cossack sets off on the horse beyond the Danube leaving his girlfriend) contains the rhythm of the pace (in this case, this is the horse’s pace), which leads to the appearance of a uniformly accented rhythm in the song – the entire melody of the song moves in eighths. In addition, piano accompaniment in the right hand part echoes the main melody, and all its structure in the form of two-voice texture moves in eighths, too. L. van Beethoven goes in the opposite direction. The process of musical arrangement occurs at all levels of musical content – from the intonation through composition to the dramaturgy. The German composer’s arrangement features phrasing slurs in violin, piano, rarely cello parts; dynamic markings, including piano, pianissimo, crescendo, diminuendo. Besides, in the cello part we fi nd the composer’s remarks on the methods of sound production, such as alternating between pizzicato and arco (as a return to the main method). Then the German master creates a great instrumental part for the song – introduction and conclusion. The introduction of a non-square, monolithic structure has an unfi nished character and ends with a dominant harmony before the basic a-moll tonality. The fourth stanza is complemented with a three-bar expansion (instrumental break) on the introduction material, but it is a bit modifi ed – it is a pattern in the form of three subsequent segments of the descending motion (melodic and harmonic complex). This addition is made in the form of instrumental breaks after imperfect cadence, and after that come 12 bars of trio-conclusion. In general, the form of the song is a long period of two sentences of the verse-chorus structure a – C – a (a tonal plan). The instrumental part of the song makes up 29 bars, and the vocal one – 16 bars, so the proportions are actually closer to the defi nition of 2:1, which indicates a signifi cant role of the trio-accompanient (46 bars overall). The thorough analysis of the instrumental part of the whole song reveals the following: the arrangement has fi ve motifs and thematic elements, three of which belong to L. van Beethoven: «E – F – E» lamenting motif, quarto-quintal response to it – «E - A – B» or «E - B – C», and the last one, which gets its development at the end of the fi nal part of the trio accompaniment in somewhat varied form (melodic variation): «Gsharp - A – G» and the response «G-sharp - A – D». The other two – melodic pattern «E – G-sharp - E – G-sharp» (pedaling of the dominant function) and descending tetrachord between the third and seventh ascending degrees («C - A – G-sharp») – belong to the author of the Ukrainian song Semen Klymovsky. These motives are combined into dialogical formulas. This can be explained by the content of the song lyrics, where there are several characters, who the Cossack addresses in a virtual dialogue – this is his girl, and also his true companion – the horse. A deeper dialogue can be seen in the combination of classical and folk arts. Adding professional academic means of musical expression to the song the composer enriches his piece with classical stylistic attributes. When he elaborates genre features of lament in the song, he turns the Ukrainian song into a kind of arioso in German language. Conclusions. L. van Beethoven’s arrangement was primarily intended for homemade music, but at the same time, it is imbued with features of classical style, and its elegy, intense sensory lyricism refer the researcher to the Romantic period, which turned out to be close to the consciousness of the Beethoven’s genius. However, the nature of the fi ndings remains open, because the theme «Beethoven and folklore» is the subject of further research. In addition, special attention should be paid to other arrangements of the song «Ikhav Kozak za Dunaj», created both by L. van Beethoven and his contemporaries.

The revival of spiritual culture on the verge of centuries, interest and respect for the traditions and ceremonies of the Orthodox Church, the rapid spread among the regents of the works of spiritual themes - all this led to the emergence of the style direction called nova musica sacra (by N. Gulianitskaya). Complex processes taking place in the field of contemporary composer creativity on the verge of the XX - XXI, cannot but show the affect on the church singing repertoire. Religious themes are increasingly appearing in the works of well-known Ukrainian artists (L. Dichko, E. Stankovich, M. Skoryk, V. Stepurko, G. Havrylets) and new authors of church chants - Volodymyr Feiner and Olena Yunek. Olena Yunek’s creativity is an example of liturgical as a secular concert application of the church repertoire. The education of a mistress’s personality took place on the basis of the Orthodox worldview. Her preferences of Ukrainian choral music from childhood were combined with participation in church-singing practice. The vast majority of works - spiritual content in the composer’s work refinement of the O. Yunek. The purpose of the article is to detect the identity of modern church music of young Ukrainian composers, whose works are becoming more popular in the choral performance of secular and spiritual collectives. The object of research – the work of Ukrainian church composers at the present stage; the subject – features of the individual composing style of O. Yunek, that been found on the material of the chants of the cycle "All-night vigil" (2007-2015). Research methodology. The presented material is the result of the interaction of musicological approaches to composing text (genre, composition, style, functional) and liturgical-theological discourse. Analysis of recent publications on research topic. A problem of author’s reading of canonical text by Ukrainian composers at the end of the XX - XXI centuries finds a solution in the thesis of O. Tyshchenko in terms of the correlation of the rite and genre [6]. The measure of the preservation of canonical features in the works of Ukrainian and Russian composers is determined in the work of N. Sereda on the material of the cycles of the Liturgy [4]. However, the cycle of "All-night vigil" in the works of contemporary Ukrainian composers has not yet become the subject of scientific interest on the part of musicology. The author of the article considered the problem of forming an individual style on the example of the All- Nightly V. Feiner, in which the original stylistic features of the polyphony of the Renaissance and the Ukrainian choral concert were originally combined [1]; The study of the work of O. Yunek in the master’s thesis was initiated. Presenting main material. When compiling their own church compositions Olena Yunek relied on the history of such outstanding artists as O. Yunek Georgy Sviridov, Sergei Rachmaninov, Arvo Pyart, Valery Kalistratov, Oleksiy Larin, Moris Duryuflie, Lesya Dichko. «All-night Vigil» is written for mixed choir. It consists of 19 chants, each of which is a separate independent composition, which can be performed independently of others. In the sequence of chants there are no traceable patterns associated with the dramatic organization of the whole. According to the author, she did not plan to create a separate cycle at the beginning, but in the process of composer’s searches, as well as through participation in the church choir at different times, a number of major chants of this cycle were created. Written at different times, the works do not have a common tonality. In general, mineral complexes predominate. The leitmotif system in the loop is absent, however, a number of composer techniques and means of expressiveness, combining works, can be traced. The article provides a holistic analysis of three chants from the cycle: Psalm 103, «O gladsome light», «From my youth». By their example, the presence of the melo-formula – singing, and constantly repeating rhythmic groups is clearly demonstrated. A detailed analysis of the harmonic sequences, the change of texture and the course of melodic lines made it possible to identify certain features of the composer’s individual style and the methods of writing that he uses to create church compositions. A comparative analysis of the canonical text and its interpretation in compositions by O. Yunek is presented. Conclusions. O. Yunek’s personal style is characterized by a high level of possession of the technique of choral writing: the variety of harmonious, timbralregister and textural means while preserving the canonical liturgical text, a careful attitude towards it. The choral style of sounding differs by the ease, the availability of perception. In her compositions, the words of the chants are completely audible - without bills, overlays; no sharp contrasts in the dynamics. The primary role among means of expressiveness is given to harmony. It is at its level that certain elements of the Eastern Slavic singing are found (plagiarism, the use of medial chords, the linear nature of the formation of the accordion), the West European classical type of harmony (chords of the main functions in typical relations) and modern musical language (the presence of dissonant consonants, not the classical sequence in the middle construction, accordion of the nontheric structure). The role of melodies is very important. Often harmonic changes occur due to the linear motion of the melody in separate voices. Layout intonations and rhythmic figures common to compositions contribute to the integrity of the cycle and allow it to be perceived as such. In particular, it is observed in conducting the main melody frequent use of singing, gradual mirror-symmetric movement of voices, passage and auxiliary non-chord sounds. These melodic cells have the same features with the sounds of a significant singing, which confirms the composer’s tendency to the ancient chants. Similar rhythmic patterns (dashed rhythm, two sixteenth and eighth, eighth and two sixteenth, fourteenth and sixteenth), osintato also contributes to the integration of the cycle. The choral texture is characterized by flexibility and richness of presentation. Often there is a chord composition with elements of singing in separate voices, as well as contrasting fragments of unison («Blessed man»), chanting (two voices) («Virgin Mary, rejoice», «Praise the Name of the Lord», «Blessed art Thou, O Lord»). Changing the invoice occurs organically and appropriately to the performance requirements, which indicates the professional approach and knowledge of the composer’s choral writing. Consequently, all the inventions and means of expressiveness that were invented during the analysis show that the work of the contemporary composer of Kharkov, Olena Yunek, is an example of an original author’s reading of the canon in the field of church music. Together with the embodiment of the church canon, the principles of individual thinking operate and a modern link of church-composing creativity is formed.

Background. Contemporary audio art in search of new sound design, as well as the artists working in the field of music show business, in an attempt to draw attention to the already well-known musical works, often turn to the forms of “remake” or “remix”. However, there are certain disagreements in the understanding of these terms by artists, vocalists, producers and professional sound engineer team. Therefore, it becomes relevant to clarify the concepts of “remake” and “remix” and designate the key differences between these musical phenomena. The article contains reasoned, from the point of view of art criticism, positions concerning the misunderstanding of the terms “remake” and “remix”, which are wide used in the circles of the media industry. The objective of the article is to explore the key differences between the principles of processing borrowed musical material, such as “remix” and “remake” in contemporary popular music, in particular, in recording studios. Research methodology. In the course of the study two concepts – «remake» and «remix» – were under consideration and comparison, on practical examples of some works of famous pop vocalists from Ukraine and abroad. So, the research methodology includes the methods of analysis for consideration of the examples from the Ukrainian, Russian and world show business and the existing definitions of the concepts “remake” and “remix”; as well as comparison, checking, coordination of the latter; formalization and generalization of data in getting the results of our study. The modern strategies of the «remake» invariance development in the work of musicians are taken in account; also, the latest trends in the creation of versions of «remix» by world class artists and performers of contemporary Ukrainian pop music are reflected. The results of the study. The research results reveal the significance of terminology pair «remix» and «remake» in the activities of the pop singer. It found that the differences of two similar in importance terms not all artists in the music industry understand. The article analyzes the main scientific works of specialists in the audiovisual and musical arts, in philosophical and sociological areas, which addressed this issue in the structure of music, such as the studies by V. Tormakhova, V. Otkydach, V. Myslavskyi, I. Tarasova, Yu. Koliadych, L. Zdorovenko and several others, and on this basis the essence of the concepts “remake” and “remix” reveals. The phenomenon of the “remake” is described in detail in the dictionary of V. Mislavsky [5], where the author separately outlined the concept of “remake” not only in musical art, but also in the film industry and the structure of video games. The researcher I. Tarasovа also notes the term “remake” in connection with the problem of protection of intellectual property and the certification of the copyright of the performer and the composer who made the original version of the work [13]. At the same time, the term “remix” in musical science has not yet found a precise definition. In contemporary youth pop culture, the principle of variation of someone else’s musical material called “remix” is associated with club dance music, the principle of “remake” – with the interpretation of “another’s” music work by other artist-singers. “Remake” is a new version or interpretation of a previously published work [5: 31]. Also close to the concept of “remake” the term “cover version” is, which is now even more often uses in the field of modern pop music. This is a repetition of the storyline laid down by the author or performer of the original version, however, in his own interpretation of another artist, while the texture and structure of the work are preserving. A. M. Tormakhova deciphered the term “remake” as a wide spectrum of changes in the musical material associated with the repetition of plot themes and techniques [14: 8]. In a general sense, “a wide spectrum of changes” is not only the technical and emotional interpretation of the work, including the changes made by the performer in style, tempo, rhythm, tessitura, but also it is an aspect of composing activity. For a composer this is an expression of creative thinking, the embodiment of his own vision in the ways of arrangement of material. For a sound director and a sound engineer, a “remix” means the working with computer programs, saturating music with sound effects; for a producer and media corporations it is a business. “Remake” is a rather controversial phenomenon in the music world. On the one hand, it is training for beginners in the field of art; on the other hand, the use of someone else’s musical material in the work can neighbor on plagiarism and provoke the occurrence of certain conflict situations between artists. From the point of view of show business, “remake” is only a method for remind of a piece to the public for the purpose of its commercial use, no matter who the song performed. Basically, an agreement concludes between the artists on the transfer or contiguity of copyright and the right to perform the work for profit. For example, the song “Diva” by F. Kirkorov is a “remake” of the work borrowed from another performer, the winner of the Eurovision Song Contest 1998 – Dana International [17; 20], which is reflected in the relevant agreement on the commercial use of musical material. Remix as a music product is created using computer equipment or the Live Looping music platform due to the processing of the original by introducing various sound effects into the initial track. Interest in this principle of material processing arose in the 80s of the XXth century, when dance, club and DJ music entered into mass use [18]. As a remix, one can considers a single piece of music taken as the main component, which is complemented in sequence by the components of the DJ profile. It can be various samples, the changing of the speed of sounding, the tonality of the work, the “mutation” of the soloist’s voice, the saturation of the voice with effects to achieve a uniform musical ensemble. To the development of such a phenomenon as a “remix” the commercial activities of entertainment facilities (clubs, concert venues, etc.) contributes. The remix principle is connected with the renewal of the musical “hit”, whose popularity gradually decreased, and the rotation during the broadcast of the work did not gain a certain number of listeners. Conclusions. The musical art of the 21st century is full of new experimental and creative phenomena. The process of birth of modified forms of pop works deserves constant attention not only from the representatives of the industry of show business and audiovisual products, but also from scientists-musicologists. Such popular musical phenomena as “remix” and “remake” have a number of differences. So, a “remix” is a technical form of interpreting a piece of music with the help of computer processing of both instrumental parts and voices; it associated with the introduction of new, often very heterogeneous, elements, with tempo changes. A musical product created according to this principle is intended for listeners of “club music” and is not related to the studio work of the performer. The main feature of the “remake”is the presence of studio work of the sound engineer, composer and vocalist; this work is aimed at modernizing the character of the song, which differs from the original version. The texture of the original composition, in the base, should be preserved, but it can be saturated with new sound elements, the vocal line and harmony can be partially changed according to interpreter’s own scheme. The introduction of the scientific definitions of these terms into a common base of musical concepts and the further in-depth study of all theoretical and practical components behind them will contribute to the correct orientation in terminology among the scientific workers of the artistic sphere and actorsvocalists.

Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors ‒ V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.

This study begins by drawing a distinction between two ways of framing the concept of musical key.Feedforwardmodels understand key as arising from immediately apparent surface characteristics like the distribution of pitch classes or a melody’s intervallic content.Feedbackmodels, on the other hand, understand key as being determined in tandem with other domains. Here, key arises from the surface being organized into other more complicated musical groupings or schemata—harmonic progressions, cadences, prolongations, meter, etc.—that themselves are informed by the music’s tonal center. While much music theory and theory pedagogy have acknowledged that feedback occurs in various approaches to tonality, formal modeling in the fields of music cognition and computation has focused primarily on feedforward systems. This article attempts to right this imbalance by presenting a corpus-based feedback computational model that can be tested against human behavior. My model will identify a passage’s key by organizing a surface into its constituent harmonies. Here, harmonic organization and key will be integrated into a feedback system with the ideal key being that which produces the ideal harmonic analysis, and vice versa. To validate the resulting model, its behavior is compared to that of other published tonal models, to the behaviors of undergraduate music students, and to the intuitions of professional music theorists.

Aim: this work gives a chemical description and sensory evaluation of several Pinot noir wines from different parts of Italy. For three subsequent years (2016-2018) the wine samples were submitted for in an Italian annual national Pinot noir competition aiming to define the best Pinot noir red wine from Italy. All of the wine samples were 3-years old (from vinification) at the moment they were analysed and evaluated; they were also registered for the competition the same year they were put on the market.Methods and results: all the wines were evaluated by a tasting panel composed of oenologists and wine experts, using the overall sensory quality as the descriptor. For the chemical screening, standard oenological chemical parameters (total acidity, colour, alcohol degree, total phenolic content, tannin indexes, etc.) and the content of the most abundant phenolic molecules by means of LC-MS analysis (triple quadrupole with internal standards) were determined. Pinot noir red wines produced from different parts of Italy showed a high variability for most standard wine chemical parameters considered, while the content of most single phenolic constituents was more retained and consistent with data from literature; except for t-resveratrol, which was significantly higher in our analyses, and delphinidin-3-glucoside, which was lower. Moreover, changes regarding the corresponding wines from the three vintages were noted. A correlation between the chemical parameters and the tasting panel results was also attempted. The results from a statistical analysis confirmed that alcoholic content, malvidin-3-glucoside and total anthocyanins had the highest positive impact on quality scores, while gallic acid, color tonality and total phenolic content had the highest negative.Conclusions: our results indicate that most wine producers have a conservative attitude with very slight differences found in the corresponding wines over the three years of investigation. The strong effects of agronomical, winemaking and ageing processes on chemical and sensorial features of Pinot noir red wines from Italy were also clearly shown. Compared to other monovarietal Pinot noir red wines from the same temperate area, single polyphenol content tended to be more retained than most standard chemical parameters.Significance and impact of the study: an overall quality assessment of a monovarietal wine, with its typicity as the main goal of a sensorial investigation, appears to be different from an objective quality assessment carried out by trained professional personnel using single standardised descriptors. Positive and negative correlations exist between sensorial judgement and chemical parameters, and the multiple linear regression model revealed relationships between the wine score and the set of the most important wine score description parameters.