Journal articles: 'Czech musical vocal works'

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Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (September 2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these works were written after Wagner’s operas and before the operatic successes of Richard Strauss, when it was possible to devise free combinations of symphonically composed scenes, arioso-like vocal lines influenced by verismo, and the dramaturgical effects of grand opera. As a praised model for successful historical opera might have served Karl Goldmark’s famous work Die Königin von Saba, especially in the case of Fibich’s last opera, which was explicitly compared with Goldmark’s opera. Operas on historical subjects form a little-known part of the works of Czech composers, but they extend from Smetana’s piece The Brandenburgers in Bohemia through the late operas of Dvořák and Fibich to Janáček’s two-part opera The Excursions of Mr Brouček. It is a line of operas that present an unforgettable counterpart to many successful Czech theatrical compositions – representative operas and intimate tragedies, comic operas and fairy tales, generally written on subjects from Czech villages and mythology, including Smetana’s Bartered Bride and Libuše, Fibich’s The Tempest and Šárka, Dvořák’s Jakobín, Kate and the Devil and Rusalka, Josef Bohuslav Foerster’s Eva, as well as Leoš Janáček’s Jenůfa.

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Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.

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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.

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Mosusova, Nadezda. "Prince of zeta by Petar Konjovic: Opera in five/four acts on the 125th anniversary of the composer's birth." Muzikologija, no. 8 (2008): 151–63. http://dx.doi.org/10.2298/muz0808151m.

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Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the second and final 1929-1939), followed by Kostana (1928), Peasants (1951) and Fatherland (1960). Konjovic's mature operas are characterized by his masterful handling of form, both in close-ups and in detail, as well as his deeply individual assimilation of musical folklore into his work. The Prince of Zeta is not to be understood as a folk opera, but some main themes are directly derived from folk music, precisely from the Montenegrin folk songs quoted in the Mokranjac's Ninth Garland and treated in Konjovic's post-romantic, almost expressionistic way, interwoven with some Italianate leitmotifs, so as to present the opera's two worlds, Montenegrin and Venetian. In the process of forming Konjovic's operatic style, with vocal parts based mainly on the principle of declamation, the opera Prince of Zeta (first performed in Belgrade, 1929, conducted by Lovro von Matacic) proved to be a work of great impact. Hardly anyone grasped then the wide sweep of inspiration which allowed the composer to set and to solve several important problems connected with music drama, essential also in his subsequent stage works. First of all, Konjovic had to handle in his own way the verbal drama the prototype of his opera, Maxim Crnojevic by the Serbian poet Laza Kostic (1841-1910). Permission came from the playwright in the first decade of the 1900, Prince of Zeta being partly set musically, but from then on with new interventions in the poet's text. Being a highly skilled writer, poet musicologist and essayist (he wrote four books and a great number of articles on music and the theatre, and translated opera librettos of Wagner and Moussorgsky), Konjovic felt free to introduce some daring alterations to the literary works he used for his music dramas. So it was with the play Maxim Crnojevic, premiered in Novi Sad in 1870 (printed in the same place in 1846 and 1866). On the other hand, the young poet Kostic (he was in his early twenties when he wrote Maxim Crnojevic) had the prototype for his play in the folkpoem The Marriage of Maxim Crnojevic, turning a naturalistic folk-story into a Hellenic-Shakespearian drama of friendship and love, full of chivalrous deeds and emotions. The once handsome Maxim, his face ruined by heavy disease, can no longer make his marriage with the doge's daughter Angelica (with whom he was already acquainted). The nobles of Montenegro particularly Ivo Crnojevic, who in the meanwhile, proud of his son, boasted in Venice, conspire a doublecrossing plot (with another man, Milos resembling Maxim as bridegroom) which works in the folk-poem, in some ways in drama, but not in the opera, with the story changed by Konjovic. The difference between drama and folk poetry is essential: in Montenegro Maxim murders Milos for the doge's daughter's dowry, on their way back. In the play, too, the tragic event takes place in Montenegro: on the way home Maxim kills Milos, thinking Milos is going to keep the beautiful Angelica for himself (the agreement was that he will hand over the bride to Maxim immediately after the wedding in Venice), then commits suicide realizing his fatal mistake. The girl, deeply disappointed leaves Montenegro. In the opera Maxim reveals the truth to Angelica in Venice, before she is to be wedded with Milos, and stabs himself. She chooses death also, drinking poison - a dramatically and musically very capturing finale in the style of Romeo and Juliet! In some recently performed versions of the opera (1989) the director (Dejan Miladinovic) and conductor (Oskar Danon) returned to the playwright's original denouement, avoiding the Shakespearian end of Konjovic (although in the spirit of Kostic who was also appreciated as a skillful translator of Shakespeare into Serbian language). In the opera Prince of Zeta Konjovic focuses on Ivo Crnojevic, making his role dominant to that of Maxim. The unhappy father, the tragic Hellenic figure, is with his son Maxim the main historical personality in both opera and drama. Zeta forms part of present-day Montenegro but was independent for a short period, then came under Byzantium, and eventually Rashka-Serbia. After the fall of last remnants of the Serbian vassal state in 1439, Zeta was partly independent protected by Venetians under the ruler Ivo Crnojevic, before the Turks grasped Montenegro. Serbian drama, which is usually trochaic, took an iambic course in Kostic's play. The composer preserved the poet's iambs, following the musically accented flexions of spoken language, which remains the main feature of his style. The impressive vocal parts, especially those of Ivo Crnojevic, starting from the Prologue and the first act, are supported by the dynamic and highly symphonized orchestra. For effective choral music the monks' ensemble in the second act (in the final version) and the dramatic Venetian carnival scene with the stylized Montenegrin folk-dances should be noted in both versions. With Prince of Zeta the author definitely made a distinguished name as a composer in Serbian culture, with a strong influence on younger generations of Serbian musicians.

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Makliuk, D. M. "Specificity of embodiment of Shevchenko’s image in Lev Colodub’s opera “Poet”." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 40–57. http://dx.doi.org/10.34064/khnum2-18.03.

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Formulation of the problem, analysis of the publications on the topic. The opera by Lev Kolodub “Poet” is one of the recognized examples of modern “Shevchenkian music” and the outstanding achievement of the composer. From the very premiere at the Kharkiv Opera and Ballet Theater named after M. Lysenko (2001) to this day, this work has been preserved in the theater’s repertoire, and the 2011 Kharkiv performance has become a world event: in the recording of Ukrainian Radio, it was broadcast to 78 countries of the world by the European Broadcasting Union. L. Kolodub’s creativity attracts considerable attention of researchers and was covered in various sources, including monographic essays (Zahaikevych, M., 1973), scientific, encyclopedic, journalistic articles (Bielik Zolotariova, N., 2009; Sulim, R., 2010; Paukov, S., 2007), where the opera “Poet” is mentioned in different contexts. The reviews of premiere performances of this opera were given: in scenic version at Kharkiv (Velychko, Yu., 2002) and in philharmonic variant in Kyiv (Sikorska, I., 2004); in his interviews, the composer also recalled this work. Nevertheless, the holistic analysis of the concept of the opera and the image of its leading hero, as well as its vocal-stage interpretation by the Kharkiv Opera’s artistic collective, has not been carried out yet. The objective of this article is to formulate the concept of the stage embodiment of the Poet’s image in the opera of the same name by L. Kolodub, on the basis of its interpretation at the Kharkiv National Opera and Ballet Theatre and self-own scenic experience of the author of these words, which is currently the only performer of the protagonist’s part. Summary of the main material. The composer has many times emphasized the outstanding importance of Taras Shevchenko’s work for every Ukrainian. “I consider Shevchenko to be a personality who has arisen on the basis of Ukrainian folklore. She is understandable to everyone, everyone cares - this is a very social poet. Many perceive him naturally, since the problems of his works excite and affect people. Shevchenko is incredibly interesting! I constantly re-read him and every time I find a new one. The main thing is that he himself suffered, all this is transmitted in his poetry. At the same time, he is a very big optimist, a warm-hearted person” (from the interview, as cited by Koskin, V., 2008b). The composer noted that the scenic life of his opera was not easy: at first the work arose interest both in Dnipropetrovsk and Kyiv (Children’s Music Theater on Podol, National Opera Theater). In 1988, when the opera was created, S. Turchak, who was supposed to be the conductor, suddenly passed away, and the new management of National Opera deleted it from their plans. Nevertheless, the opera was staged at Kyiv in the philharmonic performance in the arrangement for soloists, choir and brass band (2004). In I. Sikorska’s (2004) opinion, the composer “broke the stereotypes”, having redrafted the score in such a way that the brass orchestra’s timbre palette rivals the symphonic one. The opera is written on the basis of drama “Path” by O. Biletskyi and Z. Sagalov. The librettists’ idea was that the events of poet’s life intervene with the plot collisions of his works. For example, execution of Jun Hus symbolically coincides with the moment of death of Shevchenko himself. Moreover, the poet’s image is identified with heroes of his works. So, Colodub’s opera is the authors’ interpretation of Shevchenko-Kobzar’s fate from the XX century human’s point of view. Therefore, both, phantasmagoria and cinematographic methods are justified. The composer thought that “modern opera requires novel forms of delivering the material. The art of cinema and drama theater are developing fast, and opera esthetics is sort of frozen in the 19th century, she is not seeing even the heels of the far-ahead walking dramaturgy of the modern theater” (from the interview, Koskin, V., 2008a). The principle of introspection became the main dramaturgical principle of opera libretto’s construction. Avoiding the symphonic introduction, the first scene instantly transfers the viewer to the last March night of the Poet’s life. Being on the edge of eternity, the heavily ill Shevchenko is diving in memories. The Poet in the opera acts simultaneously as the event’s participant and its commenter, revealing gradually through different scenic roles: as a naïve creative person (scene 10), as a poet-citizen, who points out social injustices (scenes 3, 4, 15, 16), as a loving and beloved person (scenes 6, 7, 14, 20), or a thinker (scenes 11, 13, 1, 22). Over time, these roles are summing up, turning Shevchenko’s image into polyphonic and lifting the latter to the epic generalization. The image of the Poet become the symbol of the nation’s self-consciousness lost in the conditions of imperial Russia’s brutal reality (scene 29, “The burning of Jan Hus” – the Czech thinker is the hero of the Shevchenko’s poem of the same name). The opera’s authors do not separate the title hero from the storm of events and kaleidoscope of others scenic personages, which stipulates the specificity of vocal dramaturgy of Shevchenko’s opera character. The Poet’s vocal party does not include the developed solo or duet episodes, but it consists of concise replicas-phrases written by the recitative (Dargomyzhsky-Mussorgsky’s tradition) and several solo statements of arioso type. Conclusions. So, “Poet” by L. Kolodub, continuing the line of psychological opera-drama, vividly presented in the twentieth century by the works of D. Shostakovich, A. Berg, B. Britten and their followers, at the same time appeals to symbolism as to one of the main means of artistic expression. The image of Taras Shevchenko is interpreted as polysemantic: the fate of the Poet coincides in the perception of the audience with the fate of the Ukrainian people in their desire for liberty in a situation of opposition to the autocratic regime. And the freedom of expression of poetic and civic thought appears as a conscious necessity in the struggle for personal freedom, honor and human dignity. The logical culmination of the development of the image is the final scene of the auto-da-fé, where the burning of Jan Hus, the hero of Shevchenko’s poem, acts as a symbol of cruelty to the Poet himself, and to the people, of whose part he is. The musical language of the Poet’s vocal party, on the one hand, is quite naturally approaches to the style of Ukrainian kobzars folk lyrics; on the other hand, it inherits the recitative type of melodicism, which is a characteristic feature of psychological musical theater. Such a synthesis helps to reveal the image of the Poet as the outstanding representative and spiritual leader of the Ukrainian people, and, at the same time, to emphasize the rich content of his work, and the beauty of the inspirited poetic Word. Theopera provides rich artistic material for the study of innovative type of dramatic thinking in the context of the development of the national tradition of the genre and is promising for further study.

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Thoresen, Lasse. "THE CONCRESCENCE PROJECT (2008–2010): IDEAS, PROCESSES, EXPERIENCES, MUSICAL WORKS." Tempo 68, no. 267 (January 2014): 7–21. http://dx.doi.org/10.1017/s0040298213001290.

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AbstractThis article discusses the concept, working practices and outcomes of the Concrescence Project, a research project initiated by the author oriented towards innovations in vocal practice and composition through experiments with combining vocal techniques from different cultures. The concept of ethnomodernism is explored, as are different attitudes to vocal sound production in a variety of musical traditions including the avant-garde, traditional styles from the Nordic/Baltic region, and overtone singing. The article concludes with a discussion of microtonal tunings, their notation, and their implementation in vocal composition.

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Ezhova, Nadezhda A. "Vocal heritage of A.S. Dargomyzhsky in the aspect of the composer’s musical performance and pedagogical practice." Tambov University Review. Series: Humanities, no. 190 (2021): 133–40. http://dx.doi.org/10.20310/1810-0201-2021-26-190-133-140.

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The necessity of studying the stylistic features of A.S. Dargomyzhsky’s vocal creativity is substantiated to understand the relationship between music and words in works for voice and pi-ano, as the actual content of the process of developing competencies necessary for the pedagogical and concertmaster activities of graduates of a music and pedagogical university. The necessity of using the pedagogical component in the study of the concertmaster activity of composers, authors of chamber vocal and opera works has been proved. The main performing techniques of A.S. Dargomyzhsky, developing the principles of representatives of the Russian vocal school, are analyzed. We show the general and distinctive features in the methods of vocal teachers of other national schools: Italian, French, German. An understanding of the role of the creative union of singers and accompanists in the embodiment of the artistic content of musical works is formed. A.S. Dargomyzhsky’s innovative interpretation of traditional vocal genres led to the subordination of the means of musical expression to the main goal – to reveal the meaningful storyline of songs and romances. A parallel is drawn with the formation of performing and pedagogical principles in modern musical culture. The conclusion is made about the dominant role of artistic content in the performing interpretation of musical compositions, as the priority of the activities of musicians-teachers and performers of our time.

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Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.

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Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is clear that at the very beginning of his work Zhu Jian’er had the skill of a versatile depiction of inner experiences and difficulties encountered in the life of the hero. The second number or. 1 No. 2 “Waves washing sand” – imbued with a lyrical and philosophical mood. In the musical-figurative sphere, the landscape poetry occupies a central place with philosophical overtones, symbolically revealing the images of waves on the sand, characterizing the lyrical experiences of the hero and his sadness. op. 1 No. 3 “Lullaby” – the lyrical center of the cycle, a song of meditation with a predominant shade of sadness and philosophical overtones – the theme of enlightenment, the general meaningful canvas corresponds to the genre of lullabies, the appeal to the child, full of tender feelings. The fourth song Or. 1 No. 4 “I want to return to my homeland”, serves as a kind of finale. The basis of the song is the topic of separation, which is very popular in the songwriting of Chinese composers. The content of the song is symbolic: it is not only dreams of a distant friend, family and friends, but also a reflection of emotional feelings of separation from the motherland. Songs “Spring, when you return” and “Dream” were created by the composer in 1944, are devoted to events from the life of the composer. Zhu Jian’er saturates the musical fabric of the song with unstable harmonies, offers a more complex texture solution to the piano part (alternating polyphonic and homophonic-harmonious presentation) and gives it greater independence as an independent layer of musical tissue. The vocal melody also acquires a new look. An arioso-declamatory by nature, it embodies all the nuances of a poetic text that is pronounced with a special sentimental feeling (“Spring, when you return”) or a joyful hope (“Dream”). The analysis completes the generalized characterization of the composer’s early song-writing, in which the inherent features are distinguished. The skill and artistic significance of his songs testify to the fact that Zhu Jian’er succeeded in original compositions with vivid national characteristics. In the early chamber-vocal works of Zhu Jian’er, musical embodiment was achieved both in luminous, lyrical, and sad, even grim character themes related to the reflection of deep emotional, indeed – philosophical aspects of being revealed through a change of experiences. The theme of many songs is associated with the embodiment of the thoughts and feelings of a person, with the chanting of a beautiful nature. Conclusions. The least studied early period of creativity, in particular, the sphere of chamber-vocal music formed the individuality of the compositional style of Zhu Jian’er. Zhu Jian’er’s songs are characterized by vivid musical images and colorful writing, vividly representing the individuality of the composer’s musical language. These works alone allow us to say that in his early years the composer Zhu Jian’er was a high-level musician.

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Merzlov, A. N. "VOCAL CYCLE BY SERGEY RACHMANINOV "SIX POEMS" FOR VOICE AND PIANO, OR. 38: FEATURES OF MUSIC CONTENT AND FORM." Arts education and science 1, no. 1 (2021): 68–79. http://dx.doi.org/10.36871/hon.202101008.

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Cycle "Six Poems", op. 38 (1916) is chronologically the last chamber vocal work in the works of Rachmaninoff. This work differs in many respects from the composer's previous vocal opuses. Throughout his life, Rachmaninov only once designated the genre of the chamber vocal form as a "poem" - this is how the opus was titled in the first editions. The artistic perspective of the composition, its main literary and musical images are quite typical for the culture of the modern era - a direction with which the work of the composer is usually not usually associated. The article provides a detailed analysis of both literary and musical text and establishes compositional and semantic relationships between individual numbers of the cycle. "Six Poems" in the context of the entire composer heritage of Rachmaninoff are considered as one of the possible keys for understanding the musical content of his works of the middle and late period of creativity.

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Eginbayeva, T., and А. Mombek. "Abai vocal cycle of E.Rakhmadiev: interpretation of the genre." Pedagogy and Psychology 44, no. 3 (September 30, 2020): 205–15. http://dx.doi.org/10.51889/2020-3.2077-6861.26.

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The article examines the musical creativity of E.Rakhmadiev, a classic of the Kazakh composing school, the author of vocal-symphonic, opera, chamber-instrumental, song-choral works that are included in the national musical treasury. The author of article presents an analysis of the vocal cycle of seven romances dedicated to the legacy of Abai. In the cultural life of the Kazakh people, the personality of Abai Kunanbayev, his poetic and musical creativity occupy a special place. Each of his poem “sings”, and it is not surprising that many composers, when creating their songs and romances, turn to the poetic heritage of Abai. In each of the romances the organic unanimity of the composers and the poet is manifested, each of the songs is self-sufficient and has its own musical and poetic content, all romances differ from each other both genre and stylistically.

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Nikolaeva, Elena V., and Alisa E. Kalina. "Preparation of Children for the Performance of Works by Foreign Composers in the Original Language in the Academic Vocal Class." Musical Art and Education 7, no. 2 (2019): 125–43. http://dx.doi.org/10.31862/2309-1428-2019-7-2-125-143.

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The article reveals pedagogical views on the works of foreign composers as a subject of training in the class of academic vocal in children’s music schools and art schools. The characteristic of representation in general educational programs of additional education is given examples of Western European vocal culture. It is noted: a clear preference for works of German composers; the lack of a common position to understanding, what stage of education to include them in the study repertoire and in what language to perform. The pedagogical usefulness of learning and performing such a repertoire in the original language is substantiated. The special attention is paid to the consideration of the difficulties encountered by young singers in working with verbal texts in samples of Italian and German musical culture, as well as the main types of preparing children for the performance of works by foreign composers in the original language: the formation of a positive emotional significant attitude to a foreign language, which is to learn vocal work; training the knowledge of the phonetic structure of a given language and the peculiarities of its implementation in speech and vocal intonation; the formation of abilities to correctly pronounce the verbal text of the work being learned; planning and gaining experience of musical and creative activities of students in preparing them for the performance of works in a foreign language.

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Петренко, Марина. "НОВІ ВИМІРИ ІНТЕРПРЕТАЦІЇ ВОКАЛЬНО-ІНСТРУМЕНТАЛЬНИХ ТВОРІВ ШКІЛЬНОЇ ПРОГРАМИ." Педагогічні науки: теорія, історія, інноваційні технології, no. 5-6(99-100) (August 31, 2020): 269–80. http://dx.doi.org/10.24139/2312-5993/2020.05-06/269-280.

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The article actualizes the problem of interpreting vocal-instrumental works of the school program. On the basis of analysis, synthesis, systematization and generalization of conceptual provisions presented in the scientific literature on the studied problems the peculiarities and theoretical bases of interpretation of school song repertoire (with an emphasis on instrumental component) are revealed, in particular: taking into account the specificity of the structure of the specified works as a “mono-synthesis” of the textures of the vocal-choral part and piano accompaniment, the need to decode the coordinates of the author’s text of the studied musical works, designing special pedagogically oriented performing-ensemble solutions for the production of the accompaniment part. It is found that vocal-instrumental works are specific in their structure, they represent a combination of heterogeneous textures into a single whole. It is an organic fusion of different “components” that create a single and multifaceted musical-artistic text. The basis of knowledge of their artistic and figurative content is the “author’s text”. Its uncertainty, schematism necessitates further decoding and “predetermination” due to the recognition and differentiation of coordinate groups. The coordinate scheme of the author’s text of vocal-instrumental works is created. The include: marked coordinates (author’s text level), inaccurately marked coordinates (author-performer’s text level) and unmarked coordinates (performer-ensemble’s text level). The content components of each of the selected text levels are defined. The content of the author’s level of the text consists of the following components: literary text, musical text (metrorhythm, pitch, harmony, pitch-tone, form-composition) and the type of textured presentation of the accompaniment. The content of the author-performer’s text level includes: tempo, agogics, dynamics, articulation, phrasing, fingering, author’s remarks, pedaling. The content of the performer-ensemble’s level of the text consists of the following components: functional and role characteristics of the accompaniment, dynamic balance; dynamic, articulatory, agogic, metrorhythmic, tempo coherence; intonation unity. A number of components of the author’s text of vocal-instrumental works of the school program are carefully analyzed, namely: type of textural presentation of accompaniment, features of ratio of literary and musical texts, functional and role characteristic of accompaniment. On the basis of the selected theoretical positions a number of effective artistic methods of realization of the investigated interpretive process is offered.

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Wirth, Andrzej. "The Lehrstück As Performance." TDR/The Drama Review 43, no. 4 (December 1999): 113–21. http://dx.doi.org/10.1162/105420499760263570.

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These short pieces can be interpreted only in relation to their vocal, musical, and choreographic performances. As such, the Lehrstücke are works of aesthetic and ideological dissidence-still avantgarde and relevant.

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Lanina, T. O. "Theoretical Basis of Vocal Ensemble Performance." Musical art in the educological discourse, no. 2 (2017): 46–50. http://dx.doi.org/10.28925/2518-766x.20172.4650.

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The article covers scientific bases of contemporary vocal performing as a specific genre of music culture. The ontological, culturological, communicative and esthetical aspects of ensemble vocal performing are exhaustively presented. The literary works on history and theory of ensemble performing have been analysed. The focus has been placed on ensemble forms of vocal performing and vocal instrumental ensembles. The term ‘ensemble’ has been defined and genre characteristics of contemporary vocal ensemble have been singled out with further analysis of their distinctive structural features and functions. There have been studied the research works dedicated to the organizing methods as one of the professional training forms for students of classical and pedagogical universities. There have been defined the tasks of educational student vocal ensemble as a creative laboratory for the development of skills and vocal ensemble management techniques. The author outlines the prospect of the use of accumulated scientific and practical experience of the vocal ensemble performance in the system of university education in the training of students in vocal performing and musical and pedagogical professions.

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Semkin, Dmitry N., and Valentina V. Smirnova. "ON THE CULTURAL AND HISTORICAL SIGNIFICANCE OF CHUVASH OPERA MUSIC." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 202–11. http://dx.doi.org/10.47026/1810-1909-2021-2-202-211.

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The relevance of the topic covered in the article is determined by the need to preserve and promote the musical heritage of outstanding composers of the Chuvash Republic, which celebrated the centenary of its autonomy formation. The aim of the work was to draw attention to a comprehensive assessment of Chuvashia composers’ contribution to the development of vocal art (namely, its opera genre) as the most important part of a multi-faceted musical culture. The article reflects the problems of preserving and promoting classical music. The list of operas by Chuvash composers staged on the theater stage is given. Information about the opera «Ivan Yakovlev», which was staged in the XXI century, is reflected. The article is actually an intersubject topic focused primarily on considering pivotal solo vocal parts in the most famous operas. The article reflects the vocal and performing analysis of the parts in outstanding opera works, their main stylistic features are studied. In particular, the tenor parts of Setner, Sendier, and Kosinsky are described in more detail. Opera works and parts are considered in the context of cultural and historical significance, on this basis the main provisions and conclusions confirming the unique cultural and historical significance of the Chuvash opera music and its contribution to the development of musical and social culture of the Russian society are summarized and systematized.

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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.

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

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Yeroshenko, O. V. "Specifics of Vocal Repertoire of Students-Actresses (on the Example of Ukrainian Folk Songs Arrangements): Musical and Performing Aspect." Culture of Ukraine, no. 71 (April 2, 2021): 68–74. http://dx.doi.org/10.31516/2410-5325.071.08.

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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.

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Bosnić, Amra. "Treatment of Text in Vocal Works by Bosnian and Herzegovinian Composers." English version, no. 10 (October 22, 2018): 38–53. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.38.

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The paper discusses the half-century of composition in Bosnia and Herzegovina throughout the prism of musical setting to text phenomenon in vocal forms. In its focus are the solo song Pjesma u zoru by Milan Prebanda, Otvori u noć vrata by Vlado Milošević, Sappho by Nada Ludvig Pečar and The impact of the analogue synthesizer by Dino Rešidbegović. Analysis of the relationship between text and music in these works points out to the compositionaltechnical manner characteristic for these composers, generally marked by: Milošević consistently holds on to a text quantitative and qualitative characteristics, Prebanda raises melody above all the expressive characteristics, Ludvig Pečar holds to neoclassicist formal patterns, while Rešidbegović partly disposes the authority of vocal expressiveness to an interpretant.

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Rokhani, Umilia, and Haryanto Haryanto. "Rancangan Garap Karya Gending Sekar Jagad Berbasis Motif Batik Gaya Yogyakarta." Resital: Jurnal Seni Pertunjukan 21, no. 3 (August 6, 2021): 163–72. http://dx.doi.org/10.24821/resital.v21i3.4110.

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The creation of works employing transforming media becomes an exciting breakthrough in the art industry to study. Using the concept of changing the media, the meeting of the two different media, such as art and music, provides opportunities for the emergence of a broader range of creative work. The design of musical works based on the inspiration and philosophy from the media of batik has complexity and beauty and high value as the great works from the Indonesian ancestors. Sekar Jagad is a title for the composition of musical design, taken from the name of a batik motif that is very familiar in Javanese culture. By understanding the basic batik motifs such as gringsing, kawung, machete, nitik, cement and poleng, the elements of vocal melodies performed in two different voices gave an overview of the concept of the Sekar Jagad batik motif. It indeed required knowledge of the shape, function and character of the batik motif itself as the basis for gending in musical arts. The melody arrangement was made entirely with two tunings or pelog and slendro scales. It was intended to find the characters that best suits the characteristics and philosophy of batik. The elements of batik motifs that were put together into one Sekar Jagad batik motif were then applied through vocal melodies and supported by lyrics that described some of these batik elements.

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Rohmatullah, Mohamad. "Musical Composition of Introverts dan Ekstroverts’ Extramusical Idea." Journal of Music Science, Technology, and Industry 3, no. 2 (October 21, 2020): 125–33. http://dx.doi.org/10.31091/jomsti.v3i2.1152.

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Purpose: Humans have different personalities, namely introverts and extroverts. Program music is one of the compositional techniques whose purpose is to describe something in the creation of music through the analogy of meaning. Research methods: This creation research uses the Practice-Led Research method. Data obtained through a literature study approach, then the data is associated with music through an analogy process. Results and discussion: The creative process in creating music is very diverse, one of which is through extra-musical ideas. In the realm of music creation other disciplines can be used as music creation ideas. Psychology and music can be related through listening and feeling. The musical works created are vocal and piano works about introverts and extroverts. Implication: The implications of this research creation are expected to trigger the idea of creating music more broadly, especially across scientific disciplines.

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Cichy, Daniel. "Witold Szalonek Seen Through His Own Views." Musicology Today 12, no. 1 (December 1, 2015): 31–44. http://dx.doi.org/10.1515/muso-2015-0004.

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Abstract Witold Szalonek (1927-2001) did not limit himself in his artistic activity to composing instrumental, vocal and vocal-instrumental works. He was also very active as a pedagogue, music promotor and musicologist-theorist. His writings reflect the tendency (popular among composers in the 2nd half of the 20th century) to comment on the aesthetic phenomena of historical and contemporary music culture, with particular emphasis on his own works. His views on art and selfcommentaries are contained in published and unpublished articles and manifestos. With regard to character and function, the writings that he left behind can be divided into four categories. Among the nearly thirty texts, printed mostly in Poland, we can thus distinguish: 1) essays on general musical subjects, commenting on elements of the European musical heritage important for this composer and on inspirations from non-European cultures; 2) artistic manifestos, in which sonoristic concepts play a major role; 3) self-analyses and self-commentaries on selected works, which are of major value to performers interpreting his pioneering scores; 4) critical texts on current subjects and events, coming from the first years of Witold Szalonek’s artistic work, when he was active as a music critic.

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Monina, Lyubov' Anatol'evna, and Kirill Sergeevich Kravtsov. "ELECTIVE COURSE “IRKUTSK COMPOSERS’ VOCAL WORKS” AS A MEANS FOR DEVELOPING STUDENTS’ MUSICAL CULTURE." Manuscript, no. 6 (June 2018): 116–19. http://dx.doi.org/10.30853/manuscript.2018-6.27.

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Chemenyan, Gayane. "Methodology of mastering Ukrainian song folklore in the process of training future teachers of Music." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 4 (129) (December 26, 2019): 109–15. http://dx.doi.org/10.24195/2617-6688-2019-4-14.

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The article raises the social problem of Ukrainian society – the reducing of the level of spiritual and aesthetic culture of youth. Its solution is addressed to the educational sphere and involves the improvement of teacher training at the level of professional excellence. The training of Musical Arts teachers who exercise a direct influence on the formation of the spiritual world the aesthetic culture of students is of particular interest. High professionalism, thorough mastery of the vocal voice allows you to captivate students, introduce them to the world of musical arts, achieve artistic impact on the personality of the student, and instill love of performing activities. The development of folk song folklore in the process of vocal training aimed at Musical Arts teachers is considered as the path to the most convenient and natural acquisition of vocal and performing skills. Various aspects of the study related to the systematization, storage and popularization of the Ukrainian folklore have been examined by numerous researchers. The article presents the technique, the development of the Ukrainian song folklore, the main principle of which is the phasing and consistency based on a concentric presentation of the material. The content of each stage has been grounded, the corresponding effective methods and principles have been indicated. The advantages of using the Ukrainian folk songs as a means of educating national identity the formation of the spiritual and aesthetic culture have been indicated. It is shown that the inclusion of song-folklore works in the repertoire allows us to solve the problems of forming vocal skills and performing skills. The genre features that create natural amenities in the process of developing the vocal voice of future teachers of Musical Arts have been highlighted. Keywords: spiritual and aesthetic culture, morality, folk-song folklore, vocal skills, performing skills, educational and methodical advantages of Ukrainian folk song, stages, methods, principles.

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Bragina, Natalia, and Wang Jie. "Musical culture of China in the first half of the XX century a dialogue with European and national." Herald of Culturology, no. 2 (2021): 63–78. http://dx.doi.org/10.31249/hoc/2021.02.04.

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The article attempts to systematize the processes taking place in Chinese musical culture in the first half of the XX century. The main direction of European art, manifested in this period in China – Romanticism. Using the example of the development of chamber vocal gen-res, it is shown how the aesthetic attitudes of Romanticism-the reliance on national traditions and the desire to synthesize the arts – were manifested in the works of Chinese composers. The methods of musical and poetic analysis, as well as the method of comparative analysis, are used to identify common trends between the formation of new music in China and the pro-cesses of formation of «young» European music schools in the first half of the XIX century. The reasons for the lag in the development of some na-tional cultures and the regularities of their accelerated development and overcoming the time distance are revealed. The most typical works of chamber-vocal genres of Chinese music of the specified period are used as the material for analysis.

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Lin, Mizhong. "The Myth of Formalistic Aesthetics --Shostakovich’s Early Vocal Cycle and Principles of Formal beauty." Asian Social Science 11, no. 27 (November 23, 2015): 208. http://dx.doi.org/10.5539/ass.v11n27p208.

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<p>As one of the most “mysterious” and “complex” composer in 20th century, Shostakovich’s creative ideas hidden and suggested in the complicated musical appearance have always been indulged in elaborating. In the present paper, rhythm, pitch and dynamics ect. as the entry point to be dissected for Shostakovich’s early vocal cycle. I will prove that the musical aesthetics idea of Shostakovich’s early creation according to music analytics data. The results showed that his early vocal cycle was significantly affected by the aesthetics of formalism. Several aesthetic principles, such as symmetry, golden section, unity of variety, have been used very frequently in his works. Due to that the formal beauty of music can be highly emphasized, the “formal beauty as the pure beauty” concept comes clear.</p>

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Kobryn, Nataliia. "The Ukrainian periodicals of Galicia on Ostap Nyzhankivskyi’s musical activities in the 1880s." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 110–25. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-8.

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The paper aims to analyze the areas of Ostap Nyzhankivskyi’s musical activities in the 1880s via a prism of the publications in «Dilo» and «Zorya» press publications. Their content and main topics as well as the aspects of his music career have been systematized and analyzed. Research methodology. The historiographical, chronological, comparative and analytical methods are employed to analyze the publications on musical topics in «Dilo» and «Zorya», as well as to explore the early stage of Nyzhankivskyi’s musical activities. Findings. The first musical performances of O. Nyzhankivskyi in Lviv were featured in the «Dilo», specifically, in the reviews. These were the evening event at «Academic Brotherhood» in December 1884 and the concert in honor of Olexandr Konyskyi in January 1885. He was distinguished immediately as a choir conductor as well as a composer with his own choral works. At this decade Ostap Nyzhankivskyi was a conductor of the choir «Akademichne Bratstvo», worked with the society «Zorya». Additionally, he participated in the concerts of Academic Gymnasium and Theological Seminary as a conductor and a composer. Some music critics compared performance skills of the choir under the direction of Ostap Nyzhankivskyi to the most famous choral society of Lviv «Lutna». We know about many concerts Ostap Nyzhankivskyi participated in, and of his rich repertoir as a conductor. Specifically, from the press reports we learned about active concert activities of O. Nyzhankivskyi, considerable conductor’s repertoire and almost annual premiers of his new compositions ― choirs, solo performances and vocal duets. As a conductor he popularized works of the Ukrainian composers, specifically, such Galician ones as M. Lysenko and P. Nishchynskyi. According to listeners and musical critics, the most effective and resonant of his own works were the choral piece «Hulyaly» on Y. Fedkovych poetry and the vocal duet «Do lastivky» on the poetry by Volodymyr Navrotskyi. The authors of in-depth critiques on early Nyzhankivskyi orks were P. Bazhanskyi and V. Matyuk. Some press reports were on topic of functioning of the first Ukrainian musical publishing house in Galicia «Muzychna bibliotheka» cofounded by Ostap Nyzhankivskyi. It edited 17 volumes of the Ukrainian musical works during the period of 1885―1892s. One of the first musical critiques authored by O. Nyzhankivskyi was dedicated to the memory of the Ukrainian composer Denys Leontovych. Conclusions. We conclude that the versatile musical and creative activities of O. Nyzhankivskyi became one of the decisive drivers of the intensive development of national music in the Western Ukraine. It promoted a rise of the Ukrainian national consciousness and intensified a cultural life of the Galician Ukrainians. Keywords: Ostap Nyzhankivskyi, Ukrainian periodicals, music art, musical critics, concerts.

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Ildyrymly, Fidan. "Problems of variability of the musical genre reng in the mugham performing arts of youth." KANT Social Sciences & Humanities, no. 5 (January 2021): 68–74. http://dx.doi.org/10.24923/2305-8757.2021-5.7.

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Consideration of the variability of the musical genre of rang in mugam performing arts showed that ranks arose and developed in the art of mugam as a form of vocal-instrumental music. Their melodic structure is directly related to the sections of mugam. There are numerous varieties of this relationship. Based on the analysis of the musical notation of the ranks, it was determined that in practice of performing mugam the ranks are directly related to the vocal-instrumental mugam, and this is especially important for their compositional structure. In this regard, in almost every version of mugham destgahs there is a set of different ranks, including tesnifs. The analysis of various musical records of the ranks in the musical performing arts helps to identify the features of the manifestation of this form of folk music in mugam, as well as the further development of this musical genre and musical culture as a whole. We consider it appropriate to study, primarily, the vocal-instrumental interpretation of mugham when studying mugam destgyahs and the melodic interconnections of rangs and tesnifs with sections (shobe) of mugam. After analyzing various musical notations of mugam dastgahs, we were able to trace how rengi relate to mugam shobe. It can be noted that many rengi are used in the recordings of these works associated with various performances in relation to various shobe of mugams. This feature is inherent in various mugham dastgahs – "Shur", "Segah", "Chahargah", "Bayati-Shiraz", "Shushter", "Humayun", etc. All this can be traced in musical notations, as well as in live mugham singing and sound recordings, which helps to determine the numerous variants of rengs related to these mugams. Within the framework of each mugham, dozens of rengs were created and included in musical practice. Part of this rich musical heritage is captured and preserved in sound recordings and sheet music. We believe that it is advisable to study rengi, grouping them into mugham families in order to analyze their musical language and reveal their inherent variability.

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Liu, Xia. "The ballad as a narrative genre of the chamber-vocal music." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 123–36. http://dx.doi.org/10.34064/khnum2-21.08.

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The ballad as a narrative genre of the chamber-vocal music. Logical reason for research. The relevance of the topic of the present research is due to the fact that in music the interaction of purely musical and extra-musical phenomena continues to remain in the focus of increased attention of the researchers who represent both musicology and other areas of humanitarian knowledge. This interaction has a synergistic effect, which lies in the fact that the combination of the simultaneous influence of words and music, integrated into a single whole, leads to a significantly greater effect of these factors together, rather than separately. Such emergence is clearly manifested during all types of musician’s activities – composing, performing, listening, but has not yet been sufficiently developed in musical science. And the need for a connection between musical science and practice directs our attention to such types of synergistic interaction in music, and one of the most basic is the interaction of music itself (of purely musical, sound patterns) and the verbal text (of the sphere of extramusical – specific images, characters, events, etc.). One of the concepts associated with the verbal text, which has its own specific qualities, is the “narrative”, and the study of the narrativeness as a special property (or a complex of properties) of a vocal musical composition with a narrative text, its potential, performance specifics and characteristics of perception by the listener seems relevant both in theoretical and practical directions. Innovation. The article is devoted to a chamber-vocal ballad, one of the genre indicators of which is the narrativeness. The narrativeness is understood as a special quality of a musical composition, in particular, a vocal one, which relies on narration (both verbal and achieved by means of musical expression). The narrative narration is connected, on the one hand, with eventfulness, plot; on the other hand, it is characterized by an emotional and ethical assessment of the reflected events. In the vocal music, the conductor of the narrative is the word, however, only those genres of the vocal music can be defined as narrative, where the verbal text itself has narrative qualities. The vocal ballad is such among the genres of the vocal music, and its literary origin and narrativeness as the main genetic trait determined the corresponding narrative specificity. The narrativeness as a genre factor in the ballad is the result of the synthesis of a narrative verbal text and the corresponding eventfulness of a vocal composition (an extra-musical component) and the specifics of their musical embodiment (a musical component). As one of its tasks the concert practice of a vocal ballad performer has the realization of the narrativeness as a quality of the performing-composing interpretation, which represents the understanding and presentation of the artistic potential of a musical composition. The narrativeness can manifest itself at different levels of the musical text of the ballad, usually enhancing the emotional and ethical assessment of the events. Objectives. The purpose of the present research is to reveal the specifics of the narrativeness of the chamber-vocal genre of the ballad. Methods. The main methods of the presented research are genre and systemic. The genre method is associated with the need to characterize the chamber-vocal genre of the ballad in connection with the chosen perspective of studying the meaning and action of the narrative in it. The systemic method makes it possible to identify and systematize the peculiarities of the interaction of the extra-musical narrative and the means of musical expression in a specific genre, namely, the chamber-vocal ballad. Results and Discussion. The movement into the inter-disciplinary field remains a promising growth point in modern research in the sphere of humanities, where different areas of knowledge actively interact and share their experience. This also applies to musicology. Active assimilation of knowledge from other sciences helps to see from a new perspective many problems, the study of which by traditional methods has practically exhausted its potential. One of the concepts that can help in the study of the patterns of interaction between words and music in musical art is the “narrative” as a special quality of the verbal text. The narrative involved in the field of musical science receives additional scientific “saturation”, scientific meanings and research perspectives. The development of an integrative scientific approach for two disciplines such as linguistics and musicology goes beyond their case studies and focuses on connecting the laws of “musical structures” to the analysis of the verbal text: for example, such concepts as tension and decline, open and closed form, the lyrical, harmonic content, etc. The need to comprehend the dynamic nature of the narrative text leads to an expansion of the horizon of research related to the concepts of the birth of the text and the perception of the text, and the theory of musical forms is the closest to the narratology in this regard. Indeed, the organization of verbal and musical communication obeys the general laws of dynamism and temporality: the basis of both linguistic and musical structures is the procedural nature of the development of information. The convergence of musicality and narrativeness has led to the development of such a concept as a “musical intrigue” in the works of the French narratologists R. Barony, F. Revaz and others. In musical science, there is a concept that, in our opinion, is associated with a “musical intrigue”, but is more capacious and better explaining the narrative in music of both, a purely musical and extramusical nature – this is musical “eventfulness” (N. Gerasimova-Persidskaya, A. Ivko, and A. Durnev), which is understood broadly and multi-dimensionally, both in connection with the events “introduced” to music with the word, and with purely musical “events” – harmonic, rhythmic, intonational, timbre-acoustic, etc. Such musical eventfulness, unfolded in the narration with a sequential presentation of the events from the “third” person and an emotional assessment of the happening things – both in the verbal and musical text, is most clearly represented in the chamber-vocal genre of the ballad. Owing to the literary origin of the genre and its original narrative nature, it has retained its narrative nature in music (this applies to both the vocal and instrumental ballads). Most often, the musical text in the vocal ballad is subordinated to the verbal one, it is an illustration of the events that are taking place and at the same time enhances their emotional assessment. Conclusions. The narrativeness in the vocal music is primarily related to its extra-musical source. The narrativeness as a special quality of a narrative eventful text is characterized by an emotional attitude and a corresponding assessment, which is dictated from the outside (by the “storyteller”) to the person at whom the narrative is directed – in the sphere of musical practice this is the listener. Since the text (the word) is used in the vocal music, here we should talk about the narrative with all the specifics of its action. Very various texts are used in the vocal music, and not all of them are narrative, therefore, the narrativeness as a genre quality in its pure form can be traced in the genre of the vocal ballad due to its literary origin and narrative character. That is why the most indicative vocal genre in the aspect of the narrativeness is such a genre of the chamber-vocal music as the ballad. The nature of the narrativeness: in the vocal ballad it determines the verbal text, and the means of musical expression, as a rule, embody both the events reflected in the text and their emotional assessment. The prospects for the study of the narrativeness in musical art are associated not only with the characteristics of the interaction of musical and extra-musical principles in the vocal music (both in the chamber music and in the large genres), but also with the study of manifestations of the narrativeness in instrumental music, especially in such compositions that are not associated with extra-musical manifestations even in minimal form (program headers and the like). In addition, since the narrativeness is associated with a “storyteller”-intermediary between the source of information and its recipient, it can be argued that the narrativeness in musical art is also associated with the performing art as one of its tasks, literally or figuratively.

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Tsougras, Costas, and Danae Stefanou. "Embedded blends and meaning construction in Modest Musorgsky’s Pictures at an Exhibition." Musicae Scientiae 22, no. 1 (February 21, 2018): 38–56. http://dx.doi.org/10.1177/1029864917719587.

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Conceptual blending is a cognitive theory positing the combination of diverse conceptual spaces for the creation of novel blended spaces. Musical conceptual blending can be intra-musical, pertaining to the combination of diverse structural elements for the creation of new melodies, harmonies or textures, as well as cross-domain, involving the integration of musical and non-musical spaces for the creation of novel analogies or metaphors. This article presents a structural and hermeneutical analysis of “Il vecchio castello” and “Samuel Goldenberg und Schmuÿle” from Modest Musorgsky’s Pictures at an Exhibition in an attempt to disclose both the intra-musical (combination of modal, tonal or coloristic harmonic spaces and rhythmic/textural structure) and extra-musical (contextual, symbolic and programmatic aspects) conceptual blending that the works incorporate. The reductional/prolongational analyses provide input for two distinct Conceptual Integration Networks, the first describing the intra-musical blending of melodic harmonization and the second proposing the cross-domain blending of the musical and pictorial input spaces into a blended hermeneutical space that projects the works’ narrative/programmatic/emotional potential. The proposed analyses show how musical structure promotes creative listening and meaning construction through complex cross-domain integration. This research suggests that conceptual blending theory as an analytical tool can promote a richer structural interpretation and experience of music, even in cases of instrumental, non-vocal compositions.

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Glebov, Ana. "5. Historical and Theoretical Foundations of the Development of Vocal and Choral Culture in Moldova." Review of Artistic Education 21, no. 1 (June 1, 2021): 31–34. http://dx.doi.org/10.2478/rae-2021-0005.

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Abstract The origins of the national choral art are based on Church singing, which has been widely developed since the founding of the Putnyansky and Nyametsky monasteries. In the further development of the centuries, Church singing intertwined with folk choral singing, which was reflected in the works of such conductors and composers as G. Muzichesku, M. Berezovsky, A. Kristya, M. Byrke, V. Popovich. Special attention is paid to the creative and conducting activities of Gavriil Muzichesku, all of whose initiatives were innovative and progressive, later becoming the leading ones in the national choral activities of Romania and Moldova. This article identifies and systematizes the main trends related to the process of creating vocal and choral works and their application in the system of Romanian and Moldovan musical education. Their analysis shows that the composer worked on the theoretical generalization of his own experience, turned to the best ideas of domestic and foreign pedagogy, including Russian, and thanks to this he was able to bring his knowledge and experience into a fairly coherent and integral system of musical education and education through vocal and choral culture.

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Ryabinko, S. M. "Theoretical and methodological foundations of work with student chorus group in the context of modernization of art education." Musical art in the educological discourse, no. 2 (2017): 145–49. http://dx.doi.org/10.28925/2518-766x.20172.14549.

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The article investigates the actual problems of modern pedagogical science — students training in arrangement of students’ vocal and choral work at school. It examines basic theoretical and methodological approaches to the solution of contemporary problems of vocal and choral works and future music teacher training in the context of modern requirements for higher art education. It determines the complex of functions, methods and means of students training in arrangement of students’ vocal and choral work. The main approaches to organization of vocal and choral musical activity that are considered by us are the following: humanistic, aesthetic, culture studying, communicative, reflexive, creative, and projectoriented. Implementation of communicative and creative approaches to music teacher training encourage him to implement wide creative types of work and collective art in the process of education, which contributes to development of spiritual needs in performance and other types of musical and performance activity. Theoretical and methodical instruments mentioned above has become the basis of creative activities of the student choir “Gaudeamus” of the Institute of Art of Kyiv Borys Grinchenko University (conductor — Svitlana Ryabinko, accompanist — Oksana Bichkova). Pedagogical conditions for future music teachers training are developed for effective management of students’ vocal and choral activity, as follows: orientation of methods and forms of organization of informative and practical activity of students to understanding the specifics of vocal and choral work with students, motivation for personal creative self-realization in vocal and choral activity, integration of received knowledge, skills and abilities from different areas of art to pedagogical choral and vocal work at school.

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Zorin, Vasyl, Olena Borovytska, and Iryna Yuldasheva. "ON THE ISSUE OF HISTORICAL AND CULTURAL DEVELOPMENT OF CHAMBER AND VOCAL PIANO WORKS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 174–78. http://dx.doi.org/10.36550/2415-7988-2021-1-195-174-178.

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One of the leading groups of genres in which the interaction of vocal and instrumental principles is possible is chamber-vocal works, where one of the participants in the creative dialogue is the piano. The development of chamber and vocal works demonstrated the vitality and leading importance of the genre for musical culture. In the context of the history of music, we can distinguish various forms of interaction between voice and piano. The field of chamber and vocal creativity has repeatedly attracted the attention of scientists. However, due to the fact that it has been developing since the XIX century, the period of its existence to this day often remains little studied. Accordingly, the question of the formation of chamber and vocal piano works is a problem that opens a significant field for studying aspects of the formation of this group of genres. The combination of vocal and instrumental principles has an extremely long history. For a long period of time, vocal was given priority over the instruments that accompanied it. Regarding the question of the unity of vocal and instrumental principles in one work, it was present as early as the times of ancient cultures. As a rule, the instrumental accompaniment played a secondary function in relation to the voice, providing support, tuning, shading the voice or simply filling in the pauses necessary for the rest of the vocalist. With the advent of the Renaissance and the development of various secular vocal genres, there are various works, both purely vocal (polyphonic) and vocal-instrumental. Among the polyphonic genres can be distinguished barcarole, villanelli, frottoli, madrigals, canzones. They are dominated by a polyphonic composition, which provides for «equality» of all voices. Chamber-vocal piano works occupy an important place in the singer's activity. The process of forming a duet of voice and piano had a long prehistory. The stage of the final formation of this genre falls on the XVIII century, and this is facilitated by a number of factors – the arrival of the piano to replace keyboard instruments, its predecessors, and the worldview of the Classicist era. A very important factor is the formation of dialogue between the instrument and the voice, which changes the priority of the vocals. During this period, a kind of summary of the achievements of previous centuries is carried out and conditions are laid for the following directions, in which chamber vocal-instrumental piano works will acquire a fundamentally different quality level.

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Koehn, Natalya, and Сui Shiling. "Overcoming the stage-psychological barrier in the process of training masters in vocal." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 40–46. http://dx.doi.org/10.24195/2617-6688-2019-2-6.

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The article deals with the problem of future vocal teachers training in performance activity. The author has focused on the psychological readiness for public performance, which is subjectively perceived as a stressful situation requiring psychological, emotional strain, maximum concentration of attention and volitional effort. A significant role of the psychological state for the singer caused by his/her reflection on the phonation-singing aspects; the degree of emotional brightness, artistic perfection in the creation of musical images has been specified. The author has analysed the works of musical psychologists and representatives of theatrical and musical arts in relation to the factors of the performers’ unsatisfactory psychological state. Some features of productive and creative as well as excessive unproductive unrest alongside with its causes have been described. Three groups of determinants of the future professional’s personal psychological state have been considered: functional; motivational-characterological and operational. A special attention was paid to the types of the future vocal coaches’ performance activity such as performances in the form of academic reporting, contests, concerts and other educational events, pedagogical-illustrative methods as well as students’ entertainment. The participation in these activities is significantly different in the extent of responsibility for the performance quality and its possible consequences. It has been pointed out how significant it is to choose the repertoire for the performance in accordance with vocalist’s real abilities, to hold auto trainings, to create «situations of success», role play and vocal-improvisation games in order to improve students’ performing-psychological state. Keywords: vocal performance; future vocal teacher (coach); stage-psychological barriers, training, master students, stage-performing activity.

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Petrescu, Cezara. "The last lieder of Theodor Grigoriu. Stylistic and interpretive aspects." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 176–98. http://dx.doi.org/10.2478/ajm-2019-0009.

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Abstract Theodor Grigoriu, a reference figure for the XXth century Romanian music, as a senior of the post-enescian generation of composers, with a moderately modern attitude towards composing, had explored the expresive resources of the human voice in the vocal-symphonic and vocal-chamber genres. Although, from a quantitative point of view, his voice and piano works are not too numerous and the vocal-chamber genre had not been a constant focus of the composer, lied remains one of the most representative areas of his entire creation, marked by an accomplished literary taste and harmoniously neighboured by the halo of poetry. The lied had marked Theodor Grigoriu’s professional existence, beginning with the first childhood experiments which proved decisive for his future career, up to the inconstant achievements of his creative maturity. Although approached in a non-consistent manner, the diversity, mastery of composition and the abutment to works from a more ample genre to which he resonates and configures genuine “creation laboratories”, the voice and piano cycles of works represent what can truthfully be called lied creation. Letter to birds on words by St. Francisc of Assisi (2004) and The iconographer – The poem of a church painter (2011) on words of a patriarchal, novel text with no poetic aspirations, are the last lieder of Theodor Grigoriu, published posthumously. As a binding of music and poetry into a one poethico-musical universe, they are an exponent of accumulations and transformations of musical language, spectacular compositions, of paramount originality, which harmoniously complete the spiraled path of the genre in the context of the composer’s entire creation.

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Khmel, Natalia, and Olga Berdnykova. "The specific of translation of vocal creations of Baroque for bandura player-singer." Музикознавча думка Дніпропетровщини, no. 18 (November 16, 2020): 146–58. http://dx.doi.org/10.33287/222025.

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The purpose of the article is an exposure of specific translation and interpretation of vocal creations of Baroque epoch for bandura, pointing of basic principles of transformation of original text in the context of synthesis of vocal and instrumental party. The research methodology consists in the application of the comparative method in music, a structural-historical method that allows outlining the stages of formation and functioning of specific features of the Baroque era in the present. A special place takes methods of system analysis and synthesis for the study of the means of transformation in vocal-instrumental works of past centuries in the process of transformation and translation, as well as the method of generalization for the formation of conclusions. This methodological approach helps to reveal the basic principles of translation of vocal and instrumental works of past centuries, in particular the Baroque era for voice accompanied with the bandura. The scientific novelty lies in the definition of the basic means (canons) of textural-timbre transformation, transformation of vocal-instrumental works of the Baroque period, on the example of the ancient aria «Solo per voi tra mille» from the cantata «Pastorella vaga bella» by G.F. Handel, which plays an important role in expanding the bandura vocalist's repertoire and enriches the potential of the Ukrainian national instrument. Conclusions. Thus, based on the above musical-theoretical analysis of the ancient aria «Solo per voi tra mille» from the cantata «Pastorella vaga bella» by G.F. Handel, we conclude that the translation of Baroque works for bandura and their inclusion in the pedagogical and concert repertoire bandura singer proves that the interpretation of works of past centuries on the bandura significantly expands the repertoire of the bandura singer and enriches the potential of the Ukrainian national instrument, revealing its timbre and technical capabilities, which deserves the attention of experts and requires further analysis and study.

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Cypess, Rebecca. ""Esprimere la voce humana": Connections between Vocal and Instrumental Music by Italian Composers of the Early Seventeenth Century." Journal of Musicology 27, no. 2 (2010): 181–223. http://dx.doi.org/10.1525/jm.2010.27.2.181.

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Several points of intersection exist between vocal and instrumental music by Italian composers of the early seventeenth century. First, like books of vocal monody with an overt pedagogical purpose, volumes of instrumental music may have been designed to instruct the performer in the conventions of the modern style. Specifically, many books published in the 1610s and '20s offer their users a window on the changeable, fluid idiom of the stile moderno, in which contrast of musical material and a posture of invention assumes primary importance. Second, as in recitative and other vocal styles, much of the vocal and instrumental music of the early seventeenth century is dominated by a metrical flexibility that similarly contributes to an air of immediacy, and that seems designed to highlight the emotional qualities of the music——to convey and move the affetti. And third, whereas the theatrical nature of vocal music of the period——especially music destined for the stage——may appear obvious, some instrumental music of the period may be equally theatrical, containing instructions for interaction with an audience, staging, imitation, and role-play. These points of intersection in particular suggest a relationship between the instrumental stile moderno and the vocal stile rappresentativo, prevalent in operas, ensemble madrigals, and solo songs in the early 1600s. Although no single, exclusive definition of the stile rappresentativo exists, it is nevertheless possible to trace a constellation of features associated with that term through a variety of works. Despite the divergence of the specific musical language of the vocal and instrumental repertoires, some of the vocal features are analogous to elements of instrumental music discussed in the article.

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Kabisch, Thomas. "Kodály's Works for Piano: Comments on Technical Features and Historical Contexts." Studia Musicologica 59, no. 1-2 (June 2018): 41–54. http://dx.doi.org/10.1556/6.2018.59.1-2.3.

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There is a gap separating Kodály's Seven Pieces for Piano, op. 11 from his Nine Pieces for Piano, op. 3. The differences of style, structure, and texture cannot be explained in terms of development, let alone progress in any sense. With op. 11, Kodály undertakes a shift of paradigms from instrumental principles to a kind of vocal orientation within instrumental music. Op. 3 stands in the tradition of autonomous instrumental music, of Liszt and French music in particular, and displays similarities to early piano works by Bartók. In op. 11, that instrumental paradigm and its core principle of indirect expression are called into question. Instead Kodály aims at direct expression, vocality on the piano. Since a piano cannot sing, the pieces op. 11 can be seen as failing in terms of Classical-Romantic composing standards. This paper argues that in dealing with the distinction between instrumental and vocal music, Kodály takes up a major topic of Musical Modernism (Carl Dahlhaus) and exposes himself deliberately to the risky question of “When is Art?” (Nelson Goodman).

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Kritskiy, Aleksandr B., and Boris D. Kritskiy. "Phenomenon of Choral Sonority in the Context of Intonation Theory as a Component of the University Training of the Musician-Pedagogue." Musical Art and Education 8, no. 2 (2020): 54–71. http://dx.doi.org/10.31862//2309-1428-2020-8-2-54-71.

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

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Zhou, Yi. "“Vocal style” in Western European and Chinese art history: a comparative analysis." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 286–96. http://dx.doi.org/10.34064/khnum1-57.18.

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Background. The category of style is one of the most used in modern musicology. This is due to objective reasons: the attention of the “consumer” of a cultural product is mostly not focused on its author recently. The coexistence of individual performance versions of composer’s works is one of the reasons that problems of stylistic attribution of musical art do not lose their relevance. In different areas of musical practice these problems are interpreted in different ways and get various degrees of theoretical understanding. The area of vocal art deserves special attention. An analysis of specialized literature suggests that the ever-increasing number of appropriate studies has not yet influenced the crystallization of the definition of “vocal style” in the scientific sense. This is due to the fact that the meaning of the term “vocal style” has many dimensions that reflect technological, aesthetic, historical, individual and national parameters of creativity. This resulted in the purpose of proposed article – to identify the singular and general in the interpretation of the category “vocal style” in Western European and Chinese art discourse. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. The word style first appeared in ancient Greece, where it was called a tool for writing on wooden tablets covered with wax. Later, the word style began to be used to describe not only human activity, but himself. At the same time, there is no case in Confucius’s “Analects” of using this definition. Central to the aesthetic block of Confucius’ teaching is not the question of the style of art, but the degree of influence that it has on the formation of the five moral qualities. As for questions directly about the style of artistic creation, Chinese scholars believe that they were first addressed by a contemporary and follower of Confucius, literary theorist Liu Xie, in whose works for the first time in the history of Chinese culture the word “style” was used. We note that in both Europe and China the studies of ancient thinkers have become the foundation for centuries and millennia that determined the essential parameters of the worldview of peoples and civilizations and stimulated the development of human thought. So nowadays style is similarly understood as a certain set of features that characterize either a particular person or the results of his activities. As for a narrower understanding of style (in our case – vocal style), it historically developed much later, which was preceded by a long evolution of vocal art and the accumulation of relevant scientific works. In addition, it is necessary to take into account the specific of vocal performance, the essence of which involves working with verbal texts, their artistic representation, and, consequently, the determinism of not only musical but also artistic embodiment of the work. Thus, in European treatises of Renaissance and Baroque periods it is not about the performer, but about the style of specific musical works, basic parameters of which are determined by the place of performance and the appropriate type of expression. At the same time, there are studies which examine the national aspect of the phenomenon of vocal performance, that is perceived as a consequence of the interaction of several factors: temperament, climate and landscape. It is interesting that even in the baroque treatises maxims about the advantages of the Italian school bel canto can be found; and nowadays it continues to determine the development of not only European but also world vocal art. We emphasize that we can not find Chinese treatises dating from the XVII–XVIII centuries, which are devoted to the comprehension of vocal art in the European sense of the word. After all, academic vocal culture in this country has begun to develop only in the early twentieth century and therefore imitated and appropriated the aesthetic and technology of the dominant European vocal style bel canto. It is known that the definition of bel canto is most often used in two cases: as a designation of a certain historical style, which is most vividly embodied in works of V. Bellini and G. Donizetti, and as a designation of singing technique. So we see that, as in other performing arts, the definition of style contains two interdependent parameters: technological and artistic and aesthetic. And the latter in the case of exactly vocal schools can be interpreted as a mobile factor. The similarity of interpretation of the definition of vocal style (namely one of its varieties – bel canto) in European and Chinese art literature is the result of the fact that eastern and western cultures are gradually approaching each other in the process of historical development. Conclusions. A comparative analysis of European and Chinese scientific sources suggests that the issues of musical stylistics occupied an important place in the minds of thinkers even before our era. And although both in the East and in the West the category of style was perceived as a mean of realization of the individual worldview of the man-creator, we can still talk about the difference in vectors of study of this problem. For example, if in the East it was perceived as a fundamental part of the ethical, in the West – the aesthetic. The formation of the phenomenon of “vocal style” was a natural consequence of the development of European vocal culture, where concepts of “technique” and “style” gradually crystallized. They became the basis of European vocal art, the assimilation of which has led to the phenomenal success of the modern Chinese school bel canto.

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Limarenko, Valerii. "Methodical competence of the future leader of the vocal ensemble: categorical analysis of the problem." Academic Notes Series Pedagogical Science 1, no. 189 (August 2020): 189–92. http://dx.doi.org/10.36550/2415-7988-2020-1-189-189-192.

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The article reveals the features of such concept as «The vocal ensemble future leader methodological competence». It is necessary to distinguish such concepts as «preparedness» and «competence». The essence of the following concepts was revealed: «competence», «pedagogical competence», «methodical competenc», the essence analysis and structure of the vocal ensemble has been carried out. The professional competence of a modern specialist is a complex multi-component concept. Researchers come to the common opinion that methodological competence is an integrative set of knowledge, skills, and abilities that characterize the personality and mediate the specialist professional experience, it is knowledge in the didactics field, teaching methods. Vocal training is a complex process, the training of the vocal ensemble future leader is impossible without it. The concept of «ensemble» is polysemantic. In musical performance - it means any joint performance of a musical work. Therefore, such combinations as trio, quartet, quintet, and others are called ensembles. The vocal ensemble future leader must know the theoretical material and be acknowledged about the methods of working with the vocal ensemble. In the educational-professional program 025.00.02 «Solo singing» of the first (bachelor's) level of higher education the program, general and professional competences are specified. The purpose of the program is to prepare a competent competitive artist of the ensemble, a teacher of primary specialized art schools, capable of concert-performing and vocal-pedagogical activities. Provide higher vocal education with the possibility of teaching in primary specialized art schools. Vocal-methodical competence is defined as mastery of the method of voice production, methods of development of vocal technique, singing culture, creative potential of the singer. Knowledge of the principles of classification of singing voices and the ability to correctly determine the type of singer's voice. Ability to design vocal and pedagogical repertoire for different types of singing voices (children, adults). Possession of methods of work on vocal exercises, vocals, vocal works of various form, genre, style. Ability to apply the acquired knowledge and skills in the process of teaching solo singing in primary specialized art schools.

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Kapliyenko-Iliuk, Yuliya. "Style Paradigms of Western European Music in the Works of Sydir Vorobkevych." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 97–108. http://dx.doi.org/10.24193/subbmusica.2020.2.07.

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"The study of the works of composers of different national schools, their creative connections, peculiarities of stylistic contaminations – an important aspect of forming a general “world view” in the field of music. Individual personalities, their works have become a source of information about steady models of musical art, which have become a model for most European cultures. Stylistic paradigms of Western European music were differently manifested in the works of representatives of different peoples and times. The work of a Bukovynian composer of the end of the XIX century – Sydir Vorobkevych – is an example of a combination of national, folklore and classical traditions. The formation of his creative thinking took place in a multinational environment, studying at the Vienna Conservatory, attending concerts, and getting acquainted with the creative and performing activities of his contemporaries. S. Vorobkevych's variety of genres was influenced by stylistic models of classical, romantic, and separate national schools – German, Italian, French, Spanish, Romanian, Czech etc. Thus, the study of stylistic basics of creative work of composers of different national schools, revealing intercultural correlations of the past will contribute to the expansion of the ideas about principles of forming stylistic paradigms of the world musical art. Keywords: music of Bukovyna, creative ties, stylistic contaminations, Western European traditions, musical romanticism."

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Sun, Bo. "Texture and harmony parameter of the vocal and performance style (a case study of G. Sviridov’s works)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 157–71. http://dx.doi.org/10.34064/khnum2-49.11.

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The article is devoted to the study of the role of harmony and texture in the process of forming the singer’s performance thinking. The relevance of the research topic is to justify the texture and harmony set of G. Sviridov’s vocal compositions as the basis for the formation of performance thinking. The problem for a vocalist lies in the fact that in the conditions of the complication of the musical language of chamber and vocal music of the 20th century, it becomes difficult to build a hierarchy of artistic image in the unity of vocal and instrumental framework. For a soloist, the texture as a principle of the composer’s organization of a text comes down to their solo melodic line; this is an instrumental category, the measurement of the piano part. Together with melos, instrumentalism constitutes artistic unity expressed through the texture and harmony set. How does the monody in the vocal part interact with the instrumental texture (homophony and harmony)? This aspect is a “stumbling block” for the vocalists who study vocal styles of music by composers of the 20th century. The purpose of the article is to reveal the texture and harmony features of the vocal compositions of G. Sviridov, taking into account their implementation in the performance process. Analysis of the recent studies and publications. In the monograph by A. Sokhor, the main attention is focused on the coverage of the biography in connection with creative activity. The harmonic language of G. Sviridov’s works was analyzed by V. Tsendrovsky [11]. In the works of O. Aleksandrova, the aspects of modern musicological methodology are presented when studying the compositional style of G. Sviridov [2]. However, in the above scientific sources, the issues of the texture and harmony organization that are important for the formation of the performance thinking of singers (including those from China) are not systematically presented and therefore should be the subject of scientific reflection. Discussion. For the baritone, the composer created a multi-genre palette of images in various chamber and vocal compositions of a cyclic type. The works of G. Sviridov are distinguished by deep national basis and the originality of the musical language. The composer inherited a connection with folk-song sources, modal expressiveness, vivid imagery, courage of harmonic principles of thinking. The texture and harmony arrangement of vocal parts is characterized by a combination of common European and folklore parameters. From the arsenal of modern methods of compositional technique, he applies the phonic interpretation of the vertical, pays special attention to timbre intonation as a sound image, speech declamation in the synthesis with the song manner. The melodics in G. Sviridov’s vocal compositions is the leading factor of the style, influencing the texture and harmony and timbre parts of the sound image (the unity of the vocal and instrumental intonation). Together with melos, the instrumentalism constitutes artistic unity, expressed through the texture and harmony set. The substantiation of the concept of texture and harmony set in the context of the singer’s activities as melodic self-identification is seen as important. The main parameters of the texture and harmony set in G. Sviridov’s vocal compositions form the basis for the implementation of the composer’s vocal style. Hence there is a need to include understanding of the foundations of the composer’s text (melodics, mode and harmony, texture) in the performance poetics (timbre, articulation, dynamics, agogics). Examples from certain compositions of Sviridov are indicated: “Spring” from the cycle “Four songs” to the verses of A. Blok as an example of polyharmony (introduction of the side tones into the chords of the tertian structure). The melody of baritone romances is almost always strictly monomodal or pentatonic. The stability of harmony is typical, holding one mode or oscillating around it, tinted by additional tones, comparisons or deviations with the dominance of the tonal basis. Sometimes a multicomponent tone system is complicated by the side tones. Second “overtones” included in such consonance create the effect of a bell manner, a sense of spatiality. The approach to folklore as a special system of thinking emphasizes the national mentality of musical images (Eternity, House, Path, Nature) of G. Sviridov’s works, creating a “close-up” where the poet creates an objective lyrical and epic song on behalf of his Self. Harmony is the basis of composer’s thinking: the colorfulness of the texture and vertical sets determines the instrumental phonism (piano). It entails the need for deep comprehension of the composition foundations (melodics, mode and harmony, texture) through the performance specifics (articulation, dynamics, agogics). The given examples confirm the importance of the texture and harmony parameter in the process of the formation of melodic pitch in the works of foreign-language singers. Having considered the parameters of the texture and harmony set in G. Sviridov’s vocal compositions, it can be argued that without understanding their role in recreating the singer’s figurativeness, the true height of interpretation of the composer’s vocal style is impossible.

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Paulová, Eva. "Prague Spring in the Drawings of Karel Otáhal." Musicalia 8, no. 1-2 (2016): 13–21. http://dx.doi.org/10.1515/muscz-2017-0001.

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This study reports on interesting holdings in the musical iconography collection of the Czech Museum of Music. Drawings by the sculptor Karel Otáhal (1901–1972) that are related to music and musicians were created for the most part at concerts of the Prague Spring festival between 1946 and 1969. He had already begun making portraits of musicians by the end of his studies, when he created a sculpture of Jan Kubelík. His works are a specific expression of portrait realism and of the ability to capture the typical movement and characteristics of the person depicted. He met in person with musicians, and his drawings bear valuable dedications and commemorative musical quotations by important figures of Czech and foreign music. Unlike the other creators of such drawings, he was merely an enthusiastic observer, but not a caricaturist. Otáhal’s drawings serve as a unique source on the history and dramaturgy of the Prague Spring festival, including its politicization in the 1950s.

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NOVEMBER, NANCY. "HAYDN’S MELANCHOLY VOICE: LOST DIALECTICS IN HIS LATE CHAMBER MUSIC AND ENGLISH SONGS." Eighteenth Century Music 4, no. 1 (March 2007): 71–106. http://dx.doi.org/10.1017/s1478570607000711.

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AbstractFrom the nineteenth century onwards the stereotype of Haydn as cheerful and jesting has dominated the reception of his music. This study contributes to the recent scholarship that broadens this view, with a new approach: I set works by Haydn in the context of eighteenth-century ideas about melancholy, those of Edmund Burke, Francisco Goya, Henry Home (Lord Kames), Immanuel Kant and Johann Georg Zimmermann. Their conceptions of melancholy were dialectical, involving the interplay of such elements as pleasure and pain, freedom and fettering, and self-reflection and absorption. I consider the relevance of these dialectics to Haydn’s English songs, his dramatic cantata Arianna a Naxos and two late chamber works. Musical melancholy arises, I argue, when the protagonist of a work – be it the vocal character in a song or the ‘composer’s voice’ in an instrumental work – exhibits an ironic distance from his or her own pain. The musical dialectics in these works prompt listeners, for their part, to take a step back to contemplate the borders and limits of emotional experience and communication.

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Loza, Sergiy, and Darina Kupina. "Genre stylistic features of О. Вelash’s chamber-vocal creativeness." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 15–25. http://dx.doi.org/10.33287/222014.

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The purpose of this scientific article is to identify the specifics of chamber vocal creativity of O. Bilash in the context of Ukrainian musical culture of the 20th century. The following investigative methods are involved in the work: comparative, historiographic, analytical, genre, style, axiological. The scientific novelty of this represented exploratory work lies in the fact that for the first time it was made the attempt to detailise specifics of chamber-vocal creativity of O. Bilash. Chamber songs form the basis of the work of O. Bilash. Among the diversity of his songs, several certain groups can be distinguished, among which the main ones are works of a civilian theme, landscape lyrics and intimate lyrics. Among the best features inherent in the work of O. Bilash, we single out lyrical reflection, high sentimentality in the best sense of the word, laconicism of expression and precise psychologism. An integral feature of chamber-vocal creativity of O. Belash is romance, which manifests itself on the genre, style and intonation levels, which brings his chamber-vocal works closer to the 19th century song lyrics. It is romances that can be considered the most revealing from the point of view of individual style among the genre variety of chamber-vocal works of the composer. Conclusions. Celebrated composer O. Bilash is distinguished by a bright melodic talent, which forms the foundation of his creative style. The main natural principle of the composer’s creativity is that some of them have the most characteristic signs of their own indigenous style. O. Bilash’s chamber-vocal creative work is characterized by a very faithful national identity, identifying oneself with the figurative, and so with the vernacular rivals. He is characterized by the sincerely superelevations of national identity and individual compositional style.

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Gajić, Milica. "Marking the jubilee of the National Theatre in Belgrade: 150 years since its founding: Czech music and musicians on the stage of the National Theatre in Belgrade until 1914)." New Sound, no. 52-2 (2018): 149–60. http://dx.doi.org/10.5937/newso1852149g.

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This year's jubilee of the National Theatre in Belgrade is an opportunity to remind ourselves of the presence and contribution of Czech musicians at that institution. We meet them as members of the orchestra, bandleaders, authors of operas, operettas, and stage music, and, to a lesser extent, as vocal soloists in numerous works of stage music and chamber musicians. Many of them showcased their concert activities on the stage of this institution, including even some who were internationally renowned musicians at the time.

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Щітова, С. А., and О. С. Желтобрюхова. "Chamber-vocal works by S. Rakhmaninov as model of the development for archetypal features of russian classical romance (on the example of early-period romances for the average voice)." Музикознавча думка Дніпропетровщини, no. 13 (August 15, 2018): 94–104. http://dx.doi.org/10.15421/22189.

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The target of the work is investigating the development of archetypal features of the Russian classical romance in the chamber-vocal S. Rakhmaninov’s creation of early period on the example of romances for the average voice. Vocal miniatures are the kind of lyric diary of the composer, which fully embodies the whole range of characteristic images and feelings. In this sense, romances are the kind of encyclopedia of Rakhmaninov’s creativity: it is impossible to find such wealth and variety of states, perhaps even in his brilliant concerts and symphonies. The methodology of the study is to use the art history, historical and cultural, analytical and comparative typological methods. This methodological campaign allows you to analyze the features of the genres of elegy, Russian song, „gesture romance” and their own interpretation by the composer. The scientific novelty of the work consists in broadening the concept of the imaginative multidimensionality of Rakhmaninov’s vocal miniatures, which is due to the synthesis of various traditions of the national school. Vocal works „contain” a full thematic „spectrumˮ of his musical world. Conclusions. The archetypal features of the Russian classical romance and the origins of vocal lyrics are most evident in the early period of the composerʼs work. Obviously, the scope of the scientific article does not allow paying serious attention to the entire vocal creativity of the author of the Bells, to consider 83 romances in full. Therefore, the work is limited studying of works for medium voice and piano. They fully embody the main genre and style features of Rakhmaninov’s chamber-vocal creativity. The early romances of the composer-lyric poet determine the future development of the chamber-vocal genre, anticipating the innovative treatment of vocal plays.

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Macpherson, Ben. "Baudrillard on Broadway: Bio-musicals, the hyperreal and the cultural politics of simuloquism." Journal of Interdisciplinary Voice Studies 5, no. 1 (April 1, 2020): 43–57. http://dx.doi.org/10.1386/jivs_00015_1.

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This article considers the nature of vocal hyperreality in bio-musicals: a form of musical theatre in which actors simulate the voices of well-known pop singers or groups in theatrical retellings of their lives and careers. To do so, I employ the four successive stages of simulacrum found in Jean Baudrillard’s ‘The precession of simulacra’ (1981) to consider the potentials and limitations of such vocal simulation in the act of (re)authoring pop singers for the musical stage. Considering the way in which such performances mask or denature their source material (the ‘original’ voices of pop singers and artists), while at the same time employing a dual temporality of cultural memory and current experience, I offer a neologism that may help articulate the complex experience for audience members who attend these productions. The final part of the article considers the peculiar convention of releasing Original Cast Recordings of these works, arguing that these may be symptomatic of Baudrillard’s simulacrum, as popular culture reaches a terminus from which it is unable to progress without regression, intertextuality or manufactured nostalgia.

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Stras, Laurie. "Voci pari Motets and Convent Polyphony in the 1540s: The materna lingua Complex." Journal of the American Musicological Society 70, no. 3 (2017): 617–96. http://dx.doi.org/10.1525/jams.2017.70.3.617.

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In the 1540s the great Venetian publishing houses of Scotto and Gardano issued a cluster of publications whose title pages advertised a particular vocal disposition—“voci pari,” or equal voices. Analysis of the motets, their texts, and their musical treatment reveals an intimate connection with convents and conventual worship. In this article I describe the relationships between the books, speculate as to how convents might have used the motets, and consider what the works can tell us about performance practice in female-voice ensembles. Drawing on aspects of the books’ publication history, the liturgical function of certain texts, and musical relationships with works composed at the Ferrarese court, I propose a candidate for the composer of at least some of the anonymous pieces in Musica quinque vocum: motteta materna lingua vocata (RISM 15432): Suor Leonora d'Este (1515–75), daughter of Duke Alfonso I d'Este and Lucrezia Borgia and the abbess of the convent of Corpus Domini in Ferrara.

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Yushchenko, N. S. "Ways of Developing Musical Taste in Adolescents in the Process of Mastering Vocal Works of Foreign Pop." Uchenye Zapiski RGSU 19, no. 4 (December 29, 2020): 186–93. http://dx.doi.org/10.17922/2071-5323-2020-19-4-186-193.

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the modern cultural preferences of children and youth pose the task for teachers of aesthetic education of students, the formation of their musical tastes in the process of teaching. This problem receives a special sound when students of foreign pop are included in the educational repertoire. On the one hand, children get the opportunity to expand their horizons, deepen ideas about the styles and genres of modern music, get acquainted with the work of famous foreign pop singers of the past and the present, master new techniques of performance, increase the level of proficiency in a foreign language, etc. On the other hand, the question arises about the correspondence of these works to the age characteristics of novice vocalists, about the content side of mastered music. Picking up a foreign repertoire, the teacher, as a rule, turns to the work of pop performers whose works are addressed to an adult listener, which requires an extremely attentive attitude to what information is contained in the words of the song.

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Іван Дерда. "FORMATION OF PROFESSIONAL COMPETENCE OF THE FUTURE TEACHER-MUSICIAN DURING THE PROFESSIONAL TRAINING." Collection of Scientific Papers of Uman State Pedagogical University, no. 3 (September 4, 2020): 56–63. http://dx.doi.org/10.31499/2307-4906.3.2020.219090.

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The article analyzes various interpretations of the concepts “competence”, “professional competence”, “teacher-musician’s professional competence”. The article highlights the scientists’ views on the issue of future teachers-musicians’ professional competence developing during professional training. It is determined that the formation of professional competence implies a comprehensive, harmonious development of the future teacher-musician who has not only theoretical knowledge but also practical skills and abilities.The author notes that one of the most important subjects in the content of special disciplines at art faculties is voice staging. During which students master vocal techniques, singing breathing, diction, emotional and dynamic expression, stage skills, etc. The main principles in solving musical and pedagogical issues of vocal education are the harmonious development of musical and creative abilities of vocal students in the process of developing general vocal culture, comprehensive development of individual qualities of vocalists.The study of scientific works allowed us to determine the essence of the concept of “professional competence of the future teacher-musician”, which includes a system of theoretical and practical knowledge, skills and abilities, experience, pedagogical abilities, important personal and professional qualities to ensure the successful self-realization of the future teacher in music education. The prospects of scientific research on the introduction of innovative learning technologies into the educational process, the search for ways of creative self-realization of experts in the art industry with an emphasis on personal and professional development have been outlined.

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Journal articles on the topic 'Czech musical vocal works'

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