Journal articles on the topic 'Musical composition; jazz'
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1
Arestov, Sergey S. "Jazz composition in the modern educational process." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 140–44. http://dx.doi.org/10.30725/2619-0303-2021-1-140-144.
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The teaching system is periodically updated and improved. The article outlines the perspective of using jazz composition in the system of musical education. Its expediency is emphasized, and its conditionality is shown by several interacting factors that contribute to the formation of professional skills of a musician-performer and teacher. In addition, the characteristic features that distinguish it from other musical disciplines are identified. At the same time, jazz composition as a technique for creating works is the basis for the formation and development of a musical style that involves the search for an individual performing style. Jazz composition is considered as a sphere of modern musical culture that meets the needs of musicians and listeners. The article shows the importance of jazz composition in the realities of the development of musical styles, emphasizes its importance in the system of values of musical culture, the objective meaning of which is determined by its inherent nature in several components of the modern creative process.
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Campău, Elisabeta Firtescu. "Improvised musical performance as conversational language in jazz." Artes. Journal of Musicology 26, no. 1 (April 1, 2022): 235–49. http://dx.doi.org/10.2478/ajm-2022-0015.
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Abstract Musical interpretation, in the form of the act of spontaneous composition, defined jazz throughout its stylistic evolution. Unlike other serious music, jazz has crystallised mainly due to the creative act of musical interpretation and less to the process of written musical construction. Within this cerebral musical genre, the act of performing took over as the fundamental role in the artistic communication between jazz musicians and audience but it especially took the form of an interrelation in the collective musical interpretation. The act of musical improvisation, in terms of jazz, is controlled by certain stylistic parameters, associated with form, phrasing and timbre, constantly relating to the harmonic, rhythmic and melodic planes. The standardisation of these parameters transformed jazz into a conversational musical language, which allows constant and organised communication between musicians through the phenomenon of interplay (the interaction of performers during the collective interpretive act). The principles of interplay are also integrated in the solo interpretation, especially in the case of pianists, who always improvise referring to the context and the relationship created between the accompaniment and the melodic plane. At the same time, just like verbal communication, mastering the jazz language involves reaching the level of free speech, with a spontaneous and contextual expression. This freedom of artistic expression involves the assimilation of the jazz language, creating a personal vocabulary and its use as a means of constructing authentic (spontaneously created) and eloquent musical discourses. Jazz language cannot be assimilated only through individual study, as is possible in the serious music of European tradition. The study and improvement of jazz musicians constantly depends on artistic socialisation and musical conversation. Jazz is a musical genre in continuous transformation, due to the fact that it is definitely more of an act of interpretation than of a compositional one. Jazz imposed musical interpretation as having the same contribution of creation with the compositional act, in terms of stylistic definition and crystallisation of an elaborated musical current or genre.
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Kharenko, Alina. "Musical dramaturgy as a creative method in jazz art: the example of the piano art by Sergey Davydov." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 155–69. http://dx.doi.org/10.34064/khnum1-55.11.
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Background. Jazz is one of the most significant phenomena of the entire twentieth century, which in a very short period of time has won the attention of listeners around the world. Finally, many explores are interested in the study of jazz art as a significant element of the world’s musical heritage. There are a lot of works written by national and foreign musicologists who study jazz music from different viewpoints. A great variety of studies in jazz art include works devoted to the technical aspect, on the one hand: the study of scale harmony, rhythm, instrumentation, and on the other hand – the issues of historiography and style formation. However, focusing mainly on the identification of specific methods of using individual elements of the entire complex of music and expressive means of jazz art, scientists are less interested in the study of more «in-depth» issues, such as interpretation in jazz art, form building, semiotic and hermeneuticmethods of jazz music evaluation, musical dramaturgy. The concept of jazzmusic making remains unexplored. In our understanding, the study of musical dramaturgy deserves special attention, because at its level the coordinates of jazz music as a complex improvisation process converge. Objectives. The purpose of the article is to identify and study the main factors that determine the principles of formation of jazz musical dramaturgy at the level of solo piano composition. It is the improvisational nature of the composing and performing arts as well as the absence of a detailed musical notation that indicate the need to study the subject and an attempt to provide its scientific substantiation. Methods. The methodology of the study includes analytical, comparative, systematic and stylistic methods. This methodological basis allows us to identify the principles of jazz musical dramaturgy from the standpoint of piano jazz art, which, in the author’s opinion, gives an opportunity to speak about the peculiarities of organizing a musical text with the texture of different types of arrangement. Results. Over the last decades, jazz, without losing its specificity, has increasingly shown a tendency to interpenetrate with academic musical art, and at the same time become universal. An example of this could be the creative work of the renowned Kharkov jazz pianist Sergey Davydov. Turning to the specifics of the solo improvisational mastery of the pianist, we should distinguish the following important vectors in his work: commitment to the synthesis of jazz and academic traditions, tendency to polyphonize the textual presentation of the musical text, the use of the sonata principles as a consistent processual development of the whole complex of music and artistic ideas. The subject of the analysis offered in this study is a demonstrative example of the arrangement of the musical text of S. Davidov’s solo improvisation, which he demonstrated at the international festival “S. Rakhmaninov and Ukrainian Culturе”, which took place in Kharkiv in 2007 (the analysis was made on the basis of the video footage). The uniqueness of this example is that the pianist in his improvisation synthesized jazz intonation-rhythmic idiom with constructive and creatively inventive correlation of textural and compositional techniques of S. Rachmanino’s pianism. The conducted analysis confirms that S. Davydov, in addition to using the whole arsenal of specific jazz means of organizing sound fabric, adapts in his improvisation texturally-theatrical principles characteristic of S. Rakhmaninov’s work, and not only at the expense of quoting, but and at the intonational level. The factual organization of the composition, in this case, is based on the use of the potential of large and passage techniques, which brings together S. Davydov’s creative concepts with the aesthetics of virtuosity of European pianist composers of the Romantic period. Solo improvisation is analyzed – a kind of musical recital, which lacks the traditional jazz principle of formation based on variational construction, and is dominated by freely interpreted sonatas. Conclusions. Thus, the basic principles of musical dramaturgy formation in jazz art are: the use of specific jazz means of expression, which in the light of textual organization of the musical text realize the emotional and meaningful tension, forming a clear dramatic outline of the whole composition. Conflict, as a multilayered, comprehensive process of choosing an aesthetic position in the climax, reaches a point of dramatic ignition due to specific performance factors: dynamics, agogics, textural-rhythmic combinations. Not only specific performing skills but also energetic translation of the ideological content of the whole composition are involved in this process. In the context of jazz musical dramaturgy, one more important factor, which is fundamental in both solo and ensemble jazz art, is specific communication. However, when compared to academic music, where the listening strategy is interpreted as a «strategy of co-intonation to the sound form» but in jazz culture it is the listener who, at the level of the performer or interpreter, is a direct participant of musical dramaturgy creation. This is expressed by applause at times of intense tension or after the most successful improvisation of one of the ensemble members. Summarizing all the above, on the basis of the analysis we have tried to give our corrections to the concept of «musical dramaturgy in jazz» – is a thematic process of juxtaposition and interaction of elements of jazz language that contains various polystylistic complexes of Western European academic art, directing the energy of communication to the higher artistic unity of a jazz work.
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Dasevschii, Veaceslav. "Jazz improvisation as a phenomenon of music art." Akademos, no. 3(62) (January 2022): 132–37. http://dx.doi.org/10.52673/18570461.21.3-62.17.
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This article examines a series of theoretical issues of jazz improvisation. The author analyzes various definitions and emphasizes the main features of jazz improvisation, reveals a number of ways of processing jazz standards. A special aspect represents the character of dialogue proper to this type of musical creation, the typology of improvisation and the relationship between improvisation and composition.
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Boyle, James Philip Sheng, Mohd Nasir Hashim, and Yi-Li Chang. "THE INFLUENTIAL MUSICAL COMPOSITIONAL TOOLS OF MALAY POPULAR MUSIC IN MALAYSIA OF THE MID 20th AND THE EARLY 21st CENTURY." International Journal of Creative Industries 4, no. 9 (March 6, 2022): 01–18. http://dx.doi.org/10.35631/ijcrei.49001.
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In the mid-20th century, it is noteworthy that Malay popular music composed in this era was heavily influenced by various stylistic and cultural musical forms of both the traditional Malay styles such as asli, inang, joget, zapin and even keroncong, and also by Western idioms and styles. Branded as jazz ballads in the Mid-20th Century, Malay popular music is a key subject in unveiling the musical changes in the Malay popular music history of Peninsula Malaysia. In the 1960s, there was a trend to compose Malay popular music with heavily influenced idiomatic jazz harmonics in the many various Western styles. In the early 21st century, as it has musically and stylistically evolved, Malay popular music became closely associated with the continuous dissemination of patriotic songs in Malaysia as well as an amalgamation of the various trending styles of the Western hemisphere such as funk, pop, rhythm and blues, gospel and even rock music. Throughout it all, the continued and consistent harmonics of Jazz Music have been an ever-present tool for many Malay Popular Music composers since the early years of independence. This paper will focus on four chosen compositions, two from each of the time frames in focus and each tune will have an analysis from a singular compositional viewpoint, be it melodic (Gema Rembulan-Jimmy Boyle, 1956), chordal (Air Mata Berderai-Alfonso Soliano,1964) or the dissertation of the song-form (Selingkuh Kasih-Mokhzani Ismail,2006 & Gemilang-Aubrey Suwito,2005). Through the analysis of the chosen musical scores, this paper intends to reintroduce and refresh the essential elements of composing a Malay Popular Music composition as well as the musical influences and changing mindsets of approach on the different compositional styles of Malay popular music, its culture, and identity, of the mid-20th and the early 21st centuries of Malaysia to the current and future composers of this genre.
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Kim, Sook-He. "The Musical Composition of African American Narrative : Toni Morrison’s Jazz." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 69 (February 28, 2018): 125–40. http://dx.doi.org/10.21087/nsell.2018.02.69.125.
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DuPree, Mary Herron. "Mirror to an Age: Musical America, 1918–30." Royal Musical Association Research Chronicle 23 (1990): 137–47. http://dx.doi.org/10.1080/14723808.1990.10540939.
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The time between the end of the First World War in 1918 and the stock market crash in 1929 has traditionally been considered an interregnum in American Music: before it, American music and musical culture largely reflected that of Europe, and after it, America found its voice in the distinctive compositions of Aaron Copland, Roy Harris and others. An examination of periodical writings on music from that time, however, reveals that this period marked not a state of anticipation but the real beginning of modern American music, of composition of international significance, and of distinctive styles of American composition. It was a period when traditionalism, modernism and jazz-influenced composition were each passionately defended and condemned not only in the music journals but in the pages of most of the general intellectual magazines.
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Myroshnychenko, Valerii. "TEACHING JAZZ IMPROVISATION TO A FUTURE VOCAL ARTIST: ITS ESSENCE AND SPECIFICS." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 189–93. http://dx.doi.org/10.36550/2415-7988-2021-1-192-189-193.
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The issues of teaching jazz improvisation to future vocal artists, especially theoretical and methodological aspects of their professional development in institutions of higher art education, have not been sufficiently studied. The matters of the essence and specifics of pop and jazz art, expressive means of improvisational mastery in vocal performance, the special nature of the relation between a composer and a performer, and the relationship with the audience become especially relevant. Vocal performance is one of the most important parts of jazz music. Both the first blues performers and many performers of the following decades – the period of New Orleans jazz, the era of swing, bebop and modern jazz – spark our interest. In addition to pronouncing the basic musical text, talented improvising vocalists have been using and continue to use scat singing till this day. The peculiarity of teaching jazz improvisation is also that it is a specific way of spiritual communication by musical means that can «say» more than words. It is a special concert genre that simulates a situation of direct spiritual communication, which occurs when two or more people related by a previously friendly relationship meet or during a meeting of people who have a sense of empathy between them. The specific features of a future vocal artist include combinatorial memory, imagination, fantasy, technical capabilities, and musical thinking, since the musician implements their spiritual and emotional potential in improvisation, operating with blocks of musical and artistic information during the jazz composition performance, combining them in different patterns, and thus finds the most complete, voluminous artistic embodiment of the improvisational idea. Vocal and jazz art is special in its manner, harmony, performance techniques, sound production, and orthoepy. Each style has its own professional performers whose artistic work presents the standard of the way the music sounds. Expressive means of improvisational technique in jazz are various, which is due to the specific features of variable jazz styles, individual performance style of vocal artists and the specifics of musical forms and genres typical of such technique.
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Day, Jonathan. "Jazz, Kant and Zen." Culture and Dialogue 4, no. 2 (October 26, 2016): 301–16. http://dx.doi.org/10.1163/24683949-12340017.
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Transgression and experimentation are at the heart of the musical composition with which this work begins. The compositional approaches employed developed from a consideration of Kant’s Critique of Judgement (1790) which offers a compelling explanation for the apparently bizarre “claim to objectivity” commonly made in judgements of taste. Kant’s final conclusion around the source of the claim is, for me, disappointing. This current work re-examines and extends his argument through an elision with Zen writing, and offers an alternate account. It is posited that the “claim to objectivity” operates as a linguistic marker, acknowledging the presence of experience that is trans-rational and supra-linguistic, and indicating a point/place at which language ceases to be viable. It relies on and incites an implicit shared understanding that aesthetic experience often exceeds language, and further indicates that one or more of the myriad unspeakable things are accessible nearby. This understanding is explored in relation to compositional practice, finding a powerful synergy with the writing of composers, improvisers, and avant-garde/jazz theorists. The work concludes with the suggestion that aesthetic experience and the “beautiful” may therefore signpost the ineffable, referring back to the score with which this work began.
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Firdaus, Ade Surya, Hendra Santosa, and Ni Wayan Ardini. "I Gusti Anglurah Panji Sakti: Sebuah Interpretasi dalam Musik Jazz." Gondang: Jurnal Seni dan Budaya 3, no. 2 (December 3, 2019): 86. http://dx.doi.org/10.24114/gondang.v3i2.13843.
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Interpretation of I Gusti Anglurah Panji Sakti is a title of musical composition that interprets or reinterprets the figure of King Panji Sakti who has smart characters, courageous, sympathetic, accommodating, and always close to his subordinates and thick with the Patriotism nature of anti-hegemony, anti-imperialism and anti monopoly in a jazz composition. In the process of its creation, it was motivated by an interest in the figure of Panji Sakti as a King who deserved to be a role model, because of his nationalist and patriotic character which according to the composer was very good in build character of the nation, evident from his living history in speech stories and folklore, through this work the composer also hopes to contribute in reviving the Panji Sakti figure to theother people. This article aims to provide an overview of the process of transforming the figure of King Panji Sakti into jazz music. The process of transformation into jazz music is done by the method of creation from exploration which begins with the study of literature on the history of Panji Sakti and research.in the improvisation step, the composer imagine to find suitable motives to implementing the figure of Panji Sakti and design it so that it becomes the main melodies in this work, then rests on Pono Banoe's opinion about the elements of music namely melody, rhythm and harmony the creator explored the main melody with chords and rhythm which was deemed suitable for this work so that it became a complete musical composition, after which this work was copied into musical notes, and the result is music compositions with a tempo of 100 and beats 4/4, 5 / 4, and 7/4 with key centers G / 1 # (one sharp) and song forms AI, AII, B, and AIII, at the forming step the composer determines the instrument, and chooses supporting musicians who will help in the process of this music.
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Kovalenko, Yu B. "Composition and improvisation in the aspect of the music infl uence on the expressive structure of the fi lm." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 60–79. http://dx.doi.org/10.34064/khnum2-15.03.
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Background. In recent years, there has been an increasing interest in interdisciplinary research of arts due to the fact that human consciousness has a unity of principles and approaches in the perception of the surrounding world. In this regard, synthetic arts are of particular interest because they form their creative potential by the expressive means of their art forms. And cinema is one of those open to interaction with the audiovisual means of its other components. There are a lot of studies on fi lm music that contain the analysis of functional and structural features, as well as a point of expressive means interaction, although the last one is not systematized and generalized. Objectives. The study is aimed at identifying the features of the interaction between music and cinema. Particularly, the infl uence of compositional and improvisational processes of music on the expressive structure of the fi lm and the specifi cs of fi lm making are considered. The movies using mostly jazz music were selected to study for a more effective and balanced comparison of the effects of compositional and improvisational principles in their dialectical coexistence. Methods. The desire to explore the phenomenon in its entirety led to an integrated approach which has helped to project the expressive system of music on fi lm work. Both systemic and structural-functional methods are involved in order to determine the specifi cs. The comparative method of analysis is used to generalize the connections of music thinking with audiovisual conception. And the interpretative approach helps to synthesize the results of survey. Scientifi c novelty consists in the attempt to outline the essential connection between music and audiovisual creativity which lies in the time nature of both arts and the tendency to non-verbal expressiveness. Results. The results of the research support the idea that composition and improvisation as two principles of creating a musical work are equally inherent in fi lm making. The fi rst of them provides for the stability and completeness of the structure, while the second one is associated with an instantaneous sensual response to the creation of the work in front of the viewer. Thereby, improvisation actualizes the process of creating a work of art as a way of artists’ communication with one another and with the public. It should be noted that there is a difference between the concept of improvisation as a process and the improvisational principle as a property. The last of them is found in the music of any tradition and is refl ected in the content and form of the work. The main features of the improvisational principle are relaxedness and freedom of expression, a feeling of continuity of movement and unexpectedness of further actions. Similarly, the compositional principle can be distinguished. It is based on repeats and returns of stable elements at a distance. The interaction of compositional and improvisational principles can be traced in the complex of expressive means of the fi lm at the level of dramatic development and plot structure, features of the dynamic movement and screen plastic, light-shadow score, fi - gurative content. When it comes to a musical or biopic fi lm, the diegetic music becomes a stabilizing element of the composition, and the constant returning to the situation of musical performance creates a cyclical effect. At the same time, sensual contemplation, live instant response to the observation of the creation provides a fi eld for acting improvisation within the regulated scenario. Analysis of the movie “Round Midnight” (Bertrand Tavernier, 1986) confi rms these assumptions and the hero’s jazz improvisation replaces his monologues, acting as the main fi gurative characteristic. Films in the genre Noir are marked by the use of jazz improvisation on the non-diegetic structure level. The functional uncertainty of sections, the fl ow of linear and nonlinear narratives, and unexpected change in the rhythm are observed in such fi lms. However, the return of wandering, searching, doubting, walking, coversational situations provide a manifestation of the compositional principle. These observations are made on the example of the movie “Lift to the Scaffold” (Luis Malle, 1958), and the most profound form of interaction between jazz improvisation and cinematic expressiveness – the so-called “jazz cinema”, based on the interpretation of jazz through the prism of fi lm expressive means. “Shadows” (John Cassavetes, 1959) happened to be the fi rst specimen of such kind of fi lms. But the most complex form of interaction between compositional and improvisational elements of music and fi lms are large-scale drama fi lms with numerous storylines and a large number of characters. This is considered on the example of the “Regtime” (Miloš Forman, 1981), where the musical genre determines the plot development, certain events and situations and musical score. In other words, music affects the expressive structure of the fi lm on three levels: genre-stylistic, compositional-dramatic, artistic-linguistic. Conclusions. In the process of the research it has been found out that common time nature in music and cinema allows them to be in close cooperation. The analysis of improvisational and compositional elements in fi lms indicates their certain connections with the musical form. Stabilization at the level of the plot is achieved through the return of certain dramatic situations, cycle of musical compositions as a diegetic element of the fi lm and fi nally, musical accompaniment of certain situations. Instead, improvisation is refl ected in the unexpected events, the looseness of the dialogue and the violation of linear development. All of these dramatic situations are marked by sensual contemplation and alive, instant response to changes in events. One of the main features that unite fi lm structure and jazzy music is the dialogical character of narration. This property makes improvisation a method of presentation and composition building.
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Bălan, Florin. "Fundamental Analysis of Chick Corea’s Improvisation in Spain (1972)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 99–110. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.07.
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"Modern jazz can be considered an equal part of modern music, owing to the numerous experiments, at times considered strange or not really agreed by the audience. When talking about modern musical life and the possibilities for making music in a proper manner, no doubt that the value and genius of composers like Wolfgang Amadeus Mozart or Ludwig van Beethoven must be recognized. However, one must also realize that modern life, with its modern, contemporary music is also needed. The great jazz saxophonist, Charlie Parker considered improvisation the middle of the earth, the place where, if only for a few brief moments, one can be the best and the greatest composer in the world. Furthermore, the idea of a song (theme) is the only reason for musicians to come and elaborate together, with variational spontaneity, a unique and maybe unrepeatable musical manifestation. The works of Chick Corea reflect this point of view, as the analysis of the work Spain (1972), discussed in the article bellow, will demonstrate. The work represents the fusion between Spanish music and the compositional methods of modern jazz music, reflecting Corea’s unique style. Improvisation lies at the basis of this composition, offering the musician a multitude of possibilities for expressing his ideas regarding freedom and human nature. Keywords: jazz, piano improvisation, spontaneity, creativity, harmonical knowledge, contemporary "
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Plescan, Irina, and Victoria Tcacenco. "RHAPSODY FOR VIOLIN, CELLO AND PIANO BY COMPOSER LIVIU STIRBU IN THE CONTEXT OF ASSIMILATION OF STYLE AND GENRE PECULIARITIES OF MASS MUSIC CULTURE." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(42) (August 2022): 32–38. http://dx.doi.org/10.55383/amtap.2022.1.06.
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The composition creation of Liviu Stirbu is an example of organic interaction of the idioms of music of European professional tradition, national folklore as well as mass musical culture. The purpose of the authors of this article is to reveal the unique concept of Rhapsody for violin, cello and piano that emerged as a result of the interaction of music of academic tradition, on the one hand, and rock and jazz music, on the other. The influence of academic musical culture is found in using the genre features of scherzo, march and concerto, while the metro-rhythmic aspects of this opus are close to the phenomena of mass musical culture.
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Pliushchenko, M. Yu. "“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 124–44. http://dx.doi.org/10.34064/khnum1-53.08.
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Background. This article is devoted to the actual issues of musical interpretation in connection with one of the most common genres of modern art – genre of transcription in its various aspects. These questions are considered in aspect of genre specificity of transcription as the work with dual authorship that determines a special methodology of such musical samples study, the need of the comparative analysis of the original and transcription versions, the study of principles of composition and artistic interpretation, the manifestations of the performing characteristics in it. This field of creativity encourages researchers to study the principles of artistic thinking, inter-style communication, and virtual creative dialogue between the authors of the original and the version at all levels of musical content and form using the samples of transcriptions. The example of such approach is the given research, which studies the mechanisms of musical interpretation creation in the genres transcription and arrangement in aspect of the contemporary composing and performing practices. The object of the study is the creativity by a bright representative of the Kharkiv school of the playing on folk instruments, Andrii Strilets, the subject of consideration in this article are his orchestra transcriptions-arrangements. The purpose of the research is to determine the principles of interpretation and inter-style dialogue in the genre of transcription on the example of the musical piece “Jazz-slide” by M. Tovpeco for two accordions in the arrangement by A. Strilets. For the first time in musicology this composition becomes an object for the theoretical analysis in aspect of the artistic interpretation and inter-style dialogue in genre of transcription-arrangement. This determines the relevance and scientific novelty of the study. For the first time also, the research is focused on the multifaceted creative activity of the talented Kharkiv musician A. Strilets, which combines the various directions – composition, conducting, bayan performance and pedagogy. Results of the study. The list of the works by A. Strilets includes dozens of positions, in particular, the orchestral opuses – about 40, the vocal pieces – more than 40, there are also the dance music, vocal-choreographic compositions and others. Composer prepared for publication the author’s collection “Concert works for bayan”, which will be a musical presentation of his work. Pedagogical work of the musician is successfully combined with the performing activity. A. Strilets is a talented accordion / bayan performer (the winner of all-Ukrainian and international competitions, among them, the prestigious international competition “Vogtland Music Days” in Klingenthal, Germany; participant of tours as a bayan player-performer in Belgium, Germany, Poland, Ukraine) and conductor. He worked as a conductor at the Kharkiv City Theater of Folk Music “Oberegi”; he made a significant contribution to the creation of the “Slobozhanskii Big Academic Song and Dance Ensemble” (2011), which he conducts nowadays, and also acts as an author and arranger of a significant part of the musical repertoire of this ensemble. Being the head of the folk instruments orchestra, musician directs his actions, first of all, to improve the performing level of the musicians, to expand the concert repertoire and the genre diversity of the performed compositions, to change and complete the instrumental compositions. The study also highlights several signs of the pedagogy of A. Strilets. As a teacher, he encourages in his class the independent thinking of the performer and the searching of a reasonable interpretation, provides the information about stylistic features of works for fully disclosing of its content, he takes into account the analysis of their dramaturgy and form, carefully relates to the reproduction of author’s remarks, aims from the musicians the task of the most accurate composer’s intention disclosure. These pedagogical principles project onto the compositional features of A. Strilets’ works, which are clearly demonstrated in sphere of his arranger’s work. The study specifies a number of basic composer principles and methods used by A. Strilets in the transcription-arrangement of “Jazz Slide”. 1. First of all, the arranger updates the timbre-texture complex of the original, redistributing certain content and form-building components in the musical “space” and “time”, giving them new configurations, which leads to strengthening or, in opposite, leveling (down to rotation) of their original dramatic functions – general and minor, solo and accompanying, monological and dialogical, ensemble and orchestral, melodic, harmonic, rhythmic and others. 2. The sound-texture aspect demonstrates both smallest and systemic changes of musical and expressive complex of the original – from the separate elements to their cumulative action, which contributes to the genre-style qualities transformation of the work, strengthening the through development in it, up to the presence of signs of symphonization. 3. Hence, the genre concept of the work is updated, and it leads to the emergence of a new genre quality – “concert-ness” – and to the consolidation of the concert status of the work (which becomes similar to a concert for two accordions / bayans with an orchestra). The quality of “concert” is also achieved due to the growing role of soloists, in particular, the strengthening of solo replicas in the orchestra (separation of elements of the original melodic themes and distribution them to orchestral groups), which leads to the polyphonization of the musical facture, emphasizing (new coloring) some features of the melodic lines of the soloists and like other. 4. At the level of harmony, on the one hand, the emphasis of its original content, on the other hand, the search of its melodic potential is observed. 5. The rhythmic parameter of sound-facture complex contributes to the enhancement of genre-style semantics of the original source, taking into account its jazz “filling”. 6. Comparative analysis of the original and version reveals signs of a method of composer interpretation that involves a creative component in arranging, supplementing, and rethinking the content of the original. Conclusion. In course of studying it was found that the arranger, at the preserving of the structure of the original piece – a contrast-composite form, updates the procession-dynamic and dramatic sides of it, primarily due to the action of the timbre-texture complex as the key interpretative factor in creating of the orchestral version of the original. The prospect of the research. The considered issues require, of course, the further research – both from the point of view of the artistic significance of genres, arrangement and transcription, in particular, for orchestras and ensembles of folk instruments, and in the aspect of the action of mechanisms of artistic interpretation and the features of the transcription process, which naturally combines composer and performing arts. The work of the talented Kharkiv musician Andrii Strilets who is one of the most prominent representatives of the Kharkiv school of folk instruments, deserves a separate study.
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Holotenko, Pavlo. "Jazz Avant-Garde by Cecil Taylor." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 466–81. http://dx.doi.org/10.34064/khnum2-19.27.
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The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, which led to the understanding of philosophical and psychological issues, in particular, ethical, aesthetic, social and other aspects. In this connection, new styles began to form in jazz, which in fact represented the emergence of the next, radically new stage in the evolution of jazz art. In the second half of the XX century there appeared jazz avant-garde – an entirely new cultural phenomenon that has its own history and philosophy, genre and style. In musicology, this concept can also be called “abstract jazz”, “new jazz”, “free jazz”, etc. It is clear that this trend is at the crossroads of two separate types of art – musical avant-garde and jazz, so it attracts admirers from both sides. Compared to traditional classic jazzmen, many prominent musicians of jazz avant-garde are still little known. Among them are composer and pianist Cecil Taylor, who was a compelling opponent of jazz traditions. His style is unique, his music is one of the most striking examples of musical avant-garde in the history of art. Nowadays, the scientific literature has no fundamental works devoted entirely to the analysis of C. Taylor’s avant-garde art. This circumstance also enhances the relevance of studying specific features of C. Taylor’s performing style. The purpose of the research is to determine peculiarities of Cecil Taylor’s creative style and related techniques of music speech. Achieving the goal involves solving the following tasks: to determine the difference between artistic systems of classic and avant-garde jazz; to outline the main informative paradigms of C. Taylor’s creative work; to analyze the technology of expressive means of C. Taylor’s music; to reveal the significance of C. Taylor’s avant-garde activity and to identify its place in the world of modern artistic culture. Research methods. The research is based on the interaction of scientific approaches, the most important of which are: analytical, which involves elaboration of musical means of expressiveness and composition technique of sounds organization; comparative, used to compare specific features of artistic systems of jazz mainstream and avant-garde; semantic, necessary for defining the content of music pieces, their meanings, images, mood; biographical, with the help of which certain facts of the musician’s biography are specified for a better understanding of his creative personality. Results of the study confirm the fact that in the world of artistic culture Cecil Taylor is one of the greatest representatives of the radical musical avant-garde. The basis of his art is the so-called “aesthetics of opposition”, the central idea of the artistic system of jazz avant-garde, according to which any artistic truth categorically established for all others cannot exist. In this context, the individualization of style, the relativity of all aesthetic ideals and the unlimited spectrum of expressive possibilities are stated, which is conditioned by the optimal disclosure of the figurative and emotional content of the piece. At the same time, the central object of the avant-garde jazz denial is the concept of the classic jazz art, based on the so-called “aesthetics of identity”. Its main idea is to adhere to structural stamps in order to maximally approach the stylistic aesthetic ideal. Such an ideal is the given classical theme-standard. Actually, this is an artistic truth for the jazz mainstream, to which one should aspire. Avant-gardists did not agree with this situation, for them it was nothing more than imposing personal whims by adherents of jazz traditions. The main informative paradigms of C. Taylor’s avant-garde art are antiromanticism, realistic pessimism and dystopia. The essence of anti-romanticism is to deny the domination of sentimentality, subjectivity, dreaminess and escape from reality, typical for romanticism. In their place, the primacy of rationalism, collectivity and pursuit of objectivism are established. Realistic pessimism is a worldview where, basing on tragic experience attention is focused on negative aspects, which leads to a belief in the eternal dominance of evil all over the world. Anti-utopia is recognition of the deception of utopia, the denial of the achievement of social ideals and the possibility of creating the world of justice. The main means of expressiveness of this ideological content in C. Taylor’s works are atonality, disharmony and percussive pianism. Conclusions. According to the research findings, we conclude that Cecil Taylor made a significant contribution to the development of modern culture. He was a compelling opponent of jazz traditions, always remained an uncompromising fighter for new jazz. Cecil Taylor is a virtuoso pianist and prominent improviser, one of the best representatives of avant-garde jazz in the world. Cecil Taylor discovered a new bright side of musical art and stimulated the public to redefine spiritual values and view of world as a whole. His work attracts and will attract attention of all those who are interested in contemporary art.
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Paliy, Iryna. "UNIONIQUE MUSIC AS A NEW PHENOMENON OF THE MUSICAL CULTURE: ANSWERING THE MAIN QUESTIONS." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 22–32. http://dx.doi.org/10.34064/khnum1-55.02.
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In this article we will talk about the interaction of music in fundamentally different areas – academic and non-academic, in which there is an interpenetration of musical language elements, expressive means from one sphere to another is happening, and a brand new quality musical material is produced. This new kind of music we call ‘unionique music’, and the aim of this article is to describe the unionique music phenomena, to base and explain its introduction into the musicology’s use, and to define its place in the musical culture. Under the ‘academic music’ is understood the music of the West European classical tradition, under the ‘non-academic’ – such directions as jazz, rock, and folklore (ethnic). Using the method of functional analysis we examine musical compositions on three levels (composition, intonation and timbre). With the advance of internet technologies we now have an easy access to all kinds of different music that is composed in various styles and traditions. Convenience of communication made it possible for representatives of various nations to get acquainted with the musical languages of other ethnic groups and subsequently apply the elements of these languages to their creative work. This gave the ground for the emergence of a variety of musical directions in which interaction with different musical domains takes place. As a result, we now understand that the new paradigm of musical perception consists in the equality of all music types.
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Topping, Margaret. "Cross-Rhythms, Across Cultures: Towards a Multi-Sensory Travel Literature." Irish Journal of French Studies 15, no. 1 (December 1, 2015): 61–75. http://dx.doi.org/10.7173/164913315817039252.
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Cross-rhythms — or the simultaneous combination of contrasting rhythms in a musical composition — are characteristic of many non-Western forms, and present, too, in those such as jazz which have been progressively 'de-othered' in the course of the 20th century: from being perceived as 'primitive' and 'un-European', jazz has been gradually assimilated into the European cultural landscape. As Matthew F. Jordan has argued in Le Jazz, this evolution has, though, entailed an at times vexed renegotiation of aspects of French cultural identity. The motif of the cross-rhythm — with its suggestions of cultural forms 'rubbing against' one another in ways that may be perceived as conflict or harmony depending on the listener's own cultural positioning — may thus be suggestively linked to questions of cross-cultural encounter and representation, borrowing and reinvention. Swiss traveller-writer Nicolas Bouvier (1929–1998) will provide a particular focus. My analysis posits a multisensory engagement with 'otherness' as an ethical imperative which displaces the ocularcentrism commonly associated with cross-cultural representation.
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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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Prusak, Monika. "Nonsense Madrigals by György Ligeti: The Musical Sense of Nonsense between Chaos and Order." Res Facta Nova. Teksty o muzyce współczesnej, no. 22 (31) (December 15, 2021): 57–70. http://dx.doi.org/10.14746/rfn.2021.22.5.
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The study examines Ligeti’s “stylistic revolution” as well as the nonsense aspects of the composition and introduces an original analysis of Ligeti’s musical nonsense inspired by the literary analysis of nonsense by Susan Stewart.The Nonsense Madrigals by György Ligeti take part in a kind of “stylistic revolution” in Ligeti’s style and are the result of his passionate research on African polyrhythms and its contribution to his music. What Ligeti intended to create in those periods was a superimposition of different rhythmic and melodic patterns in such a way that they could fuse together in an illusory chaos. However, there is also an ancient order that governs this new approach: the old masters such as Philippe de Vitry, Johannes Okeghem or Johannes Ciconia and their compositional techniques became the base of mixing the old western styles with the traditional music of Central Africa, so that the new and authentic compositional idea could blossom. The copious sketches of the Nonsense Madrigals, stored at the Paul Sacher Stiftung in Basel, reveal that the preparatory brainstorming involved also many other inspirations such as Balkan and oriental music, jazz, and some of Ligeti’s own compositions. The combination of the old and the new without using concrete models but just drawing inspiration marks a new approach among Ligeti’s contemporaries.
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Presnyakova, Inga A. "“Variations on Variations”: History of the Jazz Transformations of the Allegretto from Beethoven’s Seventh Symphony." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 34–42. http://dx.doi.org/10.33779/2782-3598.2022.2.034-042.
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The history of jazzing the theme of the variations from the Allegretto of Beethoven’s Seventh Symphony began with a revision of its four-measure fragment in the vein of a light-popular style and traversed the path towards a deep transformation, which in all likelihood would be quite congenial to the composer of the original work, as a 50-minute variation cycle. The article discusses three jazz revisions – the potpourri Beethoven Wrote It... But It Swings! by Dolly Dawn and her Dawn Patrol, written in 1939, the composition Beethoven Riffs On created by the John Kirby Sextet in 1941, and the album Beethoven. Allegretto from Symphony no. 7 created by the Jacques Loussier Trio, 2003. The author reveals the typical methods of the stylistic transformation of the original for jazz practice, as well as individual features for each musical example.
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Revzis, Inessa M. "About the Development of Improvisational Skills in the Pupils of Children’s Music Schools." ICONI, no. 2 (2019): 106–15. http://dx.doi.org/10.33779/2658-4824.2019.2.106-115.
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A considerable amount of pedagogical manuals and the programs devoted to methods of instruction of improvisation is connected with examining improvisation in the context of jazz pedagogy, or the art of performance (most frequently — piano). However, the development of the composer’s improvisational skills is deemed to be more important. The diffi culties of creation of the algorithm of instruction of this type of activities, but quite apparent is the set of conditions connected, fi rst of all, with the natural inclination towards improvisation, and also the presence of compositional abilities; second, with the mandatory mastery of an entire complex of music theory knowledge. Upon the combination of these two factors, it becomes possible to speak of a high level of development of improvisational skills. The article offers the point of view regarding the organization of the process of acquisition of skills of improvisation, the basis of which is comprised by six basic components, presenting six types of improvisation: melodic, poetical, harmonic, textural, ornamental and genre-related. Each separately presented subject is signifi cant, most notably, for the content of the course of “Composition,” which reveals the basic laws of construction of a musical composition, which, in their turn, are fundamental for the development of improvisational abilities. And because improvisation frequently becomes the fi rst impulse for creating a musical composition, which presumes its expression through spontaneity, it follows that both improvisation and composition thereby exist in close mutual connection.
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McWhorter, John H. "Long Time, No Song: Revisiting Fats Waller's Lost Broadway Musical." Daedalus 142, no. 4 (October 2013): 109–19. http://dx.doi.org/10.1162/daed_a_00238.
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Just before he died in 1943, Fats Waller wrote the music for a Broadway book musical with a mostly white cast, the first black composer to do so–and the only one ever to do it with commercial success. Yet “Early to Bed” is largely ignored by historians of musical theater, while jazz scholars describe the circumstances surrounding its composition rather than the work itself. Encouraging this neglect is the fact that no actual score survives. This essay, based on research that assembled all surviving evidence of the score and the show, gives a summary account of “Early to Bed” and what survives from it. The aim is to fill a gap in Waller scholarship, calling attention to some of his highest quality work, and possibly stimulating further reconstruction work that might result in a recording of the score.
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McMillan, Ros. "‘To say something that was me’: developing a personal voice through improvisation." British Journal of Music Education 16, no. 3 (November 1999): 263–73. http://dx.doi.org/10.1017/s0265051799000352.
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The study and practice of improvisation in music departments of Australian colleges and universities tends to be dominated by jazz and other African-American styles. However, the School of Music of the Victorian College of the Arts in Melbourne has developed a course of study with a different focus. While rooted in the fundamentals of jazz performance, the philosophy of the course is that students at the end of the twentieth century should endeavour to develop their own musical ‘voice’. An important means of assisting this development is the encouragement for students to compose their own music as the basis for improvisation. In many cases personal concerns and events form the basis for these original pieces and allow performers to develop their own compositional concepts. This is also a significant means of allowing the music to reflect the era and culture of the performers. This article outlines an investigation of ten students conducted over the three years of their degree studies. The investigation aimed to ascertain the conditions under which a personal voice might be acquired and the extent to which composition was employed in the participants' major performances.
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Yakhno, О. І. "Paradigms of rock music and jazz: comparative discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 161–76. http://dx.doi.org/10.34064/khnum1-53.10.
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Objectives and methodology. The article is devoted to the revealing of the relation and differences between rock music and jazz, as the phenomena of the “third” layer. It is noted, that, in methodological terms, such a comparative approach is advisable to implement with the use of a paradigm apparatus that fixes a certain commonality in the development of each of the studied phenomena at different stages of evolution. The application of this concept to the phenomena of art is a characteristic feature of modern musicology. In the broadest sense, the paradigm is the possibility of “thinking by analogy” (according to Aristotle), and in music it relates both to the field of theory (views on music as a form of art) and practice (musical and artistic phenomena as the products of composer and performing art).The article proposes a classification of rock music paradigms, which are based on the available data on the aesthetics and communication of jazz and notes that rock music on the path of its evolution has passed a number of stages, which in general can be designated as paradigms. The article suggests a comparative description of the movement of aesthetic and communicative paradigms of jazz and rock music. It is noted that in jazzology this issue has long been relevant, which is not the case for the study of rock music. Despite all the differences in the time of emergence and the nature of evolution, vocabulary and semantics, social functions, jazz and rock have many “common points”. The results of the research. Such features, of jazz and rock music, as improvisational nature, a variety of intonational sources that combine multinational and diverse trends are revealed and systematized as common points. Among the special features are distinguished such as the reliance of jazz mainly on the instrumental and rock music on a mixed vocal and instrumental basis; first is referring to “elitist”, second is referring to “mass”. Various syntheses are also common in jazz and rock music, as well as the correlation of composition and improvisation, performing and authorial principles. It is not so much about mutual influences and syntheses, but about the directions of evolution, the general nature of which is defined as the movement from “realistic” to “phenomenological” (A. Soloviev on the jazz paradigms). At its onset, rock music, like jazz, has been “embedded” in the system of the social and political movement, where its autonomous aesthetic function was not yet identified (youth movements of the 1960s, within which the corresponding “protest music” arose). In the process of mastering vocabulary specific to rock music as a phenomenon of the “third” layer, a new paradigm arose, characterized first as conventionally realistic, and then as conventionally autonomous, where rock music reaches the level of professional art in which laws and rules are established by its representatives themselves (this period begins from the Beatles and will continue further by their followers – “Rolling Stones”, “Led Zeppelin”, “Deep Purple” and other groups). It is noted that “people of rock” as well as “people of jazz” are a special social and communicative community, in which the idea of free communication is the main and determining one, where social, interpersonal, and actually musical factors intertwine. The unifying communicative factor in jazz and rock music is the art of improvisation, in which, in symbiosis, the processes of creating and performing music coexist spontaneously, but are subject to certain paradigm settings. It is emphasized that in the social context, jazz and rock differ in ethnic and age factors, which, however, is eventually overcome in modern global society through consolidation (convergence of African-American and European sources of jazz, transition of rock groups to a more general theme that differs from the original youth focus). It is also noted that rock music, unlike jazz, is too deeply connected with social factors and is always based on topical themes, generalized with varying degrees of artistry. Therefore, its degree of autonomy is much lower than that of elite jazz, which by the last decade of the 20th century had turned into the officially recognized salon art, or into a “conglomerate” consisting of pop elements of various kinds close to the aesthetics of the show industry. It is proved that the differences between jazz and rock music are most clearly manifested at the level of radical-and-phenomenal paradigm, which means plunging into the realm of banal “nothing”, where acts (but actually – does not act) the principle of “no wave” (A. Soloviev about jazz) . While jazz in the post-bop period developed towards elite art under the Free rubric, the extreme expression of which was spontaneous collective “impersonal” (lack of leadership, lack of frontman), the style of rock music developed in a different direction, the vector of which can be considered the opposite of jazz. Firstly, in the field of stylistics and language as its primary carrier, rock music meant a return to improvisational syncretism – a dramatic combination of poetry and music. Secondly, rock music is directly immersed, unlike elite jazz with its style of full linguistic freedom and collage, in the realm of relevant musical and poetic vocabulary, coming not from the rhetorical type of creativity (translating “artificial” into “new artificial”), but from the realities of the set of generally accessible linguistic means, which exists at a given historical moment (and in a certain “geography”). In the conclusions of the article, it is noted that rock music, even in its experimental radical and phenomenological manifestations, associated mainly with the sound realm (electronics, dynamics), remains, as a whole, the phenomenon of pop culture. This does not mean the absorption of rock art by the realm of mass consumerism. The best rock music pieces, which have already become classic, combine in reasonable proportions the “elite” (innovative) and “mass” (traditional), give a special rational embodiment of the idea of combining improvisation and composition – the “cornerstone” in the musical art of the entire “third” layer. The aesthetics and communication of rock music in its latest paradigms are differentiated according to the criteria of various stylistic inclinations – genre, national, regional, personal. Therefore, the study of modern rock music is the task of a number of separate studies devoted to specific issues of the problem, in particular, its main difference from jazz, namely, in the vocal and instrumental nature.
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Bogdanova, O. V., and E. A. Vlasova. "In Search of Self-Knowledge (Intertext of I. Brodsky’s Poem “The Procession”)." Nauchnyi dialog 11, no. 2 (March 19, 2022): 258–81. http://dx.doi.org/10.24224/2227-1295-2022-11-2-258-281.
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In the article, based on the material of the “mystery poem” by I. Brodsky “The Procession” (1961), intertextual links are traced that allow us to penetrate into the deep layers of the poem, to see behind its plot not the story of a love disappointment (I. Romanova) or the motives of the farcical comedy dell’arte (E. Fetisova), but philosophical reflections on time, on life and death (life-death). The intertextuality in “The Procession” goes beyond literature: the compositional structure of the poem is mediated by the influence of jazz variations and blues repetitions. As a musical pretext of “The Procession”, the classic of the Leningrad dixieland “When the saints go marching in...” is attributed. According to the jazz harmony the plot of the poem is formed as a series of zongs-voices, variants-improvisations of Hamlet’s theme “To be or not to be?” (“life / death”), which in Brodsky’s poem received a subjective version: “death comes as if for the first time...” The “vortex” composition, mediated by the rhythms of jazz, allows Brodsky to lead the hero through all the circles of Dante’s “Hell”, bringing him closer to “Purgatory” in the final poem and giving him the opportunity to pass initiation, to be among the “initiates”. The hero does not reach the heights of “Paradise”, but he is granted “even breath [verse]”, explicating the idea of an eternal life march to an unattainable world harmony.
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Kopiez, Reinhard, and Friedrich Platz. "The Role of Listening Expertise, Attention, and Musical Style in the Perception of Clash of Keys." Music Perception 26, no. 4 (April 1, 2009): 321–34. http://dx.doi.org/10.1525/mp.2009.26.4.321.
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THIS EXPLORATIVE STUDY INVESTIGATES THE PERCEPTION of clash of keys in music. It is a replication and extension of an earlier study by Wolpert (2000) on the perception of a harmonic (bitonal) manipulation of a melody and accompaniment. We investigated (a) how reliable results were, (b) how results would change if listeners' attention changed from nondirected (NDL) to directed listening (DL), and (c) whether the perception of clash of keys is influenced by the musical style of the particular composition. Participants included 101 expert listeners and 147 nonexpert listeners who evaluated music of four different styles in two versions each (original and with a pitch difference of 200 cents between melody and accompaniment). On the whole, expert listeners noticed the clash of keys significantly more often than did nonexperts (NDL: 49.30% vs. 9.30%; DL: 78.00% vs. 46.90%). For NDL, the perception of clash of keys differed between musical styles and decreased from classical to rock 'n' roll and from pop to jazz. Differences in responses are mainly explained by acculturation effects (listening expertise, attention, musical style, and familiarity with the particular piece).
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Radonjić, Asja. "Ivan Brkljačić: Love!: Saxophone concerto." New Sound, no. 56-2 (2020): 65–75. http://dx.doi.org/10.5937/newso2056065r.
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The text examines Ivan Brkljačić's most recent orchestral work entitled: Love!-Saxophone Concerto, composed in 2018 as commissioned by the Belgrade Philharmonic. Love! was chosen as a universal theme, but also as the moving force behind the composer's personal and creative life. The composition corresponds to the stylistic expression that is characteristic of Brkljačić. His contemporary musical language is complemented by his own quotes and unequivocal references to popular, primarily rock music, but also to pop, jazz, and other genres that have formed his artistic persona. This work will remain chronicled as the first performed concert for saxophone and symphony orchestra in the history of Serbian music.
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Duţică, Luminiţa. "Choose Music! A Consulting and Training Strategy for Admission to Higher Education in Music." Review of Artistic Education 17, no. 1 (March 1, 2019): 40–46. http://dx.doi.org/10.2478/rae-2019-0004.
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Abstract The educational project CHOOSE MUSIC!, subtitled “for counselling and training for admission to higher education in music”, was created many years ago, at the initiative of Prof. Univ. PhD. Luminiţa Duţică, with the main purpose of creating a bridge between the pre-university and academic musical education (through pupils - students, pupils - university professors, etc.). Another special objective was to promote the image and opportunities existing at “George Enescu” National University of Arts of Iași. In this respect, inter-institutional partnerships were established between the Faculty of Interpretation, Composition and Theoretical Music Studies within “George Enescu” National University of Arts of Iași and numerous art high schools/colleges, especially from the regions of Moldavia (Suceava, Botoșani, Bacău, Piatra-Neamț, Iași, Bârlad and Galați). In this study we will go into more detailed aspects related to teaching and art activities made for this purpose, diverse and attractive, evidenced by: demonstration lessons of Music theory, Classical composition / jazz – easy listening, Musicology, Choral/Orchestral Conducting, MasterClass for aspects regarding the perception and graphic representation of the sounds, as well as the specific musical skills training (held by professors Luminiţa and Gheorghe Duţică), to which educational concerts, book launches, special meetings with teachers from the pre-university education, additional training with students for admission to the academic musical education in Iași (especially in the contest subject called Theory - Solfeggio –Melodic Dictation.
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Presnyakova, Inga A. "Swing Era’s Jazzing the Classics: Pro et Contra." Problemy Muzykal'noj Nauki / Music Scholarship, no. 4 (2022): 76–86. http://dx.doi.org/10.56620/2782-3598.2022.4.076-086.
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The birth of jazzing the classics – the practice of jazz transcriptions of classical music – dates back to the Swing Era (from the second half of the 1920s to the first half of the 1940s). The most pronounced trend in jazzing the classics of the era of Swing was the transformation of themes from classical musical compositions (mostly, of a song-like romantic nature) into pop song and dance compositions. The high classics were losing their status of music for serious performance and listening, turning into “foot music” and a commodity for the music business. At the same time, some of the musical samples from the era from the 1920s to the 1940s anticipated such fundamental features of the practice of jazzing as a new stage in the history of jazz, which began at the turn of the 1950s and the 1960s, namely: the involvement of baroque and classicist music, concert types of performance, and the preservation of the entire music of the original composition in the resultant music. Despite its widespread distribution, jazzing the classics has long remained in the shadow of research attention. Meanwhile, it can become the subject of a multi-vector study – from techniques of transcription to major issues of a socio-cultural nature. The present article focuses its attention on expanding the documentary and historical base. An analysis of materials from the American periodicals from the 1920s to the 1940s makes it possible to recreate the pro et contra situation of the Swing Era in relation to jazzing the classics. The scholarly originality of the article lies in the expansion of the factual base associated with the history of jazzing the classics, the introduction of previously unknown names, compositions, and other materials of the American periodicals of the 1920s and 1930s into Russian musicology, and the identification of the influence of the jazzing practice of Swing Era on its subsequent stages.
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Yuriy, Dyachenko. "FRENCH MUSETTE IN THE WORKS OF A. HAIDENKO." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 121–34. http://dx.doi.org/10.34064/khnum2-22.07.
Full textAbstract:
At the present stage of development of world music, the accordion and button accordion occupy one of the leading positions. Formation of instruments on the professional concert stage is an integral part of both world and Ukrainian musical culture, as evidenced by the composition, a large number of performing competitions and festivals that take place not only in Ukraine but also in Europe, Asia and America, and Australia. A significant phenomenon of the latest wave of development of accordion and button accordion art is the crystallization of pop and jazz in the works of composers and performers. From the second half of the twentieth century, the popularity of pop and jazz music among performers and listeners (due to its brightness and accessibility) opened new horizons, genre and stylistic searches which have largely affected the trends in the development of world accordion and button accordion art, including pop and jazz. The composer’s activity of leading performers is becoming a widespread phenomenon of modern pop-jazz accordion movement. Among them we note V. Podgorny, V. Zubytsky, V. Vlasov, A. Haidenko, O. Nazarenko, B. Myronchuk, A. Stashevsky and others. Well aware of the specifics of technical-expressive, acoustic and textural capabilities of modern accordion and button accordion, domestic composers-accordionists have created a large number of bright works of pop and jazz direction. Thus, the intensification of composer’s work and the emergence of new works of pop and jazz in the accordion and button accordion art of modern times have determined the relevance of the topic of this article. The purpose of the article is to identify the main stylistic and genre features of the French musette in the works of A. Haidenko. One of the most significant examples of this genre is the series «Paris Secrets» of five waltzes in the style of French musettes for accordion by A. Haidenko. Such a work as a «musette» has not yet been mastered by any of the domestic composers, especially in the form of a cycle. The composer rethought the basics of the French folk instrumental genre in terms of professional accordion performance. This synthesis transforms the genre of the musette, embodies the pop genre in terms of academic art. The use of professional performance capabilities distinguishes the artist’s works from other compositions of this style, with the general availability of musical material to a wide range of listeners. Typical melismatics of French musettes is organically and professionally implemented by A. Haidenko in the whole cycle. The melismatics is based on beamed ascending and descending grace notes on chord tones, “singing” grace notes on separate notes, chromatic grace notes (imitations of “transitions” to the sound), mordents. Sudden dynamic contrasts, shift of strong bars, chord introduction, virtuosity, brightness of phrases and sentences are typical for A. Haidenko’s musettes. The series of five waltzes for accordion “Paris Secrets” in the style of French musettes by A. Haidenko is a unique heritage not only of the domestic, but also of the world original repertoire.
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Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.
Full textAbstract:
Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing interest of classical performers in the music of the American composer is the successful holding of the IV G. Gershvin International Music Competition in New York (on November 7–10, 2019). Director and main organizer of the competition, Michael Bulychev-Okser, is the American pianist, the main winner of many international competitions in the United States, Italy, Andorra, Spain and Mexico. How does a musician of academic direction, whose inner professional intentions and way of thinking are brought up on the classical repertoire, perceive Gershwin’s jazz compositions? What is the specificity of modern reading of his music? In which cultural traditions should we look for the key to understanding Gershwin’s musical language, its rhythmic and intonational specifics? Finally, can a jazz pianist consider himself completely free from the culture of the academic tradition by playing Gershwin? The search for answers to all these questions has identified the problematic perspective of this article. The purpose of the article is to reveal the characteristic features of the performance of G. Gershwin’s transcriptions by modern academic pianists using specific examples and to determine the interpretational tasks of the performer. The research methodology is based on a comprehensive genre andstyle approach to the study of musical material, and also includes a comparative method used for concidering different performance versions of the same work. The main results of the study. Jazz and the culture of academic music work closely together in the style of G. Gershwin. Indicative in this sense was the idea of a concert eloquently called “Reunion of Classics and Jazz” (1924), for which the “Rhapsody in Blue” was created and where it was first performed by the author with the orchestra of Paul Whiteman. G. Gershwin, more than any other composer of his time, communicated with African-American musicians: he knew Will Voderi, Lucky Roberts, Duke Ellington; heard New York pianists play downtown and often visited the “Cotton Club” and other places in Harlem to hear the bands of Duke Ellington, Cab Calloway and other jazz musicians. But not only jazz was the area of interest and creative acquaintances of Gershwin. Along with jazz culture, there were many other musical styles. In the works of G. Gershwin, Ch. Ives, A. Copland in the early 1920s – mid 1940s there is an original combination of deep folk intonation with the composer’s technique of the XX century, up to the use of dodecaphonic-serial technique (Copland). The fusion of jazz and academic branches in Gershwin’s music, above all, takes place at the level of form. “I took the blues and put it in a larger and more serious form”, said the composer (as quoted by Schneider, 1999: 67). As a pianist, Gershwin did not receive a systematic professional education as a child, although he later had enough teachers. But that didn’t stop him from becoming a real pianist-virtuoso and a brilliant improviser. One should listen to archival recordings of Gershwin’s performance to get an idea of his performance style. Samples of his piano performances have been partially preserved: some acoustic and electric recordings, radio recordings, two sound films and a large number of piano videos (Gibbons, 2002). The studio recording of “Rhapsody in Blue” demonstrates Gershwin’s completely “academic” pianism – with clear, well-founded articulation, bright sonic fullness, thoughtful agogics of expressive declamation, which is only emphasized by the well-organized metric pulsation and dynamics by active rhythmic movement – and his true virtuoso skill. Should a modern pianist, performing Gershwin’s works, follow the example of a balanced and rather “academic” performance, as in his studio recording “Rhapsody in Blue”, or follow Gershvin’s interpretation, which can be observed in the transcription “I Got Rhythm”, where he clearly prefers the jazz element? It makes sense to compare different examples of Gershwin’s popular piano transcription of “The Man I Love”. The performance version of the English pianist Paul Barton is an attempt to imitate the specifics of the freedom of sound of instrumental jazz styles, however, as one can hear, the musical intonation is not always convincing, the breath is a bit torn, the agogics of chord melodic constructions performance the agogics of chord melodic constructions (upper layers of texture) is greatly exaggerated and the performing is practically “released” from calculation and feeling of time. As an undoubted plus of this version it is necessary to note huge attention to harmony as such, to vertical and balance within a chord – Barton’s harmony “breathes” and moves. This approach can be justified, because the harmony of Gershwin’s songs is always diverse, bright and inventive. The record of Gershwin’s 1959 “Songbook” by Ella Fitzgerald is available today. The composition “The Man I Love” in her performance can be one of the possible orienting points in the intonation of the main melodic voice, the calculation of its unfolding in time, the display of interval “tensions” and melodic intentions in Gershwin’s music. E. Fitzgerald’s vocal-jazz style presupposes a different temporal organization of the melody, different from the one suggested by P. Barton – the movement of its vocal recitation-intonation and improvisational vocals is accelerated, then somewhat slowed down, thus creating “compensated time” of a musical work, and it is with soft, relaxed, naturally light breathing. The modern media space presents the album of French pianist Alexandre Tharaud “Swing in Paris”, which includes two compositions by Gershwin: “The Man I Love” and “Do it Again!”. Three different interpretations of “The Man I Love” are popular on the You Tube website, where each video is original in its own way. These performings are variants, but the concept of details – melodic constructions, organization of rhythmic accents, as well as a sense of Gershwin’s style, is preserved. The sophistication of the Parisian salon is what distinguishes the game of Tharaud. The musician has a sense of proportion and uses the full range of expressive means of academic pianism. At the same time, the development of the melodic line takes place organically and effortlessly, alluding to vocal genre examples, to free breathing and “blues” articulation of jazz vocalists; rhythmic accentuation is unobtrusive but clearly felt. Summing up, we note that the “Tharaud approach” is certainly the closest to the reference. Conclusions. Proceeding from the synthetic nature of G. Gershwin’s music, comprehension of its stylistic and cultural origins, analysis of listened musical samples, let us single out the interpretation constants that must be taken into account by the performer of his compositions. Among them – the inheritance of agogics, articulation, “light” breathing, inherent in the vocal jazz manner, in the intonation of the melody; “Breathing” harmony with a colorful timbre filling of chords and subvoices united into a movable vertical-horizontal complex; understanding of rhythm as an independent expressive sphere that has ethnic roots in the music of the African American tradition.
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Krom, Anna E. "David Lang’s Postminimalist Musical Theater." Vestnik of Saint Petersburg University. Arts 12, no. 3 (2022): 432–48. http://dx.doi.org/10.21638/spbu15.2022.302.
Full textAbstract:
The article explores issues of the American musical theater of the nineteenth century, fruitfully developing on the basis of postminimalism. Among the brightest representatives of this style is the composer David Lang (1957), a member of the group “Bang on a Can”. His theatrical projects of the last two decades demonstrate a new phase in the development of postminimalist theater, the foundation of which was laid by his older contemporaries, Philip Glass, Steve Reich, and John Adams. Using the example of stage works — “The Difficulty of Crossing a Field” (2002), “Prisoner of the State” (2019), and “Anatomy Theater” (2016) — the author identifies the main features of Lang’s musical and theatrical style and traces a close relationship with the operas of his predecessors. They are brought closer by the appeal to postmodern dramaturgy (fragmentation, discreteness, commentarity), social problems, the desire for genre uniqueness of each performance, repetitive methods of organizing musical facture. In his theatrical work, Lang relies on postminimalism and repetitive technique, which manifests itself at different levels — dramatic, verbal (repetition of syllables, words, phrases in the libretto) and musical. A characteristic feature of Lang’s stage opuses is the synthesis of academic opera traditions and non-academic genres and directions (Musical, jazz, rap), which allows us to draw analogies with the art of crossovers. The Musical in some cases acts as the genre basis of the work (non-academic vocals, dances, a speech episodes). Lang’s theater is a chamber theater, it assumes a small composition of participants, placement of vocalists and orchestra members on the stage, laconic timing of plays. All these factors allow us to make an assumption about the formation in Lang’s musical and theatrical work of the next phase of the evolution of postminimalism, which can be characterized as postpostminimalism.
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Barg, Lisa. "Queer Encounters in the Music of Billy Strayhorn." Journal of the American Musicological Society 66, no. 3 (2013): 771–824. http://dx.doi.org/10.1525/jams.2013.66.3.771.
Full textAbstract:
AbstractThis article addresses issues of queer identity, aesthetics, and history in jazz through a focus on two midcentury works composed and/or arranged by Billy Strayhorn: a set of four pieces written in 1953 for an Off-Broadway production of Federico García-Lorca's The Love of Don Perlimplín for Belisa in Their Garden (Amor de Don Perlimplín con Belisa en su jardín); and several movements from the Strayhorn-Ellington adaptation of Tchaikovsky's Nutcracker Suite (1960). My study considers how the two works engage artistic figures, themes, topics, and aesthetic practices that have strong queer historical affiliations. These include failed or impossible love, masking, stylized exotica, and other liminal spheres of identificatory ambiguity and reversal. Taken together, these works enable a positioning of Strayhorn within modernist queer cultural history and, more specifically, within the history of African American gay cultural production. At the same time, through showing how queerness inhabits jazz's past, my analyses of Strayhorn's queer musical encounters provide a critical vantage point from which to examine historical and cultural understandings of jazz at midcentury and, more broadly, the complex relationships between social identities (race, sexuality, gender) and composition, arrangement, and collaboration in twentieth-century music.
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Goldman, Jonathan. "‘HOW I BECAME A COMPOSER’: AN INTERVIEW WITH VINKO GLOBOKAR." Tempo 68, no. 267 (January 2014): 22–28. http://dx.doi.org/10.1017/s0040298213001307.
Full textAbstract:
AbstractThis article is an interview with the Franco-Slovenian composer, conductor and trombonist Vinko Globokar, translated, edited and introduced by the author. It offers an overview of Globokar's musical development and a consideration of his artistic position, which straddles the worlds of composition and improvisation. Globokar's music combines complex organisation with an interest in non-hierarchical and improvisatory elements. He has always refused to pit the avant-garde claims of contemporary music against those of free jazz, his music embracing aspects of both, as well as of traditional Balkan musics. His genre-defying approach remains better known in continental Europe than in the UK or North America, and the present text is a contribution to the limited bibliography on Globokar in English.
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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.
Full textAbstract:
The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.
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Joewono, Hermanto Tri. "The evidence for the influence of musical compositions during pregnancy to the structure and functions of the offsprings’ brain." Majalah Obstetri & Ginekologi 28, no. 1 (June 26, 2020): 44. http://dx.doi.org/10.20473/mog.v28i12020.44-51.
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Objective: to compile studies in Surabaya on the effect of Mozart compositions during pregnancy on the number of the offsprings brain neuron, glia, BDNF, apoptotic neurons and, neuronal dendritic density. These series of studies aimed to develop environmental-enrichment model during pregnancy so we can have better brain for the next generation. Better brain means better capacity in processing information, solving the problems, and creating new solutions that depends on the number of neuron, glia, ratio glia/ neuron and synapses. We do believe in the motto of “From Neurons to Nation” Overview: There were 38 studies, in animal models except two in human subjects, all of them with control, prospective, and randomized. The first group consist of analyze the frequency, sequence, time, duration, gestational age, distant, and intensity of Mozart composition. The second group: try to analyze the mechanism and compare with variety of other compositions including other western music(Chopin, Beethoven, Blues, Jazz, Rock) and Indonesian music(Gamelan Jawa, Sunda, Bali, Pop, Religious). The third group: combine with nutrition, reverse sequence, involving cerebrum and cerebellum, and right-left hemisphere. There were no growth restricted, dead, and malformed offsprings in both groups. The BDNF expression, synapsin I expression, the number of neuron, number of glia, and dendritic density of the exposed groups were higher than control. The neuronal apoptotic index were lower in the exposed groupsConclusions: Mozart compositions during pregnancy increased the BDNF, synapsin I, number of neuron, number of glia, dendritic density and, also decreased the neuronal apoptosis in offsprings’ brain
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Grytsun, Yuliia. "The reflection of fabulousness in Igor Kovach’s musical theatre (on the example of the fairy-tale ballet “Bambi”)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 78–91. http://dx.doi.org/10.34064/khnum2-23.05.
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Problem statement. Among Kharkiv composers, one of the significant places is occupied by Igor Kovach (1924–2003), a representative of the Kharkiv School of composers and Ukrainian musical culture of the 20th century. His works include music and stage, orchestra, concert, song, choral and literary-musical compositions, music for theatre performances, music for films and TV films. The creative legacy of Igor Kostyantynovych Kovach has a close connection with the children’s audience; it includes both instrumental music for young performers and theatrical music, where children from performers become listener, among them the fairy-tale ballets “The Northern Tale” and “Bambi”. The children’s music by I. K. Kovach did not receive proper consideration except for short newspaper essays and magazine notes, M. Bevz’s (2007) article devoted to children’s piano music. Thus, the problem of holistic study of children’s stage music by Igor Kovach still remains open. Objectives. The present article is devoted to the identification of musicalthematic, timbre-texture, genre-stylistic features, with the help of which the multifaceted figurative world of the ballet “Bambi” is embodied. The aim and the tasks of this research – to reveal the specifics of the figurative world of the fairytale ballet “Bambi” and to identify the musical means by which it is embodied. The role of the orchestra is established, the means of thematic characteristics of the characters are traced, and the peculiarities of the musical language stipulated by the requirements of the chosen genre are noted. Methodology. To achieve the aim we have used special scientific methods: genre, stylistic, intonation-dramaturgical and compositional ones. The presentation of the main material. The music for the fairy-tale ballet “Bambi” belongs to two authors: Igor Kovach and his son Yuri. The new features inherent in the sound palette are manifested in the instrumentation, where along with the usual composition of a modern symphony orchestra there are saxophones, rhythm- and bass-guitars, drums, which due to their timbres bring a sharp taste of emotional and behavioural looseness. Introducing the qualities of non-academic tradition into the academic orchestra, the authors, on the one hand, use them according to their origin, on the other – turn them into an organic part of the symphonic score. By making a “concession” to pop music, simplifying harmonious language, freeing it from the extreme manifestations of expanded tonality, bringing it closer, on the one hand, to classical-romantic, on the other – to jazz, Igor Kovach showed his inherent sense of modernity, “address quality” of creativity. Conclusions. Thus, the fabulous multifaceted world of “Bambi” is revealed in the ballet owing to the bright thinking and language of the composer. The action of the ballet takes place against the background of bright genre sketches, which are as if immersed in the very density of life. This impression arises due to the dynamics of rhythms, colourful orchestration, and a variety of styles, addressed to the sound world of today. Generalized intonations of academic art organically coexist with the turns of song quality of different origins, dance quality, march quality, jazz improvisations, which was facilitated by the co-authorship with Yuri Kovach.
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BARZEL, TAMAR. "An Interrogation of Language: “Radical Jewish Culture” on New York City's Downtown Music Scene." Journal of the Society for American Music 4, no. 2 (April 15, 2010): 215–50. http://dx.doi.org/10.1017/s1752196310000039.
Full textAbstract:
AbstractIn April 1993 the Knitting Factory, a small nightclub in Lower Manhattan, hosted a five-day music festival titled “Radical New Jewish Culture.” This event was part of a multifaceted creative endeavor undertaken during the 1990s by composer/improvisers on New York City's downtown music scene and dubbed “Radical Jewish Culture” by its main protagonist, saxophonist John Zorn. RJC brought Jewish music and heritage into the purview of a polycultural experimentalist scene shaped by jazz, rock, free improvisation, and avant-garde concert music. Artists downtown also engaged in an animated “conversational community” that spilled over into interviews, program notes, liner notes, and essays. RJC was especially productive as a conceptual framework from which to interrogate the relationship between musical language and the semiotics of sound. Two pieces serve here as case studies: “¡Bnai!” an Israeli “pioneer song” as interpreted by the No Wave band G-d Is My Co-Pilot, and “The Mooche,” a Duke Ellington/Bubber Miley composition as interpreted by pianist Anthony Coleman's Selfhaters Orchestra.
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Biliaieva, N. V. "Оlexandr Litvinov – the founder of professional jazz education in Kharkіv (milestones in life and career)." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 171–90. http://dx.doi.org/10.34064/khnum2-18.10.
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Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding musician, who was actually the founder of professional jazz education in Kharkiv, is not currently the subject of widespread discussion in contemporary Ukrainian musicology. There are few sources that would cover O. I. Litvinov’s life and career. For the first time, he is mentioned as the founder of pops’n jazz performance department in a print publication dedicated to the 85th anniversary of KhNUA named after I. P. Kotlyarevsky. In the same context, O. Litvinov’s name is found in O. Kononova’s essay on the evolution of music education in Kharkiv in the jubilee edition dedicated to the 100th anniversary of the University. There is a biographical article in this very anniversary publication. In the earlier anniversary edition “Pro Domo mea” (on the 90th anniversary of the institution) there is some information about O. Litvinov regarding the history of the jazz department creation. Basic biographical data are briefly presented in the article of I. O. Litvinova in the Encyclopedia of Modern Ukraine. A small booklet dedicated to the major milestones of O. Litvinov’s life and creative work was published in the KhNUA (then KhSUA) named after I. P. Kotliarevskyi to mark the 75th anniversary of the musician. There are also several publications devoted mainly to specific dates in the creative life of the maestro (concerts, anniversaries, etc.): by H. Derev’ianko, L. Lohvynenko, M. Dvirnyi, A. Moshna, I. Polska, and O. Sadovnikova. Among purely research works devoted to this striking personality are the Master’s work by Yu. N. Shikova, which was written under the guidance of І. І. Polska at Kharkiv State Academy of Culture. The purpose of the article is to systematize existing information on the life and creative path of the prominent Kharkiv musician, give a brief description of the main features of his performing and composing style. Methods. The work employs historicobiographical, analytical and comparative methods, as well as a genre-stylistic approach. Results. O. Litvinov was born on November 17, 1927 in Zaporozhye. He received his elementary education at a piano music school. From 1943 to 1951 he was in military service, participated in the World War II. After the war, he continued to study music at Kharkiv Music College named after B. Lyatoshynsky, later at the Composition Faculty of Kharkiv Conservatory. He was expelled from there because of his passion for jazz. From 1951 he continued his musical activity as an artist of the MIA Variety Orchestra (in Dnepropetrovsk), in 1955–1956 he was a soloist of the Sakhalin Oblast Philharmonic and Khabarovsk Regional Philharmonic. In 1956–1958 he was the leader of the variety band of the Palace of Culture for Food–Industry Workers, in 1958–1961 he was the leader of the concert band of the Palace of Culture for Builders. From 1961 to 1973, he was the director of his own collective – Honoured Variety Ensemble “Kharkivyanka” at Kharkiv Electromechanical Plant. In 1965 he received the title of Honored Artist of Ukraine, in 1978 – People’s Artist. From 1973 to 1978 – Artistic Director and Conductor of the “Donbass”, Honored Mining Ensemble in Donetsk; from 1978 to 1980 – assistant at the Department of Cultural Studies, director of the Jazz Orchestra at Kharkiv Institute of Law. Since 1980 he worked permanently at Kharkiv I. P. Kotliarevskyi State Institute of Arts: first as a senior lecturer, later as an associate professor of the Chamber Ensemble Department, then as a professor of the Orchestra Wind Instruments Department. Since 1994 he created and headed the Department of Variety Orchestra Instruments, and at the same time he directed the variety-symphony orchestra of Kharkiv State Academy of Culture, the violin ensemble of the National Academy of Law named after Yaroslav the Wise. Since 1999 O. Litvinov was a full member of the Ukrainian Academy of Sciences of National Progress. In 2001 he became a diploma winner of the regional competition “Higher school of Kharkiv region – the best names” in the nomination “Head of Department”. In 2002 he was awarded the Honorary Medal of the Ministry of Culture and Arts of Ukraine. He died on March 15, 2007. O. Litvinov’s creative personality combines the image of composer, arranger, conductor, performer-multiinstrumentalist (apart from piano O. Litvinov played the accordion, organ, wind instruments, violin). O. Litvinov’s works employ the best achievements of world classics and Ukrainian academic music, in particular, the Kharkiv composition school, and embody the best features of jazz and, more broadly, variety music of the twentieth century. These stylistic origins often coexist organically in one piece by O. Litvinov. The performance style of O. Litvinov as a conductor is characterized by very clear, bright, emotional gestures, especially outstanding sounding of the orchestra, the ability to clearly show every change in the thematic development of the piece. The style of O. Litvinov’s arrangements was significantly influenced by the music of Hollywood films, the art of contemporary Soviet composers – Saulsky, Broslavsky, Pokrass, Dunaevskyi, jazz masters – Tsfasman, Utesov, Bernstein and others. Conclusions. O. Litvinov’s creative life was very bright and rich, and his musical activity was diverse and multifaceted. In the present works, the main focus is made more on the “polyphony” (according to A. Mizitova and A. Sadovnikova (2002, p. 17) of this life, its external events. Characteristics of the composer’s, performing, conducting styles of the artist are “inscribed” in this polyphony only as its “voices”. However, each of these voices needs, in our opinion, more detailed consideration. For example, O. Litvinov’s compositional heritage is very large, but only a few of his compositions are performed today and well known to the public. In fact, only one piece for violin ensemble (or for violin and piano), “Eternal Movement”, received true popularity among the performers and the public. Most other works are not published, and the fate of most scores is unclear. So, the direction of further research can be related to a more detailed study of some particular works of O. Litvinov that have survived as well as to deepening knowledge about his performing and pedagogical activity.
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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.
Full textAbstract:
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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Putra Satria Amin, Angga, and Irdhan Epria Darma Putra. "JEMBATAN MERAH." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 192. http://dx.doi.org/10.24036/jsu.v9i1.109594.
Full textAbstract:
The song of the red bridge is a national anthem created by Gesang that contains the story of farewell in the fire of struggle. The purpose of this work is to create works in the form of school music arrangements. In this work the arranger worked on a red bridge song in the form of school music, then combined it with a touch of combo band from several musical components in the middle, thus forming a new arransemen to show. The nuances of the arrangement will later transform the emotions of hope and anticipation into something joyous, reinforced by the progress of jazz chords and combined with the pattern of ska music. This work of "Red Bridge" is a self-expression of the author with a form manifested into three plot sections, based on the development of the song "Red Bridge" as well as brass session patterns, which are appeared in a series of ritems and sentences using composition techniques used as binding of this work.Keywords: Jembatan Merah
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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.
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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art, elevating it to the level of the most in-demand ones in the public music practice. This article puts forward and proves the thesis that the course of evolution of saxophone in jazz – traditional (before bebop) and modern (after it) – has synchronized, in terms of esthetical and communicative features, with the general movement and the changes of its paradigms: from realistic and transitional (conventional-autonomous), in terms by Aleksandr Soloviev (1990) to radical-phenomenal. This study outlines, for the first time, the path of movement of jazz saxophone from collective (ensemble and orchestral) forms toward free improvisation in the spirit of esthetics of the newest free jazz, which does not rule out retrospection of former paradigms realized via the styles of outstanding jazz saxophone players: from Coleman Hawkins, Lester Young and Charlie Parker to John Coltrane, Ornette Coleman and Sonny Rollins. The results of the study. It was noted that the sound image of saxophone, distinguishable for a paradoxical combination of certain “sweetness” and extremely expression, turned out to be the most consonant with the stylistics of jazz instrumentalism, where a number of aerophones tested by European academic practice, such as trumpet, clarinet, trombone and other, appeared in a fundamentally new light. The sources of saxophone’s penetration into jazz were entertainment dancing genres that were popular both in Europe and in the United States at the turn of the 20th century. The solo practice of saxophone improvisation, typical for jazz, was not used back then. An ensemble featuring several saxophones was used either in dance orchestras or in jazz bands that appeared later (the first example is the sweet-band founded by Arthur Hickman in San Francisco in 1914). The ensemble practice helped bring saxophone to the leading positions in solo instrumental jazz concerting. The first virtuoso jazz saxophone players were representatives of Chicago school of the 1920s: Lawrence “Bud” Freeman, Sidney Bechet, Benny Carter, Joe Poston, Don Redman, Jimmy Strong and Frankie Trumbauer. Decades later, saxophone improvisations in swing style became an unalienable component of swing choruses, an example of which is the works by such outstanding musicians as Coleman Hawkins and Lester Young who prepared the ground for bebop with its free improvisations of original tunes (an example is the works by Charlie Parker). The article notes that the taking of front stage by an improvising saxophone player in esthetical and communicative aspect was reflected in the formation of a sort of object paradigms (according to A. Soloviev), the first among which were “realistic” ones based on the syncretism (inseparable unity) of musicians and listeners. The “interchangeability” principle applied there, when any participant of communication was poly-functional in terms of the ruling function (the examples include saxophone sweet bands of the 1920s, communicatively related to blues). The conventional-autonomous paradigmatics in saxophone jazz art began developing in the bebop era, which saw the appearance of a clear demarcation line between musicians and the audience. Saxophone improvisations of such musicians as Charlie Parker and his followers heralded formation of the saxophone concert style, which in many aspects is close to academic practice. “Phenomenologization” of saxophone jazz performance became a direct continuation of “autonomization”, walking off via the complete freedom from any stylistic norms (an example is the works and esthetics by Ornette Coleman with his “no any wave” principle). In these conditions, the esthetics of the complete “freedom from…” were joined by the radical demand for “otherness”, i.e. the quality of a unique order when a jazz musician shows something new, something that “never existed” before in almost every improvisation. However, as we know, anything “new” most often means well-forgotten “old”, which is reflected in saxophone jazz stylistics via the combination of the “free” and “fusion” principles. Jazz, including its saxophone version, went quite a long way of development, and along this way, its paradigms were not historical “milestones” per se, but rather logical principles potentially preserved in the memory of jazzmen who think in the language of their art. There is another important point: continuous struggle that took place (and which still takes place) between elite and mass culture, concerning the language of this art in which one can expect the appearance of the most diverse elements, from the improvisation techniques created by the traditional folk cultures towards the academic avant-garde esthetics and writing techniques marked as collage and polystylistics. Such a “splitting” in saxophone jazz stylistics allows to identify a whole complex of means and techniques mirroring esthetical-communicative paradigms of jazz in their separate and interrelated combination: 1) the “free” principle that has appeared within the framework of jazz “realism”; 2) the idea of dramatization typical for “conventions”; 3) the category of “freedom from…” denying previous paradigms but at the same time having direction toward genetic origins. Conclusions. The saxophone in jazz has gone through a rather complicated path of formation, but has retained the status of one of the “title” instruments symbolizing this art. Like jazz in general, its saxophone “branch” developed in line with a kind of aesthetic “splitting”, in which the instrument was thought as belonging to pop culture (pop jazz), then used as part of an elitist style close to academic avant-garde (free jazz). The path of the saxophone in jazz is traced in connection with aesthetically communicative paradigms, in the context of which the attitude to this instrument was formed among the jazzmen themselves and the public. In the early stages (“realistic” paradigms), the “pop” role of the saxophone was cultivated; then there was “autonomy”, the main feature of which was the selection of virtuoso soloists; under the latest phenomenological paradigms, saxophone art is divided into various stylistic movements, from folk and funk trends to complete freedom from any style standards in individual solo improvisations. The prospects for further research of this theme are seen in the study of individual styles and patterns of jazz saxophone improvisation, both “schoolish” (the paradigm of a particular school of saxophone playing) and “personal” (the work of leading jazz saxophonists). The stylistic approach will make it possible to single out and correlate the “general” and “individual” in the sound image of this instrument, which has become one of the personifications of modern music.
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Safran, Benjamin. "“The Hall Does Not Make the Space”: Disrupting Concert Hall Norms in Hannibal's One Land, One River, One People." Journal of the Society for American Music 15, no. 3 (August 2021): 287–304. http://dx.doi.org/10.1017/s1752196321000183.
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AbstractHannibal's cheering and shouting along with his request for audience participation during the 2015 premiere of his composition One Land, One River, One People caused a stir and created discomfort among the Philadelphia Orchestra audience. I interpret his work as an example of a successful musical direct action within contemporary orchestral music. By exposing and subverting the traditions of the classical concert experience, One Land, One River, One People highlights social boundaries within the genre of classical music itself. I apply Robin James's (2015) concept of Multiracial White Supremacy, or MRWaSP, to contemporary orchestral classical music of the United States. Under late capitalism, MRWaSP helps to explain the potential appeal to an orchestra of commissioning Hannibal, who is known as a “genre-crossing” composer rooted in classical and jazz. Yet I argue that the way in which Hannibal performs his identity along with the piece's inclusion of audience participation allow the music to resist functioning as expected under MRWaSP. Rather than promoting a sense that—as one might expect from the title—we are all “one people,” I see the piece as revealing racial difference and as speaking truth to power.
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Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.
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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.
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Stetsiuk, R. O. "Varietal instrumental style as a performance-related phenomenon (case study: saxophone)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 154–73. http://dx.doi.org/10.34064/khnum1-54.10.
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This article substantiates the legitimacy of using the notion of “instrument’s style” in music performance studies. It was noted that the global nature of the style aspect in the system of artistic work pre-envisages its application to the field of organology – the science of instruments as “tools” or “organs” of musical thinking – as well. It was emphasized that, being part of the man-made, “second” nature, instruments per se do not have a style but represent its determinants within the framework of the notional axiom “style is person” (according to Georges-Louis Leclerc, Comte de Buffon). The instrument’s style is represented by creative personalities who create and perform music. This article generalizes and systemizes information about musical style in its extension onto the level of varietal instrumental stylistics, where the main classification criterion is the ratio between universalism and specifics of performance-related sound image. The article offers an original notion of “varietal instrumental style” that provides basis for the study of particular varieties and representations (in this case, saxophone) of this phenomenon. It was noted that a new system of perceptions of musical interpretation arises within the framework of music performance studies, thus causing special interest in varietal specifics of an instrument as the most important component of interpretation performance process. Performance of music is thought of as a true creative act in which the figure of interpreter stands out, represented in several versions: performing as such, mixed (composing-performing or performing-composing), and improvising. It was emphasized that comprehensiveness of the “style” category allows to extend its applicability to all (without exception) means of expressive-constructive complex of music, which in a concrete composition are manifested at the stylistics level. Among the most important stylistic components of a piece of music are instruments which do not have a style themselves but represent its determinants objectively existing in the practice of public music playing of various eras and periods, countries and regions. Complex properties of instruments are studied within the framework of a relatively new field of music studies called “organology”. According to an organological approach, instruments appear in their wholesome quality that includes timbre-acoustic and image-semantic values and characteristics, enabling them to be considered at the level of varietal style – the style of any music varieties (according to Valentina Kholopova). It was noted that musical instruments are dual by their nature. On the one hand, they are artifacts of civilizational culture categorized as phenomena of the “second”, man-made nature. On the other hand, they require obligatory presence of a human being – a performer-interpreter in whose work they get “humanized” (according to Boris Asafyev) and attain the qualities of style. Such an interpretation of the “instrument’s style” category can be found more and more often in music study works devoted to particular varietal instrumental styles: piano, guitar, violin and other. This article notes that the notion of “instrument’s style” correlates not only with the generalized perception of musical style with its branching into hierarchical levels but also with stylistics of a musical composition perceived as the set of the means of implementing a genre-style idea in the text of a musical image: composing (notational) and performing (acoustic). As a result, we have the notion of instrument stylistics existing within the wholesome system “instrument = musical composition” (according to Boris Asafyev). It was emphasized that instruments, like the style in general, are “material”, i.e. they are perceived sensibly, acting as objects of reality embodying intentions of author’s and performer’s artistic design. It was proved that in varietal instrumental stylistics, the most important aspect is the belonging of an instrument to a particular family and its correlation with instruments of other families. As for the saxophone style, its distinctive features from this viewpoint will include: a) characteristic particularities of sound image reflected via timbre and semantics (“timbre labels” according to Alexander Veprik), b) interim position within the system of aerophones – brass and wooden wind instruments. It was emphasized that parameters of the stylistic structure of a musical composition always correlate with its texture measured vertically, horizontally and depth-wise. The textural “configuration” always includes an instrument as the carrier of its intrinsic stylistics: historical, genre-specific, national, “personal”. Therefore, when reviewing a varietal instrumental style, including the saxophone style highlighted in this article, one has to use the following criteria: a) organological, b) varietal, c) genre-stylistic. On that basis, the article offers an original definition of the saxophone style as a performance- and composing-related phenomenon aggregately reflecting timbre-acoustic and image-semantic properties of an instrument, distinguishable for: a) interim position between wooden and brass aerophones, b) peculiarity of sound image tending toward universalism, i.e. toward assimilation of properties of a whole number of other musical instruments, and of not only wind but also other groups. The article’s concluding remarks note that saxophone stylistics manifest themselves the most fully in jazz, where this instrument is represented in the entire diversity of its artistic and technical capacities at the level of improvisation art that revives, at the new “orbit” of historical-style spiral, the centuries-old practice of musical instrumentalism.
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Strelchenko, K. M. "Modern arrangements and transcriptions of pieces for accordion in terms of sound timbre instruments specificity." Musical art in the educological discourse, no. 2 (2017): 92–96. http://dx.doi.org/10.28925/2518-766x.20172.9296.
Full textAbstract:
The article is devoted to comparative analysis of the characteristics and differences of sound and timbral features of accordion with other musical instruments in the creative process of arrangement and transcription of original music. This article has examples of some musical pieces for the practical examination of key aspects of this question. There were always many aspects of the problems of concert performance of accordionists. However, the problem of music genres of repertoire, that helps to achieve impressive effect of performance and sense of confidence in broader stylistic possibilities of the instrument, is of special importance today. Therefore, the purpose of article is more extended consideration of the issue of uncomfortable acoustical sounding of accordion in a considerable number of episodes of pieces of music that are not created for this instrument. The concert program of contemporary accordionists, which has the arrangements and transcriptions for accordion of original pieces of music, is complete and perfect. Expanding of the stylistic frontiers of repertoire and increase capabilities of performance of classical, pop and jazz music of different genres and styles will solve many problems associated with the increasing popularity of accordion. Today the need for the use of accordion as original instrument in musicians’ performance practice is urgent. Transcriptions and arrangements are aimed at preparation and adaptation of the original music to perform for another ensemble or other instrument for which the composition was not originally created. The main task is to facilitate the articulation of sound palette of the accordion. It gives the opportunity to create transcription and arrangement in such way that the listener perceives the piece of music as music written for musical instrument that he hears at that time. To perceive and understandand original music, it is advisable to listen to it from the best professional music groups and musicians. Such performance as usual makes a great impression and expands the imagination but in their original genre. When a musician plays their arrangement he recalls what he heard and experienced when he was at the music hall. Naturally the creative personality wishes to recreate from what he was amazed, but he must play the music written for other musical instruments and groups using a different approach to understanding and implementing the image of high performance art.
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Strelchenko, K. M. "Methods and techniques of jazzpop music arrangement for button accordion and piano accordion in swing style." Culture of Ukraine, no. 75 (March 21, 2022): 85–92. http://dx.doi.org/10.31516/2410-5325.075.11.
Full textAbstract:
The relevance. The article covers the topics of popularization of instrumental performance of button and piano accordionists in terms of genre improvement of the concert repertoire, based on the idea of expanding the stylistic boundaries of the programme, offering new methods and techniques of instrumental arrangement when training and performing pop and jazz music in the preferred genres and styles, adapting the musical content to one’s performance.
The aim of the article. The study explores the relevance of button and piano accordionists’ concert programme originality, as well as the need to add light genre pieces. The article also substantiates the question of the expediency of arranging the music of those genres which can sound more natural and be conveniently performed on instruments.
The novelty. The study gives recommendations on structuring a composition in the standard form to facilitate the perception and understanding of complex rhythmic schemes of accompaniment for playing the part with the left hand and partially with the right one.
The methodology. Methodology on the performing repertoire in the final stage, that is, on demonstrating the results of developing the programme at professional and other stages.
For a detailed and practical approach to the work process, the swing style is proposed using the example of a vocal genre composition ‘Ain’t That a Kick In Head?’ by composer Jimmy Van Heusen to the lyrics of American author Sammy Cahn. There are also musical examples of working material for clarity of the practical process and consideration of key aspects of the issue of adaptation and arrangement of pieces in the content.
The conclusions. The relevance of the problem of piano accordion and button accordion popularity among modern youth and beyond lies in many reasons. One of them, perhaps, is the general tendency of studying at music institutions to prepare performances rather for competitive events characterised by competitive spirit than for concerts, where the performance is aimed at the audience’s interest. The demonstration of video and audio materials and live performances of masters of this art in prestigious radio and television programmes is not widespread enough.
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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum2-49.12.
Full textAbstract:
Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.
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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum1-49.12.
Full textAbstract:
Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.
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Fedorenko, Larysa. "BRECHT’S THEATER: GENRE DIVERSITY AND BASIC CONCEPTS." Philological Review, no. 1 (May 31, 2021): 196–204. http://dx.doi.org/10.31499/2415-8828.1.2021.232741.
Full textAbstract:
The article is devoted to the drama of Bertolt Brecht (1898–1956), the peculiarities of its genre palette and analysis of the main factors of the playwright's artistic method. To achieve this goal, the following research methods were used: descriptive; matching method; literary analysis and synthesis. The Brecht Theater is represented by genre varieties of theatrical forms: expressionist drama, musical, opera, operetta, Lehrstück, epic and dialectic theater. The article proves that dialectics is the ideological soil and the conceptual core of the Brecht Theater. The dialectic poetics of a playwright should be understood as the method of analysis and argumentation presented by the Hegelian triad: thesis – antithesis – synthesis. In accordance with the dialectical concept, the Brecht theater puts in the center primarily the principle of contradiction, aimed at a multifaceted understanding of phenomena, overcoming a frozen, ossified way of thinking. The study defines the key concepts and principles of creating the drama of Bertolt Brecht, namely the «alienation effect» (Verfremdungseffekt) and assemblage (composition). The principle of the «alienation effect» is that a familiar phenomenon appears in the theater from an unexpected perspective, and therefore requires awareness of the viewer’s novelty. The means of this is the constant violation of theatrical illusion, the reality of what is happening on stage. The assemblage stipulates that the theatrical action is not a homogeneous system, but is a «made», «constructed» plane of various heterogeneous «materials»: dialogical discourse is interrupted by lyro-epic components (songs); in the musical plan, which is designed in the same style, jazz elements are suddenly «mounted», actors exchange roles during the performance, elements of the cinema «penetrate» the event plane, the causal course of the events depicted is interrupted by the demonstration of banners or posters with provocative appeals. The prospects for further research are the literary analysis of post-Brecht theater, that is, drama, which appeared as an imitation or negation of the dramatic principles of Brecht's theater.