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Faturrozi, Muhammad Muchlis. "Aransemen Lagu "Tanah Airku" Karya Ibu Sud Oleh Joko Suprayitno (Tinjauan Variasi Melodi)." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 3, no. 1 (June 27, 2020): 33. http://dx.doi.org/10.26740/vt.v3n1.p33-44.
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Aransemen lagu “Tanah Airku” karya Ibu Sud oleh Joko Suprayitno yang diberi judul “variation on tanah airku” merupakan salah satu aransemen dengan keunikan bentuk yaitu variasi tema. Bentuk ini variasi tema ini banyak menggunakan variasi melodi sehingga penulis tertarik meneliti tentang teknik variasi melodinya. Penelitian ini membahas struktur lagu “Tanah Airku” karya Ibu Sud guna memetakan motif dan frase agar lebih mudah mengurai variasi melodi didalamnya, kemudian barulah dibahas variasi melodi yang digunakan dalam aransemen berjudul “variation on tanah airku” ini. Dalam mengurai variasi melodi ini, teori yang digunakan adalah teori aransemen, motif, bentuk lagu, dan variasi melodi. Dalam menganalisa struktur lagu dan variasi melodi, pendekatan penelitian yang digunakan adalah pendekatan penelitian kualitatif. Dalam metode tersebut subjek penelitiannya adalah full score “variation on tanah airku” oleh Joko Suprayitno dengan objek utamanya yaitu variasi melodi. Sumber data yang digunakan adalah dari full score “variation on tanah airku” oleh Joko Suprayitno dan teknik pengumpulan data yang digunakan adalah melalui wawancara dengan narasumber (yang dalam hal ini Joko Suprayitno) dan dokumentasi. Hasil analisa yang didapat adalah struktur lagu “Tanah Airku” terdiri dari 3 frase dan 6 motif. Alur aransemen yang dibuat oleh Joko Suprayitno ini dimulai dari bagian introduction, theme, variasi I-VII, cadenza, dan yang terakhir finale. Dari struktur tersebut, variasi melodi yang terjadi pada melodi utama adalah melodic variation and fake via non-chordal, ornament dan sekuensi. Kemudian variasi yang digunakan diluar melodi utama antara lain, filler (melodic filler, tail, fill in), counter melody, obbligato, cliché, dan filler like obbligato. Variasi melodi yang banya digunakan Joko Suprayitno adalah melodic variation and fake via non-chordal dan filler.Kata Kunci: Aransemen, Variasi Melodi
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Hough, Monica Strauss. "Melodic Intonation Therapy and aphasia: Another variation on a theme." Aphasiology 24, no. 6-8 (July 20, 2010): 775–86. http://dx.doi.org/10.1080/02687030903501941.
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Leppert, Richard. "On Reading Adorno Hearing Schubert." 19th-Century Music 29, no. 1 (2005): 056–63. http://dx.doi.org/10.1525/ncm.2005.29.1.56.
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Adorno's "Schubert" textually reenacts what he recognizes in Schubert's music, repeating himself but with subtle differences, as though he were holding up a cut gem to light and turning it to see the differences manifested in its facets. Adorno's ideas about this music are less developed than juxtaposed, often paratactically, so as to constitute what Benjamin termed a constellation. What Adorno hears in Schubert is a kind of reciprocity toward otherness. Schubert's "landscape," for Adorno, is grounded in the realm of the cultural imaginary; it represents for him a declaration of love, defined by the difference between subject and object that engenders embrace, rather than domination. The aesthetic truth of Schubert's music doesn't emerge through development, except, ironically perhaps, in the "successful" failure of his developments. Instead, it's articulated in a virtual instant, as in the shape and turn of a melody (and distinctly not in its working out). The Schubert melody is like the imagined perfection of landscape--as though, like "nature," it were always already complete. The C-minor Andante of the Piano Trio in Eb (op. 100, D. 929) is a case in point. The opening melodic statement in the cello and the folklike second theme in the violin, for the most part, can only be repeated, not improved upon, though Schubert tries--the melodic perfection of the opening statements, the first theme especially, becomes unambiguously evident only when the movement ends. We need everything that follows the initial statements to realize what we first heard: a melody (more than a theme) complete in itself, perfect, and on that account acoustically utopian--a semblance of happiness embedded in the sad honesty of C-minorÕs pensive melancholy.
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Elinson, Alexander Eben. "Contrapuntal Composition in a Muwashshah Family, or Variations On a Panegyric Theme'." Medieval Encounters 7, no. 2 (2001): 174–96. http://dx.doi.org/10.1163/157006701x00049.
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AbstractThe unique structural qualities of the Andalusi strophic poem (muwashshah or zajal) lent itself to a type of poetic interaction called muārada, commonly translated as "literary imitation." By composing within the parameters of an already established metrical, rhythmic, and melodic scheme, as well as sometimes sharing the final lines of the poem (the kharja), poets opened up a dialogue with their audience, and/or their fellow poets. However, these "imitations" were more than simplistic copies of of one another composed for virtuosic show. When executed well, a muārada provided a variation, praise, parody, response, or combination of these, of the original work, which would not be lost on the audience familiar with the form. In this paper, I will examine three strophic pocms that share a common kharja, in addition to elements of thematic development, rhyme scheme, and metrical patterns. In our set, we have what appears to be three panegyrics -a muwashshah composed in classical Arabic, a muwashshah-like zajal in Andalusī colloquial Arabic, and a muwashshah in Hebrew. Through a close reading of the poems, I will show that despite their shared features and surface similarities, they are, in fact, quite distinct in language, tone, and purpose, thus calling into question their generic designation as panegyric poems.
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Drake, Carolyn, W. Jay Dowling, and Caroline Palmer. "Accent Structures in the Reproduction of Simple Tunes by Children and Adult Pianists." Music Perception 8, no. 3 (1991): 315–34. http://dx.doi.org/10.2307/40285505.
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This paper examines the influence of three accent structures on the reproduction of simple musical tunes by 5-, 7-, 9-, and 11-year-old children and adult pianists. In the metric accent structure, periodically spaced beats are accented; in the melodic accent structure, events after a jump in pitch interval or after a turn in contour are accented; and in the rhythmic grouping accent structure, the first and last events of a rhythmic group are accented. Four themes were created in which all three accent structures coincided. Three variations were derived from each theme in which each accent structure in turn was moved out of synchrony with the other two. In a fourth variation, all three accent structures were out of synchrony with each other. Both the children's and the pianists' reproductions were the most accurate when the accent structures coincided and the least accurate when they conflicted. Intermediate results were obtained when the rhythmic grouping and melodic accent structures were displaced, but no deterioration in performance was observed when the metric accent structure was displaced, demonstrating the relatively unimportant role played by intensity variations in these conditions. These results were obtained only for the melody scores—no deteriorations were found in the rhythm scores. For the pianists, fewer errors were made on the accented notes than on the others. So, the juxtaposition of the three accent structures does indeed influence the perception of musical sequences. When attention is drawn to the same point in time by several different accent structures, the segmentation of the sequence into smaller units is efficient and reproductions are good. However, when attention is drawn to too many points in time, segmentation is less efficient and reproductions are poorer.
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Herdianto*, Ferry. "Marimba Solis Performance with Repertoar the Variation on Theme (from the Malay's "Pucuk Pisang")." International Journal of Management and Humanities 5, no. 7 (March 30, 2021): 76–81. http://dx.doi.org/10.35940/ijmh.f1235.035721.
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Performing the art of music in the era of the industrial revolution 4.0 experienced many changes, these changes had a big impact on industry players in terms of music marketing and consumers to enjoy music. In the era of revolution 4.0, every individual is currently required to race against each other in filling life both in education and skills. To respond to the challenges in this 4.0 era, the writer has a desire to change himself, both in ways of thinking and in skills so that the author can be useful both for self-improvement and beneficial to many audiences. On this occasion, the presenter performed a modern repertoire using marimba instruments that had different levels of difficulty. It is a challenge for the presenter to master the techniques with the difficulties inherent in each repertoire. Marimba is a type of melodic percussion instrument that is rarely known by the public. In this marimba show, the presenter presents a musical repertoire, i.e The Variation On Theme (From the Malay's “Pucuk Pisang”) the show is presented in the form of a solo marimba and accompaniment. Repertoire The Variation On Theme (From the Malay's “Pucuk Pisang”) has a difficulty level. Here the presenter is required to master and practice all the difficulties contained in the repertoire, especially basic techniques.
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Savchenko, Yevheniia. "PHONETIC MEANS EXECUTING THEME AND RHEME FUNCTIONING IN SPEECH." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 18, no. 28 (July 2019): 165–76. http://dx.doi.org/10.24195/2616-5317-2019-28-15.
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The paper deals with phonetic means executing theme and rheme functioning in speech. The main components of prosodic arrangement of the theme and rheme structure of the utterance are studied, and a problem of structural units of intonation is investigated. Multi-functionality of intonation tends to complicate a study of speech prosody. At the stage of inventory and taxonomic analysis of the formal means of intonation the basic components of prosodic arrangement of the theme and rheme structure of the utterance are considered and a problem of the structural intonation units is studied. The analysis is based on a study of the material essence of the intonation units which differentiation is provided not only by the melodic component but also by speech intensity, speech tempo (including pauses), voice timbre as well as the integral prosodic characteristic — the phrase stress. It is possible to speak definitely about presence of essential differences in the degree of informational melody, speech intensity, tempo and timbre in the context of communication of meanings, and a complex nature of their accomplishment in speech. Therefore, it becomes important to study not just the role of each of these components in the accomplishment of the communicative function of intonation but also to establish their hierarchy, inter-relation and interdependence. Functional analysis of intonation is primarily aimed at specification of the very principle of classification of the intonation structure functional loading. It is advisable to study the relative autonomy of various functions and the nature of their interaction. The list of intonation functions may be limited with such a set: intelligent and logical function (segmentation by syntagms, links between syntagms, actual segmentation, accentual marking of the syntagm elements), differentiation function of the communication types (situations), the function expressing the emotional state and relations and the function that transfers modal relations. At the prosody level the actual segmentation of utterances is accomplished in speech primarily by using tonal and, partially, dynamic means of intonation (the emphasis is often linked to the forceful intonation components — intensity and energy component): at that, in order to identify the content, the place of stress is important as well as certain peculiarities of its accomplishment.
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Слюжінскас, Рімантас. "ARCHAIC MUSICAL STYLES PROBLEM IN THE EARLIEST PUBLICATIONS OF LITHUANIAN FOLKLORE." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 50–60. http://dx.doi.org/10.33287/22194.
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The purpose of this submitted scientific article is based onemphasizing of archaic musical styles evaluation problem in the earliestLithuanian folklore publications. The target of this investigation is definedon analysis of the historical music notations in the historical musicalfolklore editions. The methods of this represented exploration are formedon the basis of historical method, where some well-known stereotypeshave to be re-thought. Systemic method is also important here tounderstand the whole socio-cultural context of early notations ofLithuanian folk songs. The structurally analytical method allows maximalprofoundly holding out the contemporary outlook concerning previousactual investigations on this theme. The scientific newness of thepresented article is determined by new attitude for evaluation of earliestmusical styles throughout Lithuanian folklore heritage. The actual factsdiscovering from large period of historical times in Lithuanianethnomusicology might be understood as also important novelty of this ourscientific work. Conclusions. We are not allowed to bring guarantees, thatthe earliest musical descriptions of folk songs and their melodies are reallyearliest in historical life and development of local folk tradition. The described, fixed folklore materials are just very fragmentary moments,taken from the real and eternal folk life development both in Lithuaniancase, and worldwide. And this development has no any clear beginning,any clear outset. The main task of all ethnomusicologists is to find, tounderstand, and to evaluate the level of the antiquity and authenticity ofparticular local melodic tunes in the context, certainly, of all contemporaryscientific knowledge.
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Pereira, Eliton Perpetuo Rosa, and Otoniel Pereira Gomes. "A iniciação à improvisação no piano popular: análise de métodos e elaboração de proposta didática." Cadernos de Educação Tecnologia e Sociedade 14, no. 1 (March 12, 2021): 38. http://dx.doi.org/10.14571/brajets.v14.n1.38-55.
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The theme of this research focuses on the initiation of improvisation on the popular piano, as a musical educational action to introduce students to this instrument in the universe of improvisation, as a music teaching activity, but mainly as a musical experience activity related to popular music. The study aimed to carry out a comparative analysis of the publications most used by Brazilian popular musicians on harmony and improvisation, in printed editions in Portuguese or translations printed in Brazil. Nine publications with this profile were found and the analysis took place through five main categories: 1) musical initiation; 2) concepts of improvisation; 3) rhythmic, melodic and harmonic aspects; 4) practical exercises (technique and repertoire); and 5) didactic aspects. The results show regularities, specificities, and gaps in these publications most widely circulated in Brazil among popular piano teachers and improvisers. Concerning the process of initiation to improvisation on the popular piano, we highlight aspects related to planning, the sequence of contents, and practical activities.
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Naiko, Natalia M. "SEMANTIC OVERTONES OF D. SHOSTAKOVICH'S NINTH SYMPHONY." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 170–84. http://dx.doi.org/10.17223/22220836/39/16.
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The ninth symphony, created by D. Shostakovich in 1945 and a few years later defined as the “scherzo symphony”, was met with bewilderment by critics who expected a grandiose work praising the Victory. The deep layers of its content, the direction of the author’s thought, become accessible to understanding only as a result of the analysis of the composer’s work with thematic material having a “secondary” nature. This is material I (sonata allegro), III (scherzo) and V (final). The main themes of parts I and III are generalized in genre, they are characterized by being ori-entated at classicist style models. The remaining thematism reveals domestic origins: march (theme of the Second subject group of part I), tarantella (theme of the episode of part III), gallop (theme of the First subject group of the final), march song (theme of the Second subject group of the final). The reliance on these genre models determines the melodic-rhythmic, harmonic, textural, and structural characteristics of the corresponding themes. In the purest form, typical signs of genre-stylistic models appear during the exhibition. In the process of development of the themes, a general pattern is the exposure of the proto-intonation layer (E. Nazaikinsky's term), putting in the foreground the biological, the animal in a person – which is connected with the instinct of destruction, uncontrolled aggression, etc. Just as a predatory grimace disfigures a human face, in the aspect of musical decisions, protointonation is manifested through the deformation of the genre and style models comprising all the levels of musical organization, which is most clearly represented in the developments and reprises. These means serve as a metaphor for the destruction of the cultural layer, which determined the way of artistic imprinting of Homo agens, Homo sapiens, Homo ludens, Homo communis. In the Ninth Symphony, Shostakovich models the process of disintegration of human culture and a person, who has lost the spiritual core, the release of the dark component of his nature. This way he reveals the inner content of the themes-images that initially fit into the traditions and norms of musical culture – prima-ry, household, or professional, artistic. Since such techniques contribute to the detection of meaning, they are included in the sphere of superintonation, simultaneously expressing the author's concept. The result of the figurative development of parts II and IV is the repression of the living human principle, rooted in the native culture and at the same time addressed to the sublime, which manifests itself in feeling and thought. These processes express the idea of the doom of Personality under the pressure of vulgarity and dirt, which, refracted in the mind of the Artist, is generalized and grows up to the level of a symbol. The specificity, tangibility of images in the presence of a plan of philosophical understanding al-low us to speak about the presence in the given symphony of features of the parable genre. Author's musical “narration” contains, in a coded form, a system of value directions and modeling of the conditions under which ideals are destroyed.
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Givan, Benjamin. "Gunther Schuller and the Challenge of Sonny Rollins:." Journal of the American Musicological Society 67, no. 1 (2014): 167–237. http://dx.doi.org/10.1525/jams.2014.67.1.167.
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Scholarly opinion has for many years been divided over Gunther Schuller's landmark 1958 article, “Sonny Rollins and the Challenge of Thematic Improvisation.” Jazz theorists view the article's close analysis of Rollins's 1956 jazz saxophone improvisation “Blue 7” as one of their discipline's founding statements; historians and ethnomusicologists meanwhile tend to fault it for neglecting cultural context. In either instance the specific details of Schuller's analysis have been largely accepted as being internally consistent. The present study proposes that the analysis of jazz improvisation ought to engage more extensively with broader stylistic issues in addition to the specifics of isolated individual performances. Such a musically contextualized perspective reveals that Schuller's principal argument—that, in this particular improvisation, Rollins developed motivic elements of a composed theme—is false. “Blue 7” was in fact improvised in its entirety, and the melodic pattern that Schuller cited as a thematic motive was one of Rollins's habitual improvisational formulas, heard on many of the saxophonist's other 1950s recordings. This canonic recording, as well as the notion of Rollins as a “thematic” improviser, therefore needs to be reconsidered.
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Nikolenko, R. "The specifics of the ironic in the Marc-André Hamelin’s creativity on the example of “Variations on a Theme of Paganini”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 132–44. http://dx.doi.org/10.34064/khnum1-52.09.
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Background. From the era of romanticism to the present day there is a stable interest of world-renowned virtuoso musicians to such kind of creativity as transcription, which makes it possible to speak not only as a performer, but also to express themselves in the composer’s perspective. Many prominent pianists of different eras have made a significant contribution to this branch of musical art, we need only recall the names of F. Liszt, K. Tausig G. von Bulow, F. Busoni, L. Godowsky, Vladimir Horowitz, Glenn Gould. Among artists of our time, it should be noted the Canadian piano virtuoso and composer Marc-Andre Hamelin, for which transcriptions are characterized by a harmonious combination of technical complications and modernization of the selected thematic material, which provides his music a wide audience. A striking confirmation of this are the thousands of views of his transcriptions on the channel in YouTube. Perhaps one of the secrets of such popularity is not only the actualization of the musical language of the original, but also The article is devoted to the specifics of the ironic, as one of the manifestations of the comic, in creative heritage of the world-famous Canadian pianist and composer Marc-André Hamelin On material Of “Variations on a Theme of Paganini”, which are the most illustrative example in this perspective, the features of the artist’s work with a quote thematic material. Identifies certain dominants of the composer’s style, among them: the destruction elected canons, their modification and approach to the aesthetics of the modern world perception through the use of the musical language of the XX–XXI centuries, as well as the desire for harmonious unification, combining styles of different eras within one work. Objectives. The object of research is a musical composition; its subject of research is the identification of the specifics of the irony in the composer’s style. The purpose of the article is to consider the trends of manifestation of irony and the stylistic orientations in the composer’s work of Hamelin, referring to the most indicative in this aspect of the work “Variations on a Theme of Paganini”. Methodology. Structural-functional and genre-style methods are applied in the consideration of the compositional and stylistic specificity of “Variations on a Theme of Paganini”. To identify the peculiarities of the composer’s work with quotations, the method of comparative analysis was used. The methodological basis consists of the concepts of postmodern citation put forward by such leading researchers and representatives of postmodernism as Umberto Eco and Sigmund Bauman. Presenting the main material. The figure of Niccolo Paganini, enveloped in a mysterious halo, attracted the attention of contemporaries and many artists of subsequent generations, and his creative heritage found a significant response in the musical environment. One of the most famous works of N. Paganini has a cycle “Twenty-four capris” for solo violin, among which the most frequently used for a variety of composer’s interpretations was the theme of Caprice No. 24. Interesting is the fact that it remains relevant, continuing even in the twenty-first century to attract attention. A striking example of this is the Hamelin’s “Variations on a Theme of Paganini” (2011). This work, written for solo piano, is a dedication to the American composer, pianist, conductor, teacher Yehud Weiner and his wife Susan Dewen-Weiner. In his interpretation of Caprice 24, the composer chooses a free interpretation of his figurative and substantial side. This is evidenced not only by the increase in the number of variations (14 instead of 11), but also many other aspects that appear at different levels of composition of the whole. It turns out the specificity of the composer’s work with the quote material, which permeates the whole work, the tendency to its ironic interpretation, as well as harmonious coexistence within the work of styles of different eras, their combination. Results. This work is one of the most striking embodiments of the ironic in the work of the Canadian artist. Here is typical for his style work with the used material quote, the basis of which – the destruction of the selected sample, bringing atypical for the original harmonic, melodic, rhythmic turns. Most often such “curvature” is used at the first posted quote topics. The composer tends to synthesize several styles within the framework of the work, this is often achieved by combining one of the styles of past eras with the styles of modernity, while not contrasting, isolating, contrasting them, but creating a melodic, tonal-harmonic and compositional integrity. Conclusion. Hamelin’s “Variations on a Theme of Paganini” represent a vivid manifestation of the ideas of postmodern worldview in music, which is based on the ironic attitude to the sample of the past.
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Nardo, Davide, Riccardo Brunetti, Enrico Cupellini, and Marta Olivetti Belardinelli. "The influence of melodic and rhythmic redundancies on recognition memory for unknown musical themes." Musicae Scientiae 13, no. 2 (September 2009): 337–55. http://dx.doi.org/10.1177/102986490901300206.
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The aim of this study was to assess the influence of melodic and rhythmic redundancies, and their interaction with tonality, on recognition memory for music. Forty-four non-musicians performed a recognition task with unknown musical material. Stimuli created for experimental purposes were made up of 48 short melodies (half tonal and half non-tonal) and were characterized by the presence of three kinds of musical redundancy: melodic only, rhythmic only, or both melodicrhythmic. In a first phase, subjects listened to a study list of 24 stimuli. After 20 minutes, a test list containing 48 stimuli (24 previously heard and 24 novel ones) was administered, and subjects were asked to indicate for each item whether the melody: was recognized from the study list (R response); evoked a sense of familiarity (K response); or was not recognized at all (X response). Major results showed that tonality influences semantic, but not episodic memory, and that the two systems are differentially affected by the type of redundancy (especially melodic-rhythmic, which has a large effect on episodic memory but is ineffective for semantic memory). Moreover, tonality and the type of redundancy systematically interact only in the episodic memory system. Thus, evidence supports disassociation of the two memory systems. Furthermore, R and X responses showed a symmetry in their trend, suggesting a role for X responses as counterparts of the R responses within the episodic memory system. Melodic-rhythmic redundancy demonstrated the most prominent effects on the episodic system, whereas the assessment comparing melodic versus rhythmic only as the pre-eminent type of redundancy was more ambiguous. Finally, non-tonal stimuli were found to be more sensitive than tonal stimuli, whereby they showed differential effectiveness regarding redundancy type, a result which suggests that they could prove serviceable in future studies concerning recognition memory for music.
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Fromson, Michele. "Themes of Exile in Willaert's Musica nova." Journal of the American Musicological Society 47, no. 3 (1994): 442–87. http://dx.doi.org/10.2307/3128799.
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The present study proposes that Willaert's Musica nova was written to commemorate the city of Florence, homeland of two of the composer's most devoted patrons, Neri Capponi and Ruberto Strozzi. Supporting evidence for this new hypothesis is culled from extant documents relating to the composition, publication, performance, and reception history of this music; the texts Willaert set in his madrigals and motets; and perhaps most unexpectedly, the texts of numerous liturgical melodies whose opening phrases are quoted in his dense counterpoint. For Willaert's Florentine patrons, these melodic citations and the texts to which they allude constituted a powerful symbolic network that served to commemorate their native city, its fallen Republic, and the most prominent spokesman for that government, the religious reformer Girolamo Savonarola.
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Kharakoz, Hаnna. "On the genre and performance peculiarities of J. S. Bach’s choral fugue (on the example of comparative analysis of BWV 131 and BWV 131a)." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 164–79. http://dx.doi.org/10.34064/khnum2-21.11.
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Background. Despite the vast musical material associated with the embodiment in the choral texture of the highest polyphonic form – the fugue, there is lack of the literature that would outline the specificity of this arrangement, its fundamental principles. Many researchers have addressed choral polyphony on the material of the works of various composers. However, the problem of identifying the specificity of the choral fugue hasn’t been highlighted yet as a major issue in domestic musicology. Among the most recent works, which include the consideration of the issue of choral fugue, we should mention the capital study by N. Simakova (2007). The author offers a classification of choral fugue, depending on the accompaniment presence or absence. N. Simakova points out the importance of the timbre content of the theme for emphasizing the figurative content of the words, since the most striking in the process of the deployment of the fugue is the register-timbre modus, and the timbre coloring of soprano, alto, tenor and bass gives a relief figurative representation. Objectives. The article’s subject is to reveal genre and performance peculiarities of the choral fugue “Und er wird Israel” from the cantata BWV 131 by Johann Sebastian Bach. The comparative analysis of two editions of the cantata – choral and instrumental (organ fugue BWV 131a) – reveals the determinants of the choral fugue connected with the peculiarities of its performance. Methods. The study is based on systematic-analytical, comparative and semantic musicological approaches. Results. Two factors play a particularly important role in a choral fugue – the verbal text and the timbre coloring of the voices. This way, both themes of the fugue sound vivid and recognizable even to the unaccustomed listener, since they have different text assigned to the theme and each theme is placed in the voice that corresponds to it tonally. The first theme – light and full of hope – is assigned to the timbral voice that corresponds to it, such as the soprano, while the second theme is assigned to the timbral rich, “heavy” bass part. In any section of the cantata fugue, unlike in the organ version, the themes will be well recognizable thanks to the verbal text and the timbre coloring of the various voices, whereas the timbre of the organ, in comparison with the sound of the choral parts, is monolithic, and the sound “attack” is viscous, leading to a lack of separation in the melodic line. Thus, the presence of a verbal text, fixed to a particular theme (or part of it) and the timbral dramaturgy determine particularly the specificity of the choral fugue. However, the potential of the human voice is known to be limited by its tessitura depending the physical capabilities , which in turn affects the structure of the theme and the form in general. For the two-voice fugue theme, in which the author seeks to emphasize contrast, the timbre and tessitura peculiarities is the most convenient solution. It is important to compare the musical material of the two versions, to search for the differences and their causes, which are connected with the possibilities of the instrumental presentation of the fugue. So, in order to adapt it for twohand performance, in the organ work we occasionally observe simplification, “removal”, of the texture, as well as the addition of the musical text in order to “outplay” with the different functions using the manual keyboards and the pedal on the organ. An important feature of the choral fugue is the orchestra presence, its peculiar instrumental double, which gives it a special stability. As a rule, this or that instrument is attached to a particular timbre that is associated with specific parts of the chorus. In most cases, the orchestral part in a given cantata duplicates all of the theme material in the chorus. The orchestra also provides a solid harmonic foundation for the choral parts, especially where tonality could be interpreted in two ways. The alto part plays a passive role throughout the entire fugue, and a thematic lead is assigned to it only twice, and this is not accidental, since the alto part is “hidden” within the texture, and for a varied two-theme fugue, the comparison of different themes and their registers becomes important in the first place. In the cantata, the fugue is the culmination, the emotional climax of the entire cycle, it sounds rich and dense, and the bright timbre richness of the orchestra complements the general majestic character of the sound. In the organ fugue, however, it is vice versa: here one can sense the borders of the sections of the generally accepted fugue form much more clearly, and simplicity and elegance predominate. The presence of episodic moments of the redistribution of the thematic material in one part between two different voices (belonging to one voice in the original choral source) testifies to the secondary nature of the timbre factor in the instrumental fugue; the main thing here is the presence of the thematic voice-conducting itself. Therefore, in the clavier (organ) arrangement, one theme can be observed in different voices. All these examples make it possible to consider the choral fugue as a unique, independent form enriched with its own specific features. Conclusions. Despite the abundance of literature devoted to the fugue theory in general, the phenomenon of the choral fugue has so far received insufficient research attention. In order to understand the nature of the choral fugue, it is necessary to consider the influence that such specifically “choral” factors as timbre, register, tessitura, verbal text, ensemble, and others have on its structure. The comparative analysis of the musical scores of “Und er wird Israel” from Bach’s cantata BWV 131 and the organ fugue BWV 131a revealed differences between the choral primary source and its organ version, which makes it possible to consider them as factors contributing to a better understanding of the choral fugue peculiarities.
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Fishbein, Adam R., William J. Idsardi, Gregory F. Ball, and Robert J. Dooling. "Sound sequences in birdsong: how much do birds really care?" Philosophical Transactions of the Royal Society B: Biological Sciences 375, no. 1789 (November 18, 2019): 20190044. http://dx.doi.org/10.1098/rstb.2019.0044.
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The complex and melodic nature of many birds' songs has raised interest in potential parallels between avian vocal sequences and human speech. The similarities between birdsong and speech in production and learning are well established, but surprisingly little is known about how birds perceive song sequences. One popular laboratory songbird, the zebra finch ( Taeniopygia guttata ), has recently attracted attention as an avian model for human speech, in part because the male learns to produce the individual elements in its song motif in a fixed sequence. But psychoacoustic evidence shows that adult zebra finches are relatively insensitive to the sequential features of song syllables. Instead, zebra finches and other birds seem to be exquisitely sensitive to the acoustic details of individual syllables to a degree that is beyond human hearing capacity. Based on these findings, we present a finite-state model of zebra finch perception of song syllable sequences and discuss the rich informational capacity of their vocal system. Furthermore, we highlight the abilities of budgerigars ( Melopsittacus undulatus ), a parrot species, to hear sequential features better than zebra finches and suggest that neurophysiological investigations comparing these species could prove fruitful for uncovering neural mechanisms for auditory sequence perception in human speech. This article is part of the theme issue ‘What can animal communication teach us about human language?’
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Sediuk, I. O. "The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 154–68. http://dx.doi.org/10.34064/khnum1-56.10.
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Background. The neoclassicism of the first decades of the 20th century turned to be a kind of opposition to atonalism, which captured many radical composers. The supposed “bilingualism” of neoclassicism opened wide perspectives for individual concepts realization, broadening the boundaries of new knowledge of the Baroque and early classicism. Instrumental sonata, including the Sonata for Two Pianos naturally entered the neoclassical trend mainstream in a number of others, non-symphonic classical and romantic genres, compensating for the rejection of effective dramaturgy by enhancing the contrast between the cycle’s parts, thus tending to Baroque cyclic compositions. For Paul Hindemith, whose name is always associated with this art movement, “communication” with musical past was not an instant hobby but something that determined the focus of his creative thought. Objectives. The article’s purpose is to reveal the peculiarity of neoclassic principles embodiment in the Sonata for Two Pianos by P. Hindemith, to consider its composition, semantic and structural units. Methods. The study’s methodology is based on historicism principle, which involves the study of artistic phenomena being connected with the established musical art experience, and a comprehensive approach that allows involving of different methods of music analysis. Results. Sonata for Two Pianos (1942) consists of five movements; each one has its name. P. Hindemith’s individual approach to the sonata genre is usually evaluated in terms of the artist’s refusal of traditional composition, changes in sonata form, which often includes dramatic function changing. This is due to the desire to make equal all the forms involved in the cycle, in particular the most important polyphonic ones. The movements’ names “The Bells”, “Allegro”, “Canon”, “Recitative”, “Fugue” reveal the suite’s features. “The Bells” opening the cycle show a wide range of musical associations: from French harpsichordists gravitating to sound expression to representatives of different national cultures of the 20th century. The textured thematic drawing of the part reveals another modus of play with tradition expressing itself in improvisational principle domination and Baroque fantasy revival. The Old English verse text preceding “Recitative” reminds of 16–17th century program compositions and shows connection with opera art. “Recitative” combines concise musical phrases typical for Baroque culture vocal genres and typical rhythm formulas that embody the freedom of language intonation and bring in improvisation and allusion on basso continuo. The reference to Baroque era polyphony is evidenced by “Canon” and “Fugue”. In the “Canon”, polyphonic interaction is reached by two piano parties and not by individual voices of the four-voice ensemble texture. The slow tempo Lento, the static movement of musical thought, where “step” pulsation is felt in 4/8 metrics, unusual for classic and romantic culture, the predominance of quiet sound implies tragic pathetic element in “Recitative”. These two parts, “Canon” and “Recitative”, constitute a complementary semantic pair as play modes of tragic imagery embodiment through Baroque era high style, its objective and subjective beginnings. Actually, sonata genre is represented only by the second part “Allegro” with its fast tempo, clarity of form, volitional character of the main theme, scherzo grace of the subsidiary theme, large coda. The composer maintains contrast method choosing his complex of expressive means for each exposition sections. The Sonata is finished by a grand three-theme fugue with metro-rhythmic design associated with the corresponding polyphonic music structures, and more, the initial fifth step corresponds to J. S. Bach’s “Fugue Art”. The first theme’s imperative character establishes the dramatic imagery as fundamental in Sonata’s artistic concept. Its intonational content is characterized by fourth and fifth interval structures, some of them are creating the frame of the whole cycle. The second theme is more melodic and contrasting. The bass register of the third theme in rhythmic augmentation, the wave-like pattern of its melodic line covering the range of the diminished octave, is perceived as embodying of the modern thinking tension, the “echo” of Baroque era aesthetic ideas. The artistic idea of the Sonata for Two Pianos by P. Hindemith is built on drama concentration, overcoming suite separation of the parts and reflecting the full life realities and the inviolability of Universe laws. Conclusions. Sonata for Two Pianos by P. Hindemith returns to its origins thanks to the 20th century artists’ interest to the Baroque culture, demonstrating irregular genre boundaries and the ability to maintain high polyphony means, unregulated cycle and synthesis of several compositional principles within one work. The neoclassical principles did not deprive the Sonata of being presented in that time’s social and spiritual events, and allowed it to generalize modern world conflicts with the help of established semantic and compositional units. Thus, P. Hindemith’s Sonata for Two Pianos preserves its own approach to musical experience and possibilities of ensemble technique distinguished in almost full absence of performing competition idea, dialogism in its traditional reflection while retaining the parties’ equality.
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Paney, Andrew S., and Nathan O. Buonviri. "Teaching Melodic Dictation in Advanced Placement Music Theory." Journal of Research in Music Education 61, no. 4 (November 20, 2013): 396–414. http://dx.doi.org/10.1177/0022429413508411.
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In this study approaches to teaching melodic dictation skills used by Advanced Placement (AP) Music Theory teachers were examined. Twelve high school teachers from four states were interviewed. Four themes emerged from the interview transcripts: cognitive frameworks, processing strategies, rhythm, and course design. Participants generally confirmed established understandings of aural skills pedagogy, particularly in areas of pattern instruction, connecting aural and written theory, connecting sight-singing and dictation, incorporating scale degree function, targeting melodic “bookends,” focusing on the big picture, sequencing curricula, and incorporating familiar melodies. Unique to the findings of this study were participants’ positive attitudes toward a standardized test and their concern for the students’ psychological barriers inherent in learning aural skills. A general indifference to rhythm counting systems and a common acknowledgment of students’ difficulties with rhythmic notation also were found. Recommendations for further research include a large-scale survey of melodic dictation strategies taught by AP Music Theory teachers, empirical investigation of the efficacy of specific counting systems, comparison of students’ reported dictation strategies and their success with dictation on the AP exam, and exploration of the influence of psychological fortitude on the dictation process.
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Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.
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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.
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GREY, THOMAS. "Wagner and the ‘Makart Style’." Cambridge Opera Journal 25, no. 3 (November 2013): 225–60. http://dx.doi.org/10.1017/s0954586713000116.
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AbstractThe visual artist most commonly linked with the name of Richard Wagner from the 1870s to the early twentieth century was the now relatively little-known Viennese painter Hans Makart (1844–84). Makart's Viennese atelier – no less than his sumptuous history paintings, ‘bacchanals’, society portraits and multi-media design-projects (notably a lavish 1879 historical pageant celebrating the Hapsburg monarchy) – defined an influential visual and stylistic idiom for the early fin-de-siècle. The style is recognisable in the salon at villa Wahnfried, in Paul Joukowsky's set designs for the first Parsifal, and arguably, in aspects of Wagner's music itself. Like most artists of the era, Makart occasionally depicted Wagnerian motifs, but his affinity with the composer was recognised as a matter of style and technique. Two breakthrough works from around 1868 in triptych form, Moderne Amoretten (Modern Cupids) and Der Pest in Florenz (The Plague in Florence), suggest thematic and conceptual parallels with Tannhäuser and Tristan und Isolde, respectively. Makart's Renaissance history paintings and the 1879 Vienna Festzug stage national history as a collective aesthetic experience in the manner of Die Meistersinger. A ubiquitous theme in comparisons of artist and composer is the role of colour (visual, harmonic and timbral), raised to a quasi-autonomous force that dominates composition and ‘idea’. Makart's resistance to conventions of visual narrative, as read by contemporary critics, recalls Wagner's resistance to conventional melodic periodicity.This article investigates the cultural and technical sources of Makart's appeal in the later nineteenth century and traces the comparison of Makart's and Wagner's styles as a critical topos. The disappearance of Makart and his ‘style’ from modern critical consciousness, I argue, mirrors a cultural Amnesia regarding features central to Wagner's irresistible fascination for his contemporaries.
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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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Франтова, Т. В. "Imitation: Simple, Stretto, Canonical (On the Difficulties of Absolute Differentiation in the Polyphony of Strict Style)." OPERA MUSICOLOGICA, no. 5 (December 31, 2020): 26–39. http://dx.doi.org/10.26156/om.2020.12.5.002.
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Статья посвящена проблемам изучения теории и практики имитационной техники в полифонии строгого письма. Три типа имитации — простая, стреттная, каноническая — постоянно фигурируют в современной музыкально-теоретической литературе. Трактовки сути простой и канонической имитации в разных источниках совпадают, хотя формулировки в деталях разнятся. При этом значительны расхождения в понимании стретты. По традиции, заложенной учениями XVIII века, в теоретическом музыкознании стретту рассматривают в контексте формы фуги. Одновременно ряд исследователей считает возможным использовать понятие стретты по отношению к имитационному многоголосию Ренессанса. При этом термин употребляется в разных значениях. Материал исследования — начальные имитационные секции четырех-шестиголосных мотетов Палестрины без c. f. Тематическая организация рассматривается с учетом тексто-музыкальной формы мотета, в соответствии с которой функцию темы выполняет тексто-музыкальная строка, построенная на относительно стабильном соединении текстовой строки и развернутого мелодического soggetto. Ее неоднократные повторения позволяют обнаружить сходства и различия канонов и стретт в строгостильном многоголосии. The article is devoted to the problems of studying the theory and practice of imitation technique in polyphonic music of strict writing. Three types of imitation — simple, stretto and canonical — appear as relevant in modern musical theoretical literature. An analysis of the existing concepts showed that the interpretations of the essence of simple and canonical imitation in different sources coincide, although the formulations in details, as a rule, differ. Against this background, significant differences in the understanding of stretto (narrow, tight) imitation are especially noticeable. Many authors, foreign and domestic, starting from the teachings of the 18th century, consider the stretto in the context of the fugue form. At the same time, a number of researchers of the 20th century (domestic and foreign) have formed a different position. They believe that it is possible to expand the musical and historical boundaries of the use of the concept of stretto, its use in relation to the imitative polyphony of the Renaissance. The authors talk about the stretto in at least three different cases: the effect of a compressed temporary introduction of imitation voices (S. Skrebkov, T. Dubravskaya), narrow introduction of voices with their subsequent non-imitation promotion (N. Simakova), the tight entry of the rispost before the end of the theme in the propost, which does not fit into the canon (K. Eppessen, S. Skrebkov). The analysis of the musical material showed that the broadly understood stretto (the conciseness of the timing of the introduction of voices) is very typical of the polyphony of strict writing and manifests itself in many and different methods. The musical material of the study was the one-theme initial imitation sections of the four-six-part Palestrina motets, the compositional foundation of which lacks cantus firmus. The thematic organization was considered taking into account the genre of the motet, which belongs to the class of text-musical forms. In accordance with the nature of the genre, the function of the theme in the imitation section is performed by a text-musical line built on a relatively stable connection of a text line and an expanded melodic soggetto.
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Atchison, Mary. "Bien me sui aperceuz: monophonic chanson and motetus." Plainsong and Medieval Music 4, no. 1 (April 1995): 1–12. http://dx.doi.org/10.1017/s0961137100000851.
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Borrowing or quoting from the trouvère repertory has long been acknowledged as part of the craft of the composers of the thirteenth-century motet. Single strophes from a few trouvère chansons can be found as complete motet voices; partial strophes frame newly composed text and music in motets-entés, and many textual themes and motifs, melodic motifs and refrains can be traced to trouvère sources. Whilst this practice of borrowing can be identified because of the common texts and melodies, or texts or melodies alone, it is difficult to say to what extent other compositional practices, not dependent upon direct quotation, might have found their source and inspiration in the trouvère repertory. An examination of the monophonic chanson Bien me sui aperceuz, and the three-voice motet Se valours / Bien me sui apercheus / Hie factus est, reveals a web of interrelationships between the chanson and the motet which appears far more subtle than the practice of direct borrowing briefly mentioned above. The cryptic clues to these concealed relationships between the chanson and the motet can be found in their texts, whilst the solution is revealed in their melodies.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum2-49.05.
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Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.
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Davitadze, А. G. "Ukrainian song «Ikhav Kozak za Dunaj» arranged by L. van Beethoven for piano trio and voice: genre and stylistic metamorphoses." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 60–73. http://dx.doi.org/10.34064/khnum2-13.05.
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The scientifi c fi eld of the problem «folklore and composer» has a lot of aspects of its subject manifestation. One of them is the creative heritage of L. van Beethoven in the context of the composer’s addressing the folk song sources and analysis of the author’s arrangement. Although the selected theme is not a scientifi c discovery, it contains signifi cant prospects. These include: the expansion of a well-known typology of the folklore embodiment in the author’s work, the search and discovery of the Beethoven’s method of folklore arrangement, which in its turn complements the context of the already existing “psychogram of the artist” (see Varnava’s thesis, for more details). In addition, the chosen theme will help to expand the idea of musical and cultural life development in the early 19th century Objectives. The paper will consider and analyze, fi rstly, the history of writing and the subsequent fate of the author’s Ukrainian song «Ikhav Kozak za Dunaj» in European culture at the end of the eighteenth and early nineteenth centuries; secondly, harmonization of I. Prach from the «Collection of Folk Russian Songs with their voices set to music by Ivan Prach» as the one that could be known to the German master; thirdly, L. van Beethoven’s vocal-instrumental arrangement of this song in the collection «The Songs of Different Peoples» – No. 19 «Air Cosaque». Methods. The methods applied in this work are hermeneutic, structural, historiographical and genre-stylistic. The historiographical method in the article represents the problem of «composer and folklore». Hermeneutic method is universal, and its task is to interpret texts and understand their meanings. The use of the structural method is necessary for simultaneous presentation of the whole, its parts and their interaction with each other. The systematic use of the above-mentioned methods will help to enrich the analytical part and reveal genre-stylistic metamorphoses in the Ukrainian song arrangement. Results. The results of the analytical part are as follows. As the article says, the Ukrainian song «Ikhav Kozak za Dunaj» was taken by L. Van Beethoven from the Russian collection «Folk Russian Songs with their voices set to music by Ivan Prach». So, we think it is necessary to make its thorough analysis. I. Prach’s arrangement (harmonizer and arranger of this collection) is a four-voice harmonization of the Ukrainian melody. In general, the harmonic sequence in the arrangement consists of quarto-quintal basses in the left hand and chords of main degrees in the right hand. Harmonious peculiarities of the song are directly interconnected with the rhythmic component of the work, both musical and verbal. The well-known content of the song (the Cossack sets off on the horse beyond the Danube leaving his girlfriend) contains the rhythm of the pace (in this case, this is the horse’s pace), which leads to the appearance of a uniformly accented rhythm in the song – the entire melody of the song moves in eighths. In addition, piano accompaniment in the right hand part echoes the main melody, and all its structure in the form of two-voice texture moves in eighths, too. L. van Beethoven goes in the opposite direction. The process of musical arrangement occurs at all levels of musical content – from the intonation through composition to the dramaturgy. The German composer’s arrangement features phrasing slurs in violin, piano, rarely cello parts; dynamic markings, including piano, pianissimo, crescendo, diminuendo. Besides, in the cello part we fi nd the composer’s remarks on the methods of sound production, such as alternating between pizzicato and arco (as a return to the main method). Then the German master creates a great instrumental part for the song – introduction and conclusion. The introduction of a non-square, monolithic structure has an unfi nished character and ends with a dominant harmony before the basic a-moll tonality. The fourth stanza is complemented with a three-bar expansion (instrumental break) on the introduction material, but it is a bit modifi ed – it is a pattern in the form of three subsequent segments of the descending motion (melodic and harmonic complex). This addition is made in the form of instrumental breaks after imperfect cadence, and after that come 12 bars of trio-conclusion. In general, the form of the song is a long period of two sentences of the verse-chorus structure a – C – a (a tonal plan). The instrumental part of the song makes up 29 bars, and the vocal one – 16 bars, so the proportions are actually closer to the defi nition of 2:1, which indicates a signifi cant role of the trio-accompanient (46 bars overall). The thorough analysis of the instrumental part of the whole song reveals the following: the arrangement has fi ve motifs and thematic elements, three of which belong to L. van Beethoven: «E – F – E» lamenting motif, quarto-quintal response to it – «E - A – B» or «E - B – C», and the last one, which gets its development at the end of the fi nal part of the trio accompaniment in somewhat varied form (melodic variation): «Gsharp - A – G» and the response «G-sharp - A – D». The other two – melodic pattern «E – G-sharp - E – G-sharp» (pedaling of the dominant function) and descending tetrachord between the third and seventh ascending degrees («C - A – G-sharp») – belong to the author of the Ukrainian song Semen Klymovsky. These motives are combined into dialogical formulas. This can be explained by the content of the song lyrics, where there are several characters, who the Cossack addresses in a virtual dialogue – this is his girl, and also his true companion – the horse. A deeper dialogue can be seen in the combination of classical and folk arts. Adding professional academic means of musical expression to the song the composer enriches his piece with classical stylistic attributes. When he elaborates genre features of lament in the song, he turns the Ukrainian song into a kind of arioso in German language. Conclusions. L. van Beethoven’s arrangement was primarily intended for homemade music, but at the same time, it is imbued with features of classical style, and its elegy, intense sensory lyricism refer the researcher to the Romantic period, which turned out to be close to the consciousness of the Beethoven’s genius. However, the nature of the fi ndings remains open, because the theme «Beethoven and folklore» is the subject of further research. In addition, special attention should be paid to other arrangements of the song «Ikhav Kozak za Dunaj», created both by L. van Beethoven and his contemporaries.
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Монич, М. Л. "Contrapuntal Probes As a Special Type of a Music Manuscript." OPERA MUSICOLOGICA, no. 1 (March 15, 2021): 57–82. http://dx.doi.org/10.26156/om.2021.13.1.003.
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В середине 1870-х — начале 1880-х годов С. И. Танеев, воодушевленный идеей поиска «русского стиля», активно пополняет теоретические знания в области контрапункта и практикуется в полифонической работе с национальным мелодическим материалом: песенным фольклором и православными церковными напевами. В результате этой деятельности появляются многочисленные рукописи с контрапунктическими опытами, направленными не только на самообучение, но и на создание музыкальных произведений. Материалом для настоящей статьи стали документы указанного периода творчества композитора — черновые автографы к неоконченному циклу хоровых обработок причастных стихов и к Увертюре на русскую тему, хранящиеся в архиве Государственного мемориального музыкального музея-заповедника П. И. Чайковского в Клину. Танеев работает с напевами причастных стихов и трех песен «Про татарский полон» особым образом: многократно и последовательно испытывает каждый сегмент мелодии различными видами контрапунктической техники, в результате чего получает обширный комплект в основном имитационных, но также неимитационных построений и построений, совмещающих оба вида. Для своего времени танеевский метод и порождаемый им графический текст достаточно специфичны. Подобный тип рукописей предлагается обозначить термином контрапунктические пробы. Ориентируясь на форму, скрепленную полифонической техникой, композитор создает текст, имеющий сходство с уже атрибутированными в отечественной музыкальной текстологии образцами композиционных рукописей: набросками, эскизами, черновиками, учебными работами. Тем не менее, танеевские штудии принципиально от них отличаются и нуждаются в более точном описании и определении. In the mid 1870-s — beginning of 1880-s Sergey Taneev, inspired by the idea of the “Russian style,” began to replenish his theoretical knowledge in the field on counterpoint and to practice polyphonic writing based on national melodic material: folk songs and Orthodox church chants. These studies resulted in numerous manuscript fragments, the purpose of which was not just self-training but there were also drafts for future pieces. The article is based on the documents from this period, including the drafts for unfinished choir arrangements of communion verses and an Overture on the Russian Theme, from the archive of Pyotr I. Tchaikovsky’s Museum in Klin. The way Taneev works with the melodies of the communion verses as well as the songs “About the Tatar Captivity” is very particular: he tries each segment of the melody multiple times consistently applying different types of contrapuntal technique; this resulted in a large set of imitative and non-imitative fragments as well as fragments in which both types of polyphony are combined. For Taneev’s time, such a method and the generated graphic text are unique. We would suggest introducing a term contrapuntal probes to describe it. These texts, determined by the polyphonic forms and techniques, are in many ways similar to the drafts, sketches, and exercises by Taneev which have already been thoroughly examined by Russian specialists. However, there are also essential differences, which implies a more precise and specific description and classification.
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Bashmakova, Natalia, and Liliya Bakalinska. "„HOMMAGE A PACO” BY FRANK ANGELIS IN THE CONTEXT OF CONTEMPORARY TRENDS OF ACCORDIONAL ART." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 102–10. http://dx.doi.org/10.33287/222009.
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The purpose of this research is to identify the specificity of pop and jazz stylistics as one of the characteristic trends of modern accordion art, using the analysis of the composition „Hommage a Paco” by Frank Angelis. The methods of the proposed scientific article are based on the use of research approaches (genre, style, textual, analytical), which allow to identify the specific embodiment of trends in the current stage of the development of accordion art in the modern repertoire. Scientific novelty. Despite its widespread use in practice, Frank Angelis’s composing work has not been subject to scientific understanding; in particular, his work has not been analyzed in detail in contemporary Ukraine. Conclusions. As a result of the analysis of Frank Angelis’s „Hommage a Pacco”, it was founded that the specificity of the formation is coordinated by the principle of double-frequency (the first part has an expositional character, the second – jazz-improvisational); the individuality and expressiveness of the aesthetics of the theme are determined by the dances of the famous Spanish virtuoso guitarist Paco de Lucia (Allegres, Bulires and Tangos), which underlie the work. The specificity of the harmonic plan is mainly based on alternate septaccords and noncords, and the thematicism is modified by texturing. The dedication to the creator of the „new flamenco” style is reflected in a diverse palette of playing tools, most of which mimic the specificity of guitar techniques (so the specific accordion tremolo gives the music material an expressive, precise, more sonorous sound – the color of the flamenco, and creates an invoice-like texture). Also in the melodic line are reflected specific guitar techniques, including „long picado”, „rasgeado”, „alsapua”. A peculiar feature of the composer’s style is the use of jazz elements such as: „quasi-improvisation”, „mini-solo”. Combining music from different directions, F. Angelis created the unique composition, giving it the characteristic features of Spanish flamenco and jazz music.
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Anfi, lovaS G. "In the shade of “beautiful style”: talking about the chamber vocal music pieces by G. Donizetti." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 99–118. http://dx.doi.org/10.34064/khnum2-15.05.
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Background. In 2018, the 170th anniversary of the death of Gaetano Donizetti (1797–1848) was commemorated. G. Donizetti created 74 operas of various genres and themes. He was the head of the Italian opera school in the second half of the 1830s, picking up the baton from G. Rossini and V. Bellini and anticipating G. Verdi’s searching. Having an apparent melodic gift, excellent skills of composing, knowledge of musical theatre, he created his works extremely quickly and easily – up to 3–4 operas per year, which caused repeated critical attacks. Opera works by G. Donizetti got a hard futurity. This music laid hold of audience in the 1830s–40s, but practically got out of the repertoire by the end of the 19th century, giving way to the masterpieces by G. Verdi and R. Wagner. Its revival began in the 50s of the 20th century, thanks to remarkable interpretations of great performers, in particular Maria Callas, Joan Alston Sutherland, Montserrat Caballé (since 1965), and others. A new success of opera masterpieces arose due to the fact that performing concepts restored the original author’s conception. Among the researchers and listeners, G. Donizetti’s operatic works eclipsed other spheres of his creativity, such as instrumental and chamber vocal music. But at the same time, G. Donizetti lived in the times of the widespread distribution of the romance, and the rapid growth of its popularity in the amateur and professional performing environment. He was an outstanding expert of vocal music and could not ignore this genre. Naturally there is a need for a more attentive approach to such a little-studied topic, as the composer’s chamber vocal music. Objectives. Gaetano Donizetti’s chamber-vocal creativity is the object of this study. The subject is the song cycle “Summer Nights in Posillipo” (“Nuits d’été à Pausilippe”) in terms of individual composer style. The objectives of offered article are not so much fi ll existing gaps on this issue, as taking a closer look at the romance genre, which is eclipsed by the composer’s opera compositions. The author of this work uses classical methods of analysis of historical and theoretical musicology. Results. Studies on the composer style of G. Donizetti in the Russian and Ukrainian languages are very limited in both quantitative and thematic terms. Most sources, including in other languages, consider opera works by the composer. The exact number of Donizetti’s romances is still unknown (from 250 to 270). The song cycle “Nuits d’été à Pausilippe” / “Summer Nights in Posillipo” (1836), consisting of 12 songs, is also not considered in the scientifi c literature. Typical for the fi rst third of the 19th century is the chronotope of this cycle, in which the poetics of the geographical toponym and the symbolism of the night are combined. Posillipo is a distinctive place in the northern part of the Gulf of Naples, with its unusually picturesque landscape and artifacts of ancient culture. The name of the song collection by G. Donizetti corresponds to the popular literature formula of the 1830s – “Florentine Nights” (1833) by H. Heine, “Egyptian Nights” (1835) by A. S. Pushkin, and others, in which the genre of the “night” novelistic cycle embodied. The musical implementations are “Night Pieces” op. 23 (1839) by R. Schumann, song cycle “Summer Nights” op. 7 (1841) by G. Berlioz, which were created in the period of composition writing (1836) by G. Donizetti. The novella-like character of “Summer Nights in Posillipo” is represented by incompleteness of lyric utterance, free alternation of fragments within the boundaries of a given topic, the variability of timbre solutions, varied choice of authors of poetic texts. Six solo numbers (Nos. 1–6) are supplemented by six duets for various timbre sets (Nos. 7–12, for 2 sopranos, soprano and mezzo-soprano, soprano and tenor, tenor and bass). The poems by four poets of Romanticism are involved: Leopoldo Tarantini (Nos. 1, 8, 10, 12), Carlo Guaita (No. 2), Michele Palazzolo (Nos. 7, 11), Francesco Puoti (No. 9), Victor Hugo (No. 6). Also the poems of the anonymous poet (No. 3) and the folklore text (No. 5) are used here. The cycle is “multilingual”, the Italian language coexists with the Neapolitan and French. The love theme prevails. We can talk about creation of a poetic-collective image entitled Homo amore. Solo songs (Nos. 1–6) form conditional self-contained cycle, which is distinguished by genre diversity. This is evidenced by both the designations of the composer himself (Barcarolle – No. 1, Romance – No. 2, Arietta – No. 3, Ballade – No. 4, Neapolitan song – No. 5), and signs of other genres (opera monologue – No. 1, Chivalric romance – No. 2, Serenade – No. 3, Alba – No. 6). The second little cycle is formed by the duets Nos. 7–12. The composer designates Nos. 7–11 as nocturne, while Nos. 12 as brindisi, or drinking song. G. Donizetti’s nocturnes are glad and lyrical, motile, virtuosic, theatrically spectacular. Life and earthly pleasures are glorifi ed in sounding. The atmosphere of a brilliant ball evening is felt here. The unifying factor in duets are the principles of the texture organization of vocal parts. The fi rst one is associated with the interaction of voices-parts with each other according to the principle of anti-phoning singing (Nos. 7, 9, 11). The second principle is associated with the simultaneous sounding of two voices (Nos. 8, 10, 12). The role of intonation relatedness at the songs is signifi cant. The thematism of twelve songs can be divided by the type of melodic core. As a result, there are three groups: I – themes Nos. 1, 2, 5, 8, 10; II – Nos. 3, 6; III – duets Nos. 7, 9. Conclusions. The applying of the “intonation vocabulary” of the epoch is refl ected in numerous allusions between the melodies of the romances by G. Donizetti and the works of his contemporaries (M. Glinka, F. Schubert) and successors (R. Hahn). The biggest interest is the composer work with the form. Acting within the framework of the repeatability (melodic and structural) and stanza form, G. Donizetti seeks to overcome this necessity in every possible way by various means. The structure of his romances “lives”, naturally unfolds in time, obeying the laws of vocal music. The results of “Summer Nights in Posillipo” analysis allow us to conclude about the originality of G. Donizetti’s creative decisions in the genre of romance.
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Sun, Bo. "The parameters of co-creation: a performing look at “The Six Romances for the Words by A. S. Pushkin” by G. Sviridov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 76–88. http://dx.doi.org/10.34064/khnum1-50.06.
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Formulation of the problem. The development of the concept of “co-creation” is proposed as the necessary condition for the interaction of subjects in the system: the composer – the poet – the performer-singer. The spiritual duality of the poet and the composer becomes a meeting place with its performer. The triple reflection I=I=I is captured in the structure of the artwork. Its result is the content of the category “the author’s concept”; this is an important parameter of the artist’s “entry” into the composer’s text, which is relevant for the analysis of a vocal composition. The theme of the poet’s influences on the composer (spiritual duality), who addressed Pushkin from a different “historical distance”, is at the “epicentre” of the development of the problems of the performing interpretation. The current most important task is to tie together the musicological tradition and the performing look at it. Analysis of recent publications on the topic. From the point of view of the spiritual analysis of the vocal style of G. Sviridov, A. Tevosyan heard a lot and recorded a lot in his work “The Book about Sviridov”. It is necessary to use the epistolary part of “Sviridov-logy”: the memoirs of the singers about the composer directly indicate the phenomenon of “community” as the evidence of their spiritual kinship. The knowledge of this actualizes the work by G. Sviridov in the context of the modern performing practice (including that of the foreign-language singers studying in Ukraine). The article involves such research methods as structural-functional (parameters of the composer’s text), semantic (the poetic symbolism of Pushkin’s texts), and interpretative (performing features). The purpose of the article is to reveal the content of the concept of “co-creation” as a system of objectively existing and interrelated parameters that are amenable to modelling and interpretive analysis. The early vocal cycle of G. Sviridov “The Six Romances for the Words by A. Pushkin” (1935), which received the absolute recognition and fame, was chosen as the material for the analysis. Presentation of the main text. The parameters of co-creation as the necessary condition for the interaction of subjects in the system of “the composer – the poet – the performer-singer” are divided into the internal and external ones. The phenomenon of the authorship, the poetic word, the vocal letter, the premiere performance, the aura of vocal intonation, and integrity are the internal parameters of the vocal style. The socio-cultural (external) parameters ensure the quality of communicative processes in the changed conditions of communication among the subjects of vocal creativity: the time of history, “here and now”, and the time of performance. The composer’s creative process began with melody and singing: he perceived the world through the prism of melody. Sviridov composed using the instrument, sang, trying one, then the other. Even his instrumental compositions are imbued with melodic current (for example, “The Little Triptych”). The main thing for the composer is the voice, which means the vocal. The phenomenon of Sviridov was best revealed by his interpreter, the pianist and researcher M. Arkadiev: “’Not me, but because of me’, – this is the inner experience of creative consciousness.” The word for Sviridov’s creative credo is the key. The composer formulated it the following way: “The artist is called to serve, as far as he can, to the disclosure of the Truth of the World. In the synthesis of Music and the Word this truth can be concluded.” G. Sviridov subtly and with understanding approached the interpretation of the poetic images created by A. Pushkin, his versification. The melody of romances emphasizes the expressiveness of the text, corresponds to its concise and clear form. Each romance is a complete piece of music. Through all the romances one cross-cutting theme passes – the theme of the poet’s loneliness, embodied in a series of reflections of the lyrical hero and the pictures of the nature. The performing musicians who perform the entire cycle are faced with the problem of the integrity of drama, which is adequate to the author’s concept. “The Six Romances for the Words by A. Pushkin” by G. Sviridov is a very repertoire composition: many beginning talented singers learn the laws of the classics of the 20th century with these romances. However, it is very difficult to find the reference execution in the electronic access. Of course, the art of the unsurpassed Dmitry Khvorostovsky claims this role. The contrast between his performance of the romance “Approaching Izhora” and the young interpreters of this immortal music is especially striking. Conclusions. The national image of the world in “The Six Romances for the words by A. Pushkin” by G. Sviridov turns out to be the highest stylistic parameter of the author’s concept of the composition. Against the background of globalization processes in the culture of the 21st century, the value of the national dimension of the meaning of music is increasingly recognized. The musical parameters are revealed on the following levels: melodic and articulation, metro rhythm and tempo-rhythm, texture-harmonic hearing and dramaturgy of the whole. In order to build a continuous line of the development of the cycle, it is important to realize its semantic connections, correctly evaluate all the structural, functional and genre-style parameters of the composition
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Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.
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Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Pierné (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Pierné: musicien lorrain” by G. Masson was created in 1987, and the publication of the composer’s letters named as “Correspondance romaine” was published in 2005. In the 2000s, a lot of audio recordings of his best works were published, which testifies to the relevance of the author’s heritage and confirms the urgency of present topic of article. Objectives of this study is to focus researchers on G. Pierné’s personality and art, to consider his works for piano and symphonic orchestra – Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, Symphonic Poem. Methods. The research is based on the historical biographical, the intonational, the comparative research methods. Results. C. Debussy, M. Ravel and composers of “Les Six” at their time outshined Pierné’s work. But years have passed and interest in the personality of this author has appeared. During his training in Paris Conservatory (1871–1882), G. Pierné achieved excellent results, having won in many student competitions. He studied composition in the class of J. Massenet (together with E. Chausson, G. Charpentier, G. Ropartz). Having won the competition for the Prix de Rome (1882), the young author was given the opportunity to live at Villa Medici (1883–1885). Spent time in Rome was one of the best episodes of his life. The first concert work by G. Pierné – Fantasy-Ballet (1885) for piano and orchestra was written there. The composition is based on the sequence of contrasting dancing episodes in the character of march, gallop, waltz, tarantella. It is significant that the ballet genre took pride of place in the work of G. Pierné later. The composer’s staying in Italy caused visibility, colorfulness, cheerfulness, feed activity, energy of images, using of genre motifs in FantasyBallet. The series of various episodes conveys a whimsical change of mood and resembles a sketches of impression. Returning to Paris in 1885, G. Pierné sought to strengthen his reputation as a soloist by entering the salon circles. At this time, he created many piano works, including the three-movement Piano Concerto c-moll (1886). This composition contains many dramatic moments which concentrated in the first and third movements of the cycle. However, as is often the case with French Romantic composers, such using of dramatic elements has a somewhat superficial, rhetorical character. The first movement is written in sonata form. The theme of the main subject (in c-moll), expounded by the piano octaves, is active and boisterous. And the secondary Es-dur subject is peaceful and lucid. There is the same entrancing serenity as in the lyrical theme of the E. Grieg’s Piano Concerto finale. In the first movement, the development is very short, and the recapitulation is abridged. It should be noted that G. Pierné refused to use the cadence of the soloist. The second movement is written in a three-part form with elements of variation and rondo. This light scherzo takes the listener away from the anxieties of previous movement. Every bar of this music, in which everything is made with elegant French taste, caresses the ear. The main theme, including the dotted rhythm, serves as a refrain that permeates the entire movement. The finale is distinguished by its developmental forcefulness and truly symphonic reach. So, the continuation of C. Saint-Saëns’s covenants is in the concentration of thematic material, the observableness of form, the rhetorical syllable, and rhythmic activity at the Pierné’s Piano Concerto. Scherzo-Caprice (1890) enriched the French miniature line. The image sphere of this opus is lucid lyrics, good-gentle jocosity, and solemnity. The melodic talent of the composer proved itself very convincing here. The theme of the waltz echoes the waltz episode from the Fantasy-Ballet in some details. Being written also in A-dur, it contains the upward melody moves with a passing VI# (fisis), and also diversions into the minor (cis-moll in Scherzo-Caprice, fis-moll in Fantasy-Ballet). At the turn of the century, the influence of C. Franck’s music was produced on the G. Pierné’s style. This is reflected in such works as the Symphonic Poem “L’An Mil” (1897), Violin Sonata (1900), oratorio “Saint François d’Assise” (1912), and Cello Sonata (1919). An appeal to the Symphonic Poem for piano and orchestra (1903) is also a clear sign of rapprochement with the late romantic branch (C. Franck, E. Сhausson). Here we see a departure of G. Pierné from the C. Saint-Saëns’s concert traditions, which he held before. In the Poem, such qualities as virtuosity, concert brilliance, and representativeness are somewhat leveled, which is caused with the narrative character of this work. Conclusions. During the “Renovation period” of French music, the piano and orchestra compositions experienced a real upsurge in its development. Composers began to turn more often not only to the Piano Concerto genre, but also to non-cyclic works – Fantasies, Poems, Rhapsodies, etc. G. Pierné contributed much to this branch along with C. Saint-Saëns, B. Godard, Ch.-M. Widor. In his Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, we find the continuation of C. Saint-Saëns’s instrumental traditions. This is manifested in the moderation of the musical language, the normative character of harmonious thinking, the absolute clarity of discourse, concern for the relief of the melodic line. In the Symphonic Poem, contiguity with the musical aesthetics of С. Franck is revealed, which is reflected in harmony modulation shifts, appeal to polyphonic technique, differentiated and more powerful orchestration.
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Zhang, Guangjian. "Problems of interpretation of the piano compositions byZhangZhao (on the example of the Fantasy “Pihuang”)." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 230–47. http://dx.doi.org/10.34064/khnum2-21.15.
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Background. The article is devoted to the piano work of the famous Chinese composer Zhang Zhao. The focus is on the “Pihuang” Fantasy, which embodies the national characteristics of Peking opera. This work won an honorary award at the 2007 Chinese composition competition for high artistic qualities and deep content. The article examines, how the composer uses the musical elements of the Chinese opera tradition to create a certain drama of the work, how the sound specificity of the timbre colors of the voice, the techniques of vocal sound production and recitation, the image of Chinese instruments is embodied on the piano. The role of the first performer of the work – the famous pianist Li Yundi – is revealed to popularize the works of Zhang Zhao in China and around the world. The importance of considering the performing aspect of the realization of this music is proved. It is emphasized, that such an analysis creates a wide field for creative research in the interpretation of the music by Chinese authors, takes into account modern requirements that contribute to the development of independence and initiative among young pianists. Objectives. The purpose of the article is to identify the universal mechanism for interpreting the piano compositions of ZhangZhao by the example of his Fantasy “Pihuang”. For the disclosing of the research theme the complex methodological approach, combining the principle of musical-theoretical, musical-historical and performing analysis is taken. Results. The composer also embodied the centuries-old traditions of Chinese instrumental folk art, its timbre specificity and unique rhythm in the piano sound of the Fantasy “Pihuang”. An important point is the formal and dramaturgical organization of this composition. Zhang Zhao organically combines the traditional mosaic structure of the Beijing opera with the Western genre of opera transcription, which allowed to give the whole musical composition “elasticity” within the framework of a fixed large form. This work attracts not only with the beauty of its melodies, the richness and originality of a harmonic language, the perfection of a form, various requirements for a performer, but also because all these features of his music are inextricably linked with the disclosure of the philosophical depth of content and eternal vital themes in it. A performer should be ready for frequent changes in images and moods, since the work of Zhang Zhao is romantic, rich in figurative and emotional content. From this point of view, one need to imagine different plot scenes and relate them to the sections of the music. The various characteristics of the sections will help a pianist to some extent decide, which timbres, tempo and mood are most appropriate. Throughout the performance, a pianist must be in the determined “role”. The piece opens by the loose improvisatory introduction, Rubato. The pianist must listen in advance to the Beijing opera in order to imagine how this music should sound, to understand and feel the free movement of its rhythmic organization (sang-bang). To achieve expressiveness in melodies, preeminently, one needs to have a flowing, singing sound. Sound quality is determined by the style and nature of the work, where each of the episodes and even a separate voice in polyphony require special coloring and special sound production. The task of the performer is to show as more clearly the features that are essential for various types of the texture presentation: in the same material one can emphasize the melodic beginning or the character of the chord movement, give preference to the bass part or soprano echo; finally, highlighting a certain chord sound, one can strengthen the latter’s attraction to a particular functional sphere. It is well known, that a performer can, without deviating from the pitch line given by a composer, but actively using the means of dynamics, articulation, agogy, create an individual version of the melodic pattern with its own logical emphasizes, its own types of breath and plasticity. It is obvious, that the study of the laws expressing the substantial characteristics of the texture is of practical importance for the performer, since the texture is directly related to the problem of figurative-sound versatility of performance – one of the most acute for musical interpretation. Therefore, a performer’s attention to a significant extent should be focused on which figurative-semantic characteristics are concentrated in each texture layer, what of these characteristics are dominant and what constitute the psychological complement of the image or act as an opposing force. Conclusions. “Pihuang” attracts the attention of performers with the uplifting and joy of vitality, original, artistic language, specificity of rhythm, and improvisation. This work reflects the highest achievements of the Chinese pianistic school, the importance of which has long crossed national boundaries, occupying one of the honorable places in the education of young pianistsperformers. The study of the performing interpretation of the piano works by Zhang Zhao, the identification of the relationship between expressive techniques and the peculiarities of the author’s style has many-sided significance. Based on the analysis of the interpretation of the Piano Fantasy “Pihuang” by the outstanding Chinese pianist Yundi Li, as well as checking the conclusions of theoretical analysis with the practice of concert performances, we establish certain connections in Zhang Zhao’s piano work, which can be traced as stable signs of his style. It should be noted that different performers can reveal a significantly different understanding of the same work and sometimes we have to talk about the difference in the very content of the sounding work. Auditory impressions from listening to Beijing opera, the sound of Chinese folk instruments should be the basis for the realization of the objective properties of the piano texture, reproduction on the piano laid in the musical notation features of rhythm, dynamics, agogics, timbres etc. This not only clarifies the understanding of the composer’s style, but also the specifics of all Chinese performing arts.
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Moya, Liao. "Influence Of Preludes by G.Gershwin on Zhang Shuai's Composer’s Thinking." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 36–48. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233103.
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The specifics of Zhang Shuai’s creative thinking are considered on the basis of drawing parallels between J. Gershwin’s Three Preludes and a similar cycle of Chinese composer’s Ppreludes according to the model and the ratio of ―Gershwin’s‖ and individual. It was found that Zhang Shuai’s creative thinking is manifested at the general compositional level, ie at the level of the cycle with the sequence ―fast — slow — fast‖ and the dominance of rhythmic energy in extreme preludes, and at the level of expressive melody and lyrical mood — in the central prelude. The ―Gershwin‖ influence on the specifics of Zhang Shuai’s creative thinking and on the stylistic level was revealed, in particular: the reliance on the model is manifested in the appeal to the jazz idiom, which affects the nature of rhythmic formulas, as well as harmony and order (combination of diatonic and chromatic structures, application of block chords, orientalism in the final prelude). If G. Gershwin’s creative thinking is characterized by the use of blues tones and chromatic moves, then Zhang Shuai’s creative thinking is characterized by a certain rationalism, due to the appropriate way of constructing new music according to the ―Gershwin‖ model. Analogies between the melodic and rhythmic formulas of the Second Preludes of J. Gershwin and Zhang Shuai, as well as analogies between the logic of the initial exposure of the elements of the theme — their First Preludes. It is proved that the most significant differences between the ―Gershwin‖ model and the music of Zhang Shuai appear at the level of ways of textural development of the material. G. Gershwin’s preludes usually contain two key layers of texture — melody and accompaniment, their texture is ―more graphic‖, more transparent, while in Zhang Shuai it is immediately condensed by a figurative undertone or an additional chord-rhythmic layer. Another difference is in the field of order, because Zhang Shuai has a desire to combine artificially symmetrical structures and the pentatonic basis of melody, which determines the stylistic originality of his music. Individual features of Zhang Shuai’s prelude interpretation as a sample of the pianist’s competitive repertoire are determined.
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Merkley, Paul. "Tonaries and melodic families of antiphons." Journal of the Plainsong and Mediaeval Music Society 11 (January 1988): 13–24. http://dx.doi.org/10.1017/s0143491800001136.
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One theory of the origin, development and structure of the chant repertoire is that the thousands of individual pieces in it arose from the adaptation of new texts to a small number of melodies, or melodic ‘themes’. First put forward by Gevaert, this theory, which will be referred to here as the thematic theory, has, in different forms, been the basis of studies of the transmission of antiphons, and is now being applied to the repertories of Old-Roman and Ambrosian chant. The main demonstration of the validity of the theory must take place, of course, in studies of the repertoire itself; we shall be convinced if musical and liturgical evidence supports the idea of adaptation and suggests a chronological development. It is nevertheless important to examine music-historical witnesses ancillary to the chant repertoire, for it is often the case that related documents reveal something unexpected about the main repertoire, or serve as a means of confirming points for which evidence is lacking.
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Warren, Richard M., Daniel A. Gardner, Bradley S. Brubaker, and James A. Bashford,. "Melodic and Nonmelodic Sequences of Tones: Effects of Duration on Perception." Music Perception 8, no. 3 (1991): 277–89. http://dx.doi.org/10.2307/40285503.
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Familiar melodic phrases were played repetitively with note durations ranging from 40 msec to 3.6 sec. Recognition required note durations approximating those normally used for playing melodic themes (roughly 150 msec to 1 sec per note). Additional experiments with nonmelodic sequences of tones indicated that different rules applied for nonmelodic patterns: Permuted orders of the same items could be distinguished from each other at all durations employed (10 msec to 5 sec per item). Recognition of different arrangements occurred not only when each tone differed in pitch, but also when all tones had the same pitch but differed in timbre. It was concluded that the durational limits for melodic recognition are not based on perceptual limits applicable to tonal patterns in general, but rather reflect special rules governing melodic organization. Hypotheses concerning the bases for these rules are suggested.
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Ivanova, Yuliia. "Children’s choir in MarkKarminskyi’s creativity." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 29–43. http://dx.doi.org/10.34064/khnum2-19.02.
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Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M. Karminskyi and the consideration of his unpublished choral works. The research methodology, synthesizing analytical and generalizing approaches, is based on the traditions of national musicology and is determined by the specifics of vocal and choral genres, first of all, by the inextricable link between musical drama and text. The purpose of the article is to recreate the most complete picture of M. Karminsky’s choral work for children and to determine its role in contemporary choral performing. The results of the research. The composer’s early works were distinguished by meaningfulness, optimism, brightness of musical images, which was embodied in easy, convenient and accessible tunes. Many Soviet-era songs created for children of different school age were included in the “Songs for Students” collections as a new program material for choral singing of Ukrainian secondary schools students in music lessons. Several works of the author became known throughout the country and published in the leading music publishers in Kiev and Moscow: “What Boys Are Made Of” (lyrics by R. Burns translated by S. Marshak), “Quicker to the Gathering” (by L. Galkin), “Balloons” (lyrics by Ya. Akim). The songs about Victory in the Second World War are popular: “Victory is celebrated by the people” (S. Orlova), “The soldier has forgotten nothing” (E. Berstein), “Red Poppies” (poems by G. Pozhenyan). The composer combines his songs into vocal-symphonic suites. One of the main genre of choral creativity of the author has become a miniature that is able to absorb a variety of musical expressive means to expand and deepen the content of the work in a small area of the form. The works by M. Karminskyi revealed such features of choral miniature as philosophicity, attentive attitude to the word, its emotional and semantic meaning, which is reflected in the detailed development of the thematic material. Most of the composer’s choral works are written for a cappella choir. The collections of “Choral Notebooks” (1988) and “Road to the Temple” (1995) have reflected the artist’s thoughts for several decades. The figurative content of “Choir Notebooks” includes the lyrical states caused by contemplation of pictures of nature; the collection “Road to the Temple” represents philosophical reflections not only of a personal nature, but also thoughts about the universal problems of today. The cycles reveal the principles of the composer’s thinking and are one of the pinnacles of his creative heritage. The article looks at one of the best works of the cycle “Road to the Temple”, the choir “Remembering Drobitsky Yar” (lyrics by E. Yevtushenko) for children’s choir, soloist (tenor) and piano. Also, the article deals with unpublished choral works by M. Karminskyi “Paraphrases on the Sonata of Mozart” and “Guitar” on F. G. Lorka’s poems. In the work “Guitar” on Lorca’s poem (translated by M. Tsvetayeva), the composer uses signs of Spanish color: imitation of techniques of playing the guitar, rhythmic copyism of the castanets playing and other. The poetic text “decorated” by flexible, broad, expressive melody that gives words greater emotion. The piece is full of sharp changes of genre signs of melodic structures (vocal without text, dance, austinous repetitions) revealing the semantic implication of the poem. The basis of the “Paraphrase on the theme of Mozart’s Sonatine” was the fourth part (Allegro) of Sonatina No. 1 in C Major from the Six Vienna Sonatas by W. A. Mozart. M. Karminskyi noticed the vocal nature of many parts of this cycle and skillfully made a “translation” of one of them for the children’s choir. Unlike many of his contemporaries, he wrote music that does not fundamentally claim to be innovative. As a true professional, he pays attention to the integrity of the compositions elaborating the smallest details. He strives for the laconism of expression and, at the same time, is able to saturate the choral texture with modern expressive means, if the artistic image of the work requires it. Natural expressive intonation, intonation as emotional content of vocal language distinguishes choral music by M. Karminskyi. A special role in intonation is played by breathing, it is inextricably linked with melodic movement and energy. The breath of the melodies of the author is enriched by the lively intonations of the language, which reveal her “soul”, give a feeling of warmth, strength, caress, greatness, truthfulness. Musical form of the composer’s works is determined by the intonation of the music. Based on linguistic-vocal intonations, most of the author’s works have strophic forms that follow from the semantic aspect of the literary text. Karminskyi is a master of choral unison. This mean of expressiveness, which is not often used by composers, in Karminsky’s works is a carrier of expressive melodism and suppose the performance with a great inner feeling. Features of declamation always find a place in his choirs, they reproduce the living human language, the spiritual experiences of a man. Conclusion. The works for the children’s choir have a special purity and cordiality that is so subtly perceived by children. Mark Karminsky’s music is capable of drawing children’s attention to musical values that purify the soul and nurture personality. His music makes you think and feel! M. Karminsky’s creativity has forever entered the concert practice of children’s choirs of Ukraine.
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Simonton, Dean Keith. "Aesthetic Success in Classical Music: A Computer Analysis of 1935 Compositions." Empirical Studies of the Arts 4, no. 1 (January 1986): 1–17. http://dx.doi.org/10.2190/jlap-jrk1-0tdy-dbrm.
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To further elucidate the basis of aesthetic success in classical music, data on 8992 themes were aggregated into 1935 compositions by 172 composers from the Renaissance to the present day. Aesthetic success was gauged via compositional popularity and ratings of aesthetic significance and audience accessibility, while aesthetic attributes were assessed by melodic originality and originality variation as determined by a computer content analysis of melodic structure. The results demonstrate that the probability of a work being performed and recorded is a function of aesthetic attributes and melodic content, with direct and indirect effects of artistic, biographical, and historical conditions. Aesthetic taste is thus not arbitrary but lawful, for it is grounded in the intrinsic qualities of a piece which in turn reflect the state of the composer at the time of composition.
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LEESON, DANIEL N. "MOZART’S LE NOZZE DI FIGARO: A HIDDEN DRAMATIC DETAIL." Eighteenth Century Music 1, no. 2 (September 2004): 301–4. http://dx.doi.org/10.1017/s147857060400017x.
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In two earlier articles I have written of finding identical or very similar themes in two different compositions, either in two works of the same composer or in the work of two different composers. The conclusion presented was that such events are rarely meaningful, that citing a particular melodic affinity to assert some kind of relationship between the two compositions is almost always misguided. The amount of melodic duplication that may be found when comparing any two pieces (by any two composers from any two eras) is so considerable that one might conclude it is largely meaningless and accidental.
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Zhabeva-Papazova, Julijana. "Women 's voices in alternative music: Lisa Gerrard and Elizabeth Fraser." New Sound, no. 46 (2015): 76–83. http://dx.doi.org/10.5937/newso1546076z.
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This paper deals with the analysis of Lisa Gerrard's and Elizabeth Fraser's vocal styles that promoted a new way of singing on the alternative music scene. Instead o f the traditional usage of lyrics in the English language as their mother tongue, they use so called 'glossolalia', meaning wordless, or substituting language with a melodic, exploratory rapture by their vocal range alone in a couple o f octaves. The main points of analysis are the relationships between the vocal interpretation and instruments, music form, main melodic themes, rhythm, accomplished with iconography in the relationship between vocal interpretations and stage performances.
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Yakymchuk, O. M. ,. Belova N. V. "Messiaen analyzes Messiaen: author’s comments on the piano cycle «Twenty Contemplations on the Infant Jesus»." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 36–49. http://dx.doi.org/10.34064/khnum2-14.03.
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Background. Most of Messiaen’s works has an author’s comment. The composer usually prefaces his compositions with preambles, epigraphs, analytical notes. There are also two wide theoretical works devoted to explaining the technique of Messiaen’s compositions and grounds of his system: «Technique of my musical language» (1942) and «Treatise Messiaen addresses to a listener, when he commented on the thematic structure of the cycle, providing semantic and figurative orientations for perception. The composer immediately determines the cross-cutting themes that pass through the cycle: the theme of God, the theme of mystical love, the theme of the Star and the Cross, the theme of chords, showing in what plays they sound and how they are transformed. It all looks quite understandable and can really help the listener navigate in music. However, it may seem that Messiaen deliberately disorients the reader of his Notes. For example, the theme of chords, in his definition, is “abstract, it is similar to the series, but very specific and very easily recognizable due to its colors: gray-and-blue, steel, supersaturated red and bright orange, violet-and-lilac, shrouded brown and surrounded by purple-and-crimson” [4: 32]. It is clear that the addressee of such a text is an extraordinary listener of academic concerts, and, it should be admitted, – an extraordinary performer. The same conceptual multidirectionality is also characteristic for the treatise «Technique of My Musical Language» created shortly before the «Twenty Contemplations on the Infant Jesus». In the treatise one does not to look for a good statement on the bases of the musical composition – it is a colorful and mysterious mix of concepts, images, various spheres of human knowledge and arts. Such a complicated explanation of a mixture of different concepts can lead to hopelessness even a musicologist who operates by traditional notions of musical form. How can one understand the form where «development precedes the exposition»? How does the principle of fugue combine with the Indian rhythms? How can be the traditional principles of Gregorian chorus unfolded through the modes of limited transposition? We should admit that if we only read the texts of Messiaеn, we would definitely go to a dead end. However, the problem someway disappears, if you start listening to his music, especially the one that is being discussed. Based on music, not text, one can find that the musical process is entirely explained by the concepts used by Messiaen, although some, undoubtedly, require certain effort to decrypt. Messiaen’s musical (including thematic) material is represented traditionally in complex, where the melodic-harmonic basis is inseparable from its rhythmic realization. As for the musical forms and principles of musical organization, presented in the Messiaen’s works, «Twenty Contemplations on the Infant Jesus» can be considered as the “catalog” of those and others. Some concepts the composer introduced he uses for the first time, some of these he re-thinks in a new way in his system. Thus, the entire musical theory, presented by Messiaen in his “Notes”, may be translated into “a normal” language comprehensible for us. Why would Messiaen complicate the perception of his texts if he wanted to be clear? Indeed, even a musicologist (not to mention a listener or a performer) has to make some effort for expanding his knowledge beyond the scope of musicology in order to understand adequately his comments. It is likely that the Word used by Messiaen is a kind of invitation to co-creation. The programs of his works, according to the definition of musicologist K. Zenkin, preserve “the entire impossibility of translation” of the musical images, returning “music into music that has absorbed all the fullness of color and poetic sensations” [1: 8]. Another explanation for such a strong connection of Messiaen’s music with the Word lies, obviously, in his belonging to the French Church, particularly, to its organ tradition. The desire to interpret and explain is characteristically for the Church tradition. Throughout his life Messiaen was performed the duties of a church organist in the St. Trinity Church in Paris, and he could not fail to be influenced by the Church. Among the most important for the composer ideas and concepts, which appear in the texts of his verbal comments, those that related to Christianity in general and Catholicism in particular are predominant. Conclusions. If we go deep into the question of the religiosity of Messiaen, then it will lead us very far, since religiosity was one of the most important foundations of his outlook in general. Is it a possible to listen to his music without the comments? Of course, the magic of Messiaen’s music will influence onto an audience and without the texts, but the quite substantial component will disappear from it. We can conclude that a person who meets with the music of Messiaen – and it does not a matter, simply he listens to it, performs it or analyzes it with notes – becomes involved in the orbit of the Messiaen’s Universe, where the music embodies the Word in a Divine sense, and where the Word filled with life and meaning of the Music. ornithology» (1949–1992, not finished). Obviously, that the composer tries to present his ideas to the audience. But whom are his words turned to? To the listener, performer, to the musicologist analyzing his compositions? Why is his music not enough, and the composer obviously tries to clothe his ideas in a wordy form yet? Understanding of the composer’s intentions is important and for performing of his music, and for its adequate perception. In addition, a composer’s word in the XX century became usual for us, it is a part of the modern cultural paradigm. The objective of this research is the studying of author’s comments on the piano cycle «Twenty Contemplations on the Infant Jesus» and identification of the meaning of a Word and its communicative purpose for the commented music. The article used the analytical and comparative methods applying to author’s texts of Messiaen («Notes on the piano cycle “Twenty Contemplations on the Infant Jesus”», «Technique of My Musical Language») as well as to the results of the musicological studies related to these texts, with there after generalization of the observations and the opinions. Results of the study. The cycle «Twenty Contemplations on the Infant Jesus» is indicative for Messiaеn’s creativity. «Notes on the piano cycle “Twenty Contemplations on the Infant Jesus”» were written in 1978 and published in the edition “Hommage à Olivier Messiaen” by Paris publishing house “La recherché artistique”, 1978. In the first edition, the composer presented an epigraph and a brief explanation to each of the twenty plays. But over time, he understood that this was not enough, so he added to the first short comments the more detailed explanations on composition methods (including his own), the construction of musical forms, specificity of imaginative content, the designation of leitmotivs and their transformation.
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Radu-Țaga, Consuela. "The Operas of Pascal Bentoiu: Themes, Collective Character, Ars Choralis." Review of Artistic Education 17, no. 1 (March 1, 2019): 126–33. http://dx.doi.org/10.2478/rae-2019-0014.
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Abstract Pascal Bentoiu dedicated to the lyrical stage three opuses: the comedy The Love Doctor, the radio opera The Sacrifice of Iphigenia and the tragedy Hamlet. The female choir from The Sacrifice of Iphigenia and the choir from Hamlet use different ways of vocal expression, adapted to vibrations of the word: from recitative chanting or spoken chorus, to melodic articulations. The hegemony of the vocal parameter and the lyrical expression are counterpoised by the feverishness of the dramatic moments. Pascal Bentoiu proposes new elements in the structure of the opera genre, because in Hamlet the conceptual meanings of the overture are replaced by the choral prelude à cappella. The moments of choral treatment à cappella abound in his operas, these moments being full of emotion and expressing a deep sensitivity.
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Sun, NataliiaYuriyivna. "Solo piano compositions by Hsiao Tyzen in the aspect of performing problems." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 165–77. http://dx.doi.org/10.34064/khnum1-57.10.
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Background. The article is dedicated to the piano work of Hsiao Tyzen (1938–2015) – one of Taiwan’s most famous composers. The solo piano compositions of the musician are considered, which make up a significant part of his compositional heritage: three cycles, united under the general name “Poetic Response” – op. 37 (1974), op. 38 (1975) and op. 40 (1977); “The Amazing Grace” (1984), cycle “Memories of Home” op. 49 (1987), consisting of six plays – “Prelude”, “Memory”, “Playground”, “Ancient Taiwanese Melody”, “Elegy”, “Frolicking”; “Farewell Etude”, Op. 55 (1993), “Toccata”, op. 57 (1995), “Dragon Boat Festival”, op. 58 (1996), “Spirit of Taiwan” (1998), “Nana Oh’s Meditation” (1999), “The Angel from Formosa” (1999). This huge layer of music is not sufficiently studied in the performing aspect. The characteristic of the pianistic level of complexity of the compositions under consideration is given, technical and artistic difficulties are revealed. Objectives. The purpose of the study is to identify the main performing tasks in the solo piano compositions of Hsiao Tyzen. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Piano works of Hsiao Tyzen of an early period of art op. 37, 38 and 40, united in the general cycle “Poetic Response”, are devoted to religious themes and include melodies of religious hymns. Combining three diverse piano cycles, the composer builds a kind of complex form of cycles in the cycle. The influence of romanticism in the music of Hsiao Tyzen is felt in his interpretation of melody, harmony, rhythm, tempo and texture. Composers of the twentieth century, especially C. Debussy, influenced the piano compositions of the late period. Since the works created by Hsiao Tyzen have varying degrees of pianistic complexity, it seems important to determine the pedagogical significance of the uncomplicated piano repertoire and the performing tasks that the interpreter of concert compositions faces. The cycle “Memories of Home” op. 49, consisting of six miniatures, is dedicated to the composer’s childhood memories. The main tasks of the pianist in the “Ancient Taiwanese melody” from the cycle “Memories of Home”, op. 49 will be the auditory implementation and development of a touch of legato, the performance of melismatics, the observance of sound balance between hands, the ability to draw a long melodic line, cleverly using a finger swap and moving from one position to another. In the Prelude, the tasks of the performer’s main technical and artistic problems are to accurately reflect dynamic contrasts, the agility of transitions in various textured combinations, the sound realization of polyphony, precise articulation and coordination of small notes in passages. “Memory” requires the performer of the highly professional possession of legato, manifested in the combination of the upper voice of the chord musical fabric, flexible movement skills and an accurate sense of polyrhythmia. In the “Playground” you need to show imaginative imagination, while reflecting the variety of strokes and dynamics specified by the author. “Elegy” requires a deep soulful feeling from a performer, high-quality sounding of a melody, and the formation of long phrases. “Farewell Etude” op. 55 and “Toccata” op. 57 – detailed compositions saturated with romantic technique and imagery. The intonational filling of the plays reflects the national Taiwanese flavor. “Farewell sketch” was the last work of Hsiao Tyzen, written in the tradition of romanticism. The piece is based on the famous Taiwanese folk song “Four Seasons”. The composer places the melody in the middle register, framing on both sides with a luxurious romantic texture. “Toccata” is full of numerous techniques that are difficult enough not only to execute, but even to remember. Frequent change of textured formulas is especially difficult for a pianist, because in addition to the clever execution of a virtuoso texture, you need to keep an accurate rhythmic pulsation. This repertoire is intended for concert performance and requires a pianist of a high professional pianistic level and bright artistry. It requires scale of performance, absolute technical and sound knowledge of the texture, knowledge and auditory presentation of the characteristics of Taiwanese musical culture, and mastery of pedalization. Conclusions. Hsiao Tyzen’s solo piano compositions provide a better understanding of the work of contemporary Taiwanese composers. They are rightfully one of the most striking pages of Taiwanese musical culture and deserve further introduction into a wide international music audience. These works, in our opinion, have high artistic merits and are intended for a different contingent of performers. Their value as a pedagogical and concert repertoire is a vivid imagery, a reflection of the national principle, interesting compositional and sound solutions.
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Peno, Vesna. "Communion songs not regulated by the typicon in the recent tradition of Serbian church singing." Muzikologija, no. 4 (2004): 121–52. http://dx.doi.org/10.2298/muz0404121p.
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In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.
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Borowiecka, Renata. "Sekwencja Stabat Mater we włoskich interpretacjach muzycznych doby XVIII wieku." Sympozjum 25, no. 1 (40) (2021): 83–102. http://dx.doi.org/10.4467/25443283sym.21.007.13720.
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The Stabat Mater sequence in Italian musical interpretations of the 18th-century The Stabat Mater poem, which describes the suffering of Blessed Virgin Mary under the cross on which Jesus – her Son – is dying, has become a universal theme which inspired composers of various ages and origins and found its expression in numerous musical interpretations. From among over 400 compositions which set the text of the sequence to music, a large proportion are 18th-century works (mostly – late baroque) of Italian provenience. Attempting to interpret a musical composition with text of the 18th century, one has to take into account the theory of affects and musical rhetoric, which make the text dependent on music both on the emotive and symbolic level. The paper will examine the Stabat Mater compositions in the rhetoric context, referring to three main levels: inventio, dispositio and decoratio. The common and individual tendencies will be articulated, evident by the appropriate choice of the key, tempo and rhetorical figures, as well as by some melodic and rhythmic motives or harmonic structure having function of the special illustrative-symbolic signs. The nodal points of the work will be presented as well as the requests of man directed at the Mother (the second part of the sequence) assuming varying intonations of supplication. The function and the message of the compositions are advisable. In contemporary times Stabat Mater of the great composers resound mainly as concert masterpieces in church and secular interiors. The vitality of these interpretations after three hundred years from their creation most certainly bears witness to the composers’ artistry in their works and proves their significance not only for the music of the 18th century but also for the culture and faith of today. Abstrakt Treść poematu Stabat Mater, opisującego postać Matki Bożej cierpiącej pod krzyżem, na którym umiera Jezus – Jej Syn, stała się jednym z uniwersalnych tematów sztuki, zainspirowała kompozytorów różnych wieków i ośrodków, co znalazło swój wyraz w bardzo licznych interpretacjach muzycznych. Spośród ponad 4000 kompozycji do tekstu sekwencji znaczna część to dzieła XVIII-wieczne (najczęściej późnobarokowe), pochodzące z kręgu włoskiego. Chcąc zinterpretować utwór słowno-muzyczny XVIII wieku, nie sposób czynić tego w oderwaniu od teorii afektów i retoryki muzycznej, które uzależniają tekst od muzyki zarówno na poziomie emotywnym, jak i symbolicznym. Referat stanowi próbę oglądu kompozycji Stabat Mater w kontekście retoryki na trzech odpowiadających jej poziomach: inventio, dispositio i decoratio. Wyartykułowane są tendencje wspólne oraz indywidualne, przejawiające się w odpowiednim doborze tonacji, tempa i figur retorycznych, a także pewnych motywów melodycznych, rytmicznych lub struktur harmonicznych funkcjonujących w roli znaku ilustracyjno-symbolicznego. Zaprezentowane zostają punkty węzłowe dzieł oraz prośby człowieka skierowane do Matki (druga część sekwencji) o różnorakiej intonacji błagalnej. Wskazana jest funkcja i przesłanie kompozycji. W czasach współczesnych Stabat Mater wielkich twórców rozbrzmiewają głównie jako dzieła koncertowe we wnętrzach kościelnych lub świeckich. Żywotność tych interpretacji 300 lat od ich powstania świadczy niewątpliwie o kompozytorskim kunszcie utworów oraz o ich znaczeniu nie tylko dla muzyki XVIII wieku, ale i dla dzisiejszej kultury i wiary.
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McAdams, Stephen, Sandrine Vieillard, Olivier Houix, and Roger Reynolds. "Perception of Musical Similarity Among Contemporary Thematic Materials in Two Instrumentations." Music Perception 22, no. 2 (2004): 207–37. http://dx.doi.org/10.1525/mp.2004.22.2.207.
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Free classification was used to explore similarity relations in contemporary musical materials. Thirty-four subsections from the five themes of The Angel of Death by Roger Reynolds were composed identically for piano (Expt. 1) and chamber orchestra (Expt. 2) in terms of pitch, rhythm, and dynamics. Listeners were asked to group together those judged to be musically similar and to describe the similarities between the subsections in each group. Listeners based their classifications on surface similarities related to tempo, rhythmic and melodic texture, pitch register, melodic contour, and articulation. They were to some extent also based on similarity of the mood evoked by the excerpts. This latter factor was more prominent in the verbalizations for the orchestral version. Instrumentation, timbre, and type of timbral change (smooth, disjunctive) also affected classifications in the orchestral version. Perceptual relations among thematic materials within the piece and the interaction of form-bearing dimensions in musical similarity perception are discussed.
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Ishizuka, Kenkichi, and Takehisa Onisawa. "Generation of Variations on Theme Music Based on Impressions of Story Scenes Considering Human's Feeling of Music and Stories." International Journal of Computer Games Technology 2008 (2008): 1–9. http://dx.doi.org/10.1155/2008/281959.
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This paper describes a system which generates variations on theme music fitting to story scenes represented by texts and/or pictures. Inputs to the present system are original theme music and numerical information on given story scenes. The present system varies melodies, tempos, tones, tonalities, and accompaniments of given theme music based on impressions of story scenes. Genetic algorithms (GAs) using modular neural network (MNN) models as fitness functions are applied to music generation in order to reflect user's feeling of music and stories. The present system adjusts MNN models for each user on line. This paper also describes the evaluation experiments to confirm whether the generated variations on theme music reflect impressions of story scenes appropriately or not.
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Honemann, Volker. "Politische Lieder und Sprüche im späten Mittelalter und der frühen Neuzeit." Die Musikforschung 50, no. 4 (September 22, 2021): 399–421. http://dx.doi.org/10.52412/mf.1997.h4.1004.
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Die bisher unzutreffend meist als historische Volkslieder bezeichneten deutschsprachigen politischen Lieder und Sprüche des 13. bis 17. Jahrhunderts werden literatur- und musikwissenschaftlich analysiert. Nach einer Diskussion der Terminologie wird ein umfangreiches Text- und Melodiecorpus nach seiner Überlieferung, Inhalten und Themen, Darstellungsformen (Bauformen, Stil, Melodie), Autoren, Vortragsweise sowie Publikum und Funktion charakterisiert.
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Celiktas, Hatice, and Sezen Ozeke. "An Evaluation of Educational Music in Turkey Based on Composers’ Opinions." Journal of Education and Learning 8, no. 5 (September 20, 2019): 106. http://dx.doi.org/10.5539/jel.v8n5p106.
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There are various studies concerning the present situation of the phenomenon of educational music, which dates back to the early years of the Republic i.e. which emerged 90 years ago, the problems in the area, and solutions to these problems as well as the concept of “educational music” which is used to define the songs that are part of music education. The objective of the present study is to evaluate the area of educational music based on composers’ opinions, in other words, on the opinions of the creators of the subject music, and to determine the present situation of the area in the light of these evaluations. For these purposes, 7 composers, all of whom had contributed to educational music, were interviewed. The resultant data were analyzed under three themes by means of content analysis. The themes were the concept of educational music, educational music compositions and educational music composing. As a result, composers indicated that songs composed as educational music pieces should have a content that children can relate to. They also said that music teachers and prospective music teachers who had the ability to compose should engage in the composition of educational music. According to composers, in order for songs to be of good musical quality; easy and catchy melodies and lyrics, prosody, melodic sequence, harmonic structure and form components were important. Composers also expressed their opinions regarding “the points to be considered and the method to be followed in the process of composition”, “essential skills and knowledge in addition to the ability to compose”, and “types of music preferred in compositions”. In addition to this research, further studies, which take opinions of music teachers, who are the appliers of educational music, and those of students, who are the receivers and consumers of educational music, into account, can be undertaken so as to be able to evaluate the area of educational music from different perspectives.
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Stetsiuk, R. O. "Saxophone jazz improvisation: texture and syntax parameters." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 88–109. http://dx.doi.org/10.34064/khnum1-57.06.
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Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipations” (D. Terentiev), which has its own specifics in saxophonejazzimprovisation. Being one of the style “emblems” of jazz, saxophone combines the specifics and universalism of its aggregate sound, which makes its sound image communicatively in-demand. It was emphasized that the methodology and methodic of the topic presented in this work need to be concretized on the example of saxophone jazz styles, which offers prospects for further studies of this topic. The theory of jazz improvisation inevitably includes the question of instrument (instruments, voices) used to make it. At this point, we need to tap into information about the instrumental-type style (style of any types of music according to V. Kholopova) available in jazz practice in both of its historical forms: traditional and contemporary. Saxophone becomes one of the key objects of this study, being an instrument of new type capable of conveying the entire range of jazz intoning shades represented in such origins of jazz as blues, ballad, religious chants, popular “classical music”, academic instruments. To generalize, it is worth noting that information about saxophonejazzimprovisation is concentrated in two areas of study: organological (jazz instruments and their use: solo, ensemble, orchestral) and personal (portraits of outstanding jazz saxophonists made, as a rule, in an overview and opinionbased style). The historical path of saxophone as one of the most in-demand instruments of jazz improvisation was quite tortuous and thorny. The conservative public considered this instrument “indecent” and believed that its use in jazz does not meet the requirements of high taste (A. Onegger). It was emphasized that specifics of jazz saxophone sound indeed lay in the instrumentalization of expressive vocal and declamatory intonations originating from blues with its melancholy and “esthetics of crying”. It is manifested especially vividly, and with even greater share of shock value than in jazz, in the use of saxophone in rock music, which exerted reverse influence over jazz that gave birth to it (V. Ivanov). The timbre-articulatory diversity found in saxophone is identified when taking its organological characteristics out of the dialectics of the pair of notions “specifics – universalism”, where the deepening of the former (specifics) means overcoming thereof towards the latter, universalism (E. Nazaikinskyi). As a result, we have a textural style of saxophone based on melodic nature of this instrument, its specific timbre enriched by the influence of other instrumental sounds, including trumpet, piano, and later, electric guitar. Among the existing definitions of texture in music, there are three key, determinant parameters of the approach to the study of texture style of saxophone in jazz. The first of them is spatial-configurative (E. Nazaikinskyi), the second is procedural-dynamic (G. Ignatchenko), and the third is performance-based (V. Moskalenko). On aggregate, the textural style of jazz saxophone is defined in this article as the synthesis of the instrument’s “voice” and the “voice” of the improviser saxophonist. The former defines the typical in this style, and the latter defines the individual, unique. The specifics of texture in jazz, including saxophone jazz, are special, because this improvisation art does not have the component of final “finishing” of musical fabric. The formulas existing in saxophone jazz texture are divided into three types: specific (typical for jazz itself), specifized (stemming from the folklore and “third” layers), and transduction-reduction (according to S. Davydov, borrowed from the academic layer). The syntactic composition of saxophone jazz improvisation correlates by the textural one, taking the shape of textural-structural components (a term by G. Ignatchenko) – units of the first scaled level of the perception of form, which are related to the one and the other. The mechanism of anticipation – a forestalling perception of the next segment of the process of improvisation, and the intuitionallogical orientation of an improviser saxophonist toward the number “7” have great significance (E. Barban). Like in academic practice, syntax in jazz improvisation is built on the basis of “stability” and “instability” semantics (D. Terentiev), forming a complex system of paradigms and syntagmas (the former are typical for traditional jazz, the latter for contemporary one). The rules of jazz improvisation semantize, because the most important thing for a jazz musician is the process, not the result. At this point, the aspect of temporal distance from the “cause” to the “effect” becomes especially distinguishable: the farther they are from each other the less predictable improvisation becomes, and vice versa. The process of improvisation is largely structured by choruses, which represent sections of a form related to variant reproduction of a theme (standard theme or author’s theme). In addition, improvisation (including saxophone improvisation) may contain elements of general forms of sound used as the bridges connecting sections inside choruses.
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Sudarman, Yos, and Erfan Lubis. "DEVELOPING CHARACTER EDUCATION THROUGH THE SIMPLE SONG COMPOSITION IN ARTS EDUCATION CULTURE FOR JUNIOR HIGH SCHOOL STUDENTS (SMP)." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 16, no. 1 (March 17, 2015): 105. http://dx.doi.org/10.24036/komposisi.v16i1.8048.
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MENGEMBANGKAN PENDIDIKAN KARAKTER MELALUI KEMAMPUAN MENCIPTA LAGU SEDERHANA DALAM PENDIDIKAN SENI BUDAYA BAGI SISWASEKOLAH MENENGAH PERTAMA (SMP)AbstractThe research was conducted in SMP Negeri 16 Padang, which was motivated by the music of culture and art of learning problems in curriculum-based Character Education in 2013, where some of the subject matter tends to develop the cognitive and psychomotor, more geared to the development of the affective domain. From the pattern of KI and KD field of the music of culture and art in 2013 at the junior high curriculum, competencies, knowledge and skills the art of music is not negligible, but the development of attitudes of learners through learning music is much more important. Developing Character Education through Capability Creates a Simple Song learning in the Junior Cultural Arts is one of the subject matter may be directed to the development of the educational aspects of character, to understand the attitude and response of students to the theme of simple songs that he created. There are nine steps that are applied in this study are: (1) find the idea: (2) exploration of the theme of experience and appreciation of the work: (3) stringing words according to the theme: (4) analysis of the suitability of the choice of words on the vowel sounds in rhymes and articulation: (5) selection of musical nuance and patron melody; (6) analysis of the relationship melodies and lyrics; (7) notational (number / beam) (8) makes a simple isnstrumental musical accompaniment; and (9) the presentation creation simple songs sung by music iiringan. Results showed that, with a simple song that created the students, they realize himself what he knew and understood about attitudes and behavior problems of both himself and other people. Key Words: Education Music Arts, character education, creating songs AbstrakPenelitian ini dilaksanakan di SMP Negeri 16 Padang yang dilatarbelakangi oleh masalah pembelajaran seni budaya musik dalam Kurikulum 2013 yang berbasis Pendidikan Karakter, di mana beberapa materi pelajaran yang cenderung mengembangkan ranah kognitif dan psikomotorik, lebih diarahkan kepada pengembangan ranah afektif. Dari pola KI dan KD bidang Seni Budaya Musik pada kurikulum 2013 di SMP, kompetensi pengetahuan dan keterampilan seni musik tidak diabaikn, namun pengembangan sikap peserta didik melalui pembelajaran musik jauh lebih penting. Mengembangkan Pendidikan Karakter melalui Kemampuan Mencipta Lagu Sederhana dalam pembelajaran Seni Budaya di SMP adalah salah satu materi pelajaran yang dapat diarahkan kepada pengembangan aspek pendidikan karakter, dengan memahami sikap dan tanggap siswa terhadap tema lagu sederhana yang ia ciptakan. Ada sembilan langkah yang diterapkan dalam penelitian ini yaitu: (1) menemukan ide: (2) eksplorasi tema dari pengalaman dan apresiasi karya: (3) merangkai kata sesuai tema: (4) analisis kesesuaian pilihan kata pada bunyi vokal menurut sajak dan artikulasi: (5) pemilihan nuansa musikal dan patron melodi; (6) analisis hubungan melodi dan lirik; (7) penulisan notasi (angka/balok) (8) membuat iringan musik isnstrumental sederhana; dan (9) presentasi ciptaan lagu sederhana yang dinyanyikan dengan iiringan musik. Hasil penelitian menunjukkan bahwa, dengan lagu sederhana yang diciptakan siswa, mereka menyadari sendiri apa yang ia ketahui dan pahami tentang masalah sikap dan berperilaku baik bagi dirinya maupun oranglain. Kata Kunci: Pembelajaran Seni Musik, pendidikan karakter, mencipta lagu