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Journal articles on the topic 'Works, choral'
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Imre, János Zsolt. "Coloristic Tonal and Harmonic Compositional Techniques in Zoltán Gárdonyi’s Choral Works for Organ." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (August 10, 2023): 315–25. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.20.
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"The topic of this paper is an analysis of two choral works for organ by Zoltán Gárdonyi. The purpose of this work is to reveal the compositional methods and tools used to create coloristic and fascinating tonal and harmonic movements in those two choral works. Alongside, how he crafts his works based on cantus firmus melodies and creates the organ chorals. Keyword: Gárdonyi Zoltán, coloristic compositional technique, leitmotif-like cell, coloristic harmony, organ choral. "
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Smith, Richard Langham, Netherlands Chamber Choir, Christie, Koopman, Phillips, Boeke, Heereweghe, and De Hevel. "Sweelinck: Choral Works." Musical Times 135, no. 1820 (October 1994): 652. http://dx.doi.org/10.2307/1003144.
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Kitchen, J. "Bach choral works." Early Music 37, no. 1 (February 1, 2009): 138–41. http://dx.doi.org/10.1093/em/can136.
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Grazia, Donna M. Di, Hector Berlioz, and Ian Rumbold. "Choral Works with Keyboard." Notes 54, no. 3 (March 1998): 767. http://dx.doi.org/10.2307/899919.
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Zhu, Keyi. "The historical evolution path of Chinese folk choral works creation." OOO "Zhurnal "Voprosy Istorii" 2023, no. 5-1 (May 1, 2023): 236–43. http://dx.doi.org/10.31166/voprosyistorii202305statyi09.
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This article attempts to discuss the historical stages of Chinese choral art development, the embodiment of ethnicity in choral works at each stage of development, and the “innovative” path of Chinese contemporary ethnic choral works creation.
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Almăşanu, Carmen. "Values of neo-protestant choral works in Romania." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 265–79. http://dx.doi.org/10.2478/ajm-2019-0016.
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Abstract Borne from the relevant and efficient expression in the context of contemporary culture, neo-protestant choral spirituality uses a diversified and meaningful language. From the very beginning of the existence of neo-protestant cults on the territory of our country, the establishment of a liturgical repertoire intended for common intonation or by various choral or vocal-instrumental bands has been one of the primordial preoccupations. Along with choral creations translated from the universal literature, there is a significant number of original works created by Romanian composers within the religious services. Due to extremely diverse themes and extrovert character, neo-protestant choral music includes different styles specific to the great tradition of classical, romantic or modern music as well as influences from the extra-European sphere. The text of these creations, which has biblical inspiration or created by the composer, is a means of great diversification in the reproduction of the sound material. Composers and arrangers with high quality music training and a profound understanding of biblical truths, through sound art wanted to contribute to the enrichment of contemporary neo-protestant choral music repertoire, leaving posterity a significant amount of valuable choral pages as inheritance.
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Roccasalvo, Joan L., Sergei Rachmaninoff, and Vladimir Morosan. "The Complete Sacred Choral Works." Notes 54, no. 4 (June 1998): 993. http://dx.doi.org/10.2307/900101.
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Langford, Jeffrey, Hector Berlioz, and Julian Rushton. "Choral Works with Orchestra (I)." Notes 50, no. 1 (September 1993): 378. http://dx.doi.org/10.2307/898773.
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Ivanova, Y. "Children’s choir in the works of Valentyna Drobiazhina." Culture of Ukraine, no. 83 (March 21, 2024): 67–74. http://dx.doi.org/10.31516/2410-5325.083.07.
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Relevance of the research topic. Music for children’s choir is represented by a significant layer in the creative heritage of Ukrainian composers. However, children’s choral music has hardly been considered in musicolo-gical research. Among the composers of the Kharkiv region, the choral works of V. Drobiazhina received special recognition. The lack of musicological research on the composer’s work has determined the relevance of this work.
The purpose of the article is to analyze the peculiarities of the artistic aesthetics and compositional style of V. Drobiazhina’s choral music for children.
The methodology of the theoretical analysis combines fundamental methods and approaches to modeling a holistic picture of the composer’s children’s choral heritage: genre-stylistic; functional-structural; systemic.
The results. The first collection “Merry Songs” for junior children’s choir, was published in 1976. Jazz rhythms and harmonies, alternating recitation and singing, consonant intonation characterize this cycle. “In the Forest Workshop” is the most popular one among V. Drobiazhina’s works, and it is performed by many children’s choirs in Ukraine. The choir imitates the sounds of the winter forest and creates a premonition of spring. “Spring” is one of V. Drobiazhina’s last compositions. The artist’s extremely delicate sensual soul, passionate love for Ukraine and its musical culture are fully reflected here.
The scientific novelty of the research. The genre-stylistic aspect of V. Drobiazhina’s choral music for children, the peculiarities of aesthetics and composer’s style are highlighted in the article for the first time.
The practical significance of the article lies in the fact that these materials can be used in the courses “Choral Literature” and “History and Theory of Choral Performance”.
Conclusions. Music for children’s choir is one of the most outstanding pages of V. Drobiazhina’s composi-tional heritage. The uniqueness of V. Drobiazhina’s children’s choral music lies in the combination of the extraordinary richness of the musical material with accessibility both for perception and performance. The composer’s music organically combines Ukrainian national traditions with modern means of expression.
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Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music." ICONI, no. 1 (2021): 61–67. http://dx.doi.org/10.33779/2658-4824.2021.1.061-067.
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Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral works has made it possible to disclose the characteristic features of the composer’s polyphonic style. The latter include the multi-choral presentation with its bright spatial effects, the antiphonic juxtapositions of large choral masses, the principles of concertizing based on the succession of solo voices and tutti, on the juxtaposition of the chordal-harmonic and the polyphonic exposition, as well as the skillful mastery of imitational counterpoint, up to polyphonic variation. Features of national originality reveal themselves most vividly in the musical thematicism of the compositions, where along with the ornamental design of the intertwining melodic lines and turns of an instrumental type, use is made of intonations of folk songs, cants and church chants. In his musical oeuvres Vassily Titov revised and reevaluated the basic characteristic traits and forms of Western European Baroque music in correspondence with the particularities of Russian musical culture, thereby preserving and enriching the traditions of the Russian national style.
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Bondar, Yevheniia. "Works of Mykola Leontovych in the Performance Traditions of the Odesa Choral School." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (December 3, 2021): 262–72. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245813.
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The purpose of the research is to identify the peculiarities of performing reading and conducting-methodical mastering of choral works by M. D. Leontovych in the activities of outstanding representatives of the Odesa choral school. The tasks of the work are determined: coverage of the concept of a performing school, in particular, the Odesa choral school; identification of the poetical-semantic features, intonational-expressive factors that influenced the performing approaches to the works of M. Leontovych; determination of the creative continuity’s features of generations in the context of interpretations, intonation and artistic images’ embodiment of M. D. Leontovych’s works in choral sound. The research methodology is based on the use of general scientific and special chorological approaches. An analytical-abstract approach was used to study the scientific literature on the outlined issues; in working with the memories of contemporaries, graduates – analytical and historical; in work with musical texts – choral, textual and selective methods; The system-structural method helped to present the phenomenon under study as a generalization of various research and practical tools – it became a unifying factor in the holistic understanding of experience. The scientific novelty of the research is due to the fact that for the first time an original view of the performing interpretation of individual works of M. Leontovych from the standpoint of performing, conducting, research experience of the Odessa Choral School; figurative-associative approaches in the context of chorological elaboration of the author’s text are covered; emphasis is placed on the relationship between musical and historical facts and current trends in the development of choral performance. Conclusions. M. Leontovych’s choral works are an original example of an individual author's concept of the folk song idea in choral elaboration, which forms multiple semantic vectors for performing interpretation. Genre-style, intonation-expressive priorities of the composer in the processing of folk song material become a kind of ‘guide’ in the interpretive strategies of performers and provoke them and the listener to certain reflections of associative, musical-semantic, theatrical and figurative composition. At the present stage of its development, the Odesa Choral School, declaring historically established approaches to the works of M. Leontovych in the repertoire of the student choir at the same time demonstrates their living performing tradition.
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Xiaolu, Xie. "DIAGNOSTICS OF THE FORMATION OF INTERPRETATION SKILLS OF ARTS FACULTY STUDENTS IN THE PROCESS VOCAL AND CHOIR EDUCATION." Innovative Solution in Modern Science 2, no. 57 (October 14, 2023): 84. http://dx.doi.org/10.26886/2414-634x.2(57)2023.6.
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The article reveals the diagnostic methods of formation of interpretation skills of students of arts faculties in the process of vocal and choral training. The structure of interpretive skills included four components: motivational-value, communicative-evaluative, reflexive-emotional and activity-volitional, which in turn had three indicators. We checked the formation of interpretation skills using four levels, namely: creative, sufficient, fragmentary, zero. On the example of motivational and value (indicators: manifestation of students' interest in the interpretive possibilities of performing vocal and choral works; tendency to self-immersion in the process of evaluating vocal and choral works; positive attitude towards vocal and choral performance in the process of professional training) and communicative and evaluative components (indicators: active expression of an evaluative attitude towards modern technologies in vocal and choral art; expressed desire to learn the vocal and choral repertoire, attentive attitude towards the content and construction of stage images; a tendency to associate artistic images in the rehearsal process of working on vocal and choral works) diagnostic work is shown.Keywords: students of the Faculty of Arts, formation of interpretation skills, vocal and choral art, motivational and valuable, communicative and evaluative components.
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VINSON, DUNCAN. "Liberal Religion, Artistic Autonomy, and the Culture of Secular Choral Societies." Journal of the Society for American Music 4, no. 3 (July 15, 2010): 339–67. http://dx.doi.org/10.1017/s1752196310000179.
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AbstractU.S. choral societies typically formalize themselves as secular organizations analogous to symphony orchestras and opera companies. Yet choral societies differ from symphonic or operatic organizations because almost all choruses depend on volunteer singers. Part of what attracts singers into choruses is a sometimes unacknowledged affinity between the religious traditions of liberal Christians and Jews and the culture of choral singing as practiced in formally secular choral societies. The liberal tradition in religion encourages a habitus toward music that might be called a “sense of liturgy”: The interpretation of musical works historically and collectively, rather than as didactic works addressed to an individual. Although many canonical choral works are Christian in content, liberal religion encourages distancing mechanisms that allow people from other faith traditions, or none at all, to engage with these works. In short, the posture of artistic autonomy often found within formally secular choral societies, in which there is no overt religious test for membership, owes part of its genesis to the religious habits of liberal Christians and Jews. The present article explores this affinity by drawing on ethnomusicological fieldwork among choral singers in New England, as well as published accounts of a 1996 controversy over the performance of religious music by a public school choir in Utah.
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Morrison, Simon Alexander. "The Complete Sacred Choral Works (review)." Notes 58, no. 4 (2002): 939–42. http://dx.doi.org/10.1353/not.2002.0087.
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Movchan, Larisa Anatol'evna, and Sergei Mikhailovich Movchan. "The relevance and specificity of using choral works by modern composers in the class of «choral conducting»." PHILHARMONICA. International Music Journal, no. 1 (January 2024): 33–41. http://dx.doi.org/10.7256/2453-613x.2024.1.70025.
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In the article, the author addresses the issue of the repertoire of choral groups in the class specializing in Choral conducting. Works for a cappella choir have been one of the leading genres in the works of many modern composers for several decades. The popularity of secular choral music is associated with the development of collective musical education in educational institutions, as well as with the active participation of vocal ensembles in concerts, competitions and festivals. Spiritual compositions are also heard no less often, which is explained by the desire of composers and performers for spiritual pursuits that revived at the end of the twentieth century. Modern choral works use various innovative technologies that present a technical difficulty and require a certain methodological approach. The performance of works of this kind has a beneficial effect on improving the level of singing skills and professional competencies of future singers and choral conductors. The educational repertoire of choral students and the list of choral works performed by vocal groups at concerts/competitions/festivals have little overlap. If concert performers increasingly include music by contemporary authors in their program, then classical music still makes up a larger percentage of the repertoire in educational institutions. The following conclusions can be drawn from the study. Works for a cappella choir have been one of the leading genres in the works of many modern composers for several decades. The popularity of secular choral music is associated with the development of collective musical education in educational institutions, as well as with the active participation of vocal ensembles in concerts, competitions and festivals. Religious compositions are also heard no less often, which is explained by the desire of composers and performers for spiritual pursuits that revived at the end of the twentieth century. Updating the repertoire plays an important role in the education of music students. This is not only the study of innovative ideas of modern composers, the use of innovative technologies in teaching, but also the moral and ethical side. We have noted that in the music of the XXI century, the tendency to reflect reality and its constant changes is often applied. The performance of works of this kind has a beneficial effect on improving the level of singing skills and professional competencies of future singers and choral conductors.
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Marach, Оleksandr, and Vasyl Moisiiuk. "THE CHOIRS PRELUDES-SONGS BY PYLYP KOZYTSKYI AS MUSICAL-HISTORICAL AND ARTISTIC MATERIAL." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 65–72. http://dx.doi.org/10.25128/2411-3271.19.2.9.
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The article analyses the features of P. Kozytskyi’s choral letter in the cycle “Eight Preludes- Songs”. Written in the traditions of M. Leontovych, the works of P. Kozytskyi show new views on the interpretation of a capella sound as an individually interpreted “choral instrumentalism”. The works demonstrate analysed two of the main semantic spheres of the choral genre in Ukrainian folklore music. The first sphere is the tragedy in the ballad “Oh, in the field, the room was standing...”, where poetic symbolism and polyphonic musical development are attained, as in the best works of M. Leontovych, such as “Pryalya” and others. The second sphere is a baby carol, which goes back to the ancient folklore patterns in music, and resonates with M. Leontovych’s “Dudaryk” and “Shchedryk”. The Eight Prelude Songs cycle by P. Kozytskyi is a collection of pearls of Ukrainian choral music. The purpose of the article is to outline the characteristic features of the works of the choral cycle “Eight Preludes-Songs” by P. Kozytskyi in musical-historical and artistic aspects on the example of selected works. Written as a tribute to the memory of M. Leontovych, this artistic material is set out in the mentioned traditions of musical folklore and “choral instrumentalism” of the Master, and bears the mark of the best modernist quest of the time. P. Kozytskyi’s style in the early 1920’s has quite different incarnations and actively evolves, which M. Yurchenko traces on the example of spiritual works: in the early compositions (1910’s) the influence of the “Petersburg style” is felt, as early as in the 20th. in those years avant-garde features, connected with intense imagery, bold conflicting comparisons, a peculiar mode sphere with natural reversals, harmony with harmless consonants, rare-life doubles, tolerant dissonances, impositions, livings, interferences, are clearly manifested. The musical compositions of the cycle are polyphonic miniatures on folk-song basis, created in continuation of M. Leontovych’s method. The latter, according to P. Kozytskyi, is based on “choral instrumentation” – the interpretation of choral parts as instrumental, which provides the “song soul” with a special colour and richness of the choral palette, in which the choir is a “magic lantern" designed to set the meaning of the song, that is, to be the newest means of creating artistic and emotional expression. Written in the traditions of the contemporary M. Leontovych, a few years after the death of the artist, P. Kozytskyi’s works show new views on the interpretation of acapella sound, above all as individually interpreted “choral instrumentalism”. As a result of the conducted research, we come to the conclusion about the innovative features of P. Kozytskyi’s choral letter in the series “Eight Preludes-Songs”. Written in the traditions of the contemporary M. Leontovych, a few years after the artist’s death, P. Kozytskyi’s works show new facets of the acapella sound, above all as individually interpreted “choral instrumentalism”.
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Barabash, Oxana Sergeevna. "Poetic Historiosophy ("The Alps") by F.I. Tyutchev in choral works a cappella." PHILHARMONICA. International Music Journal, no. 1 (January 2022): 19–29. http://dx.doi.org/10.7256/2453-613x.2022.1.37538.
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The author of the article attempts to take an innovative look at the problem of the interaction of poetry and music in a synthetic whole: choral composition a cappella. The object of the study is the historiosophical poetry of F.I. Tyutchev: the poetic text of the poem "Alps", embodied in choral compositions a cappella. The subject of the study is the peculiarities of the interaction of poetic and musical texts in the creation of a figurative system of a cappella choirs created by composers of the XIX – XXI century on the historiosophical poem by F.Tyutchev. The purpose of the study is to study the ways of analyzing the logos and melos of texts, to identify the specifics of their interaction in choral compositions a cappella on the poem "The Alps" by F.Tyutchev. The article considers in this way the question of interpretation of the historiosophical poetry of F.I. Tyutchev (on the example of the poem "Alps") in choral compositions created by composers of different schools: P.G. Chesnokov, S.I. Taneev, M.V. Koval.     The path of analytical thought is shown: from penetration into the poetic primary source, which is only at first glance a landscape lyric, but representing a separate layer of the poet's historiosophical poems; to the nature of the interaction of logos and melos in choral compositions a cappella by composers of different schools at the level of perception by the composer of figurative matter, at the level of perception of metrics and rhythmics of verse, at the level of transformation of figurative matter (theme, idea), at the highest level (meditative thought). The analysis of the interaction of musical and poetic texts allows the conductor to take into account the peculiarities of the composer's reading of the poem when interpreting choral works. To date, such a way of analyzing choral compositions has not been used
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Patrick Addaquay, Alfred. "Thoughts on Choral Music Writings of Sam Asare-Bediako." Journal of Advanced Research and Multidisciplinary Studies 1, no. 3 (January 23, 2023): 21–30. http://dx.doi.org/10.52589/jarms-78asjuyc.
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This paper reveals a personal thought gathered on some choral works, known and unknown processes, of Sam Asare-Bediako as far as choral writings are concerned. It is an analytical view point conducted from my study and teaching of such pieces which are of academic discourse. In my opinion, the features discussed in this paper reveal critically the elements that form the major fundamental constructions of the choral works of Sam Asare-Bediako. The works were examined through teaching, listening and critical observational study of some music scores of the Composer. Using Bent’s description of such a study as musical perception, the study reveals certain unique processes the composer adapted in creating his works. The fundamental significance of the study was to unearth some stylistic thoughts on choral music compositions which are envisaged to help future generation of composers as well as scholars in the composition discipline to address issues pertaining to compositional styles.
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Ivanova, Yuliia. "Children’s choir in MarkKarminskyi’s creativity." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 29–43. http://dx.doi.org/10.34064/khnum2-19.02.
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Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M. Karminskyi and the consideration of his unpublished choral works. The research methodology, synthesizing analytical and generalizing approaches, is based on the traditions of national musicology and is determined by the specifics of vocal and choral genres, first of all, by the inextricable link between musical drama and text. The purpose of the article is to recreate the most complete picture of M. Karminsky’s choral work for children and to determine its role in contemporary choral performing. The results of the research. The composer’s early works were distinguished by meaningfulness, optimism, brightness of musical images, which was embodied in easy, convenient and accessible tunes. Many Soviet-era songs created for children of different school age were included in the “Songs for Students” collections as a new program material for choral singing of Ukrainian secondary schools students in music lessons. Several works of the author became known throughout the country and published in the leading music publishers in Kiev and Moscow: “What Boys Are Made Of” (lyrics by R. Burns translated by S. Marshak), “Quicker to the Gathering” (by L. Galkin), “Balloons” (lyrics by Ya. Akim). The songs about Victory in the Second World War are popular: “Victory is celebrated by the people” (S. Orlova), “The soldier has forgotten nothing” (E. Berstein), “Red Poppies” (poems by G. Pozhenyan). The composer combines his songs into vocal-symphonic suites. One of the main genre of choral creativity of the author has become a miniature that is able to absorb a variety of musical expressive means to expand and deepen the content of the work in a small area of the form. The works by M. Karminskyi revealed such features of choral miniature as philosophicity, attentive attitude to the word, its emotional and semantic meaning, which is reflected in the detailed development of the thematic material. Most of the composer’s choral works are written for a cappella choir. The collections of “Choral Notebooks” (1988) and “Road to the Temple” (1995) have reflected the artist’s thoughts for several decades. The figurative content of “Choir Notebooks” includes the lyrical states caused by contemplation of pictures of nature; the collection “Road to the Temple” represents philosophical reflections not only of a personal nature, but also thoughts about the universal problems of today. The cycles reveal the principles of the composer’s thinking and are one of the pinnacles of his creative heritage. The article looks at one of the best works of the cycle “Road to the Temple”, the choir “Remembering Drobitsky Yar” (lyrics by E. Yevtushenko) for children’s choir, soloist (tenor) and piano. Also, the article deals with unpublished choral works by M. Karminskyi “Paraphrases on the Sonata of Mozart” and “Guitar” on F. G. Lorka’s poems. In the work “Guitar” on Lorca’s poem (translated by M. Tsvetayeva), the composer uses signs of Spanish color: imitation of techniques of playing the guitar, rhythmic copyism of the castanets playing and other. The poetic text “decorated” by flexible, broad, expressive melody that gives words greater emotion. The piece is full of sharp changes of genre signs of melodic structures (vocal without text, dance, austinous repetitions) revealing the semantic implication of the poem. The basis of the “Paraphrase on the theme of Mozart’s Sonatine” was the fourth part (Allegro) of Sonatina No. 1 in C Major from the Six Vienna Sonatas by W. A. Mozart. M. Karminskyi noticed the vocal nature of many parts of this cycle and skillfully made a “translation” of one of them for the children’s choir. Unlike many of his contemporaries, he wrote music that does not fundamentally claim to be innovative. As a true professional, he pays attention to the integrity of the compositions elaborating the smallest details. He strives for the laconism of expression and, at the same time, is able to saturate the choral texture with modern expressive means, if the artistic image of the work requires it. Natural expressive intonation, intonation as emotional content of vocal language distinguishes choral music by M. Karminskyi. A special role in intonation is played by breathing, it is inextricably linked with melodic movement and energy. The breath of the melodies of the author is enriched by the lively intonations of the language, which reveal her “soul”, give a feeling of warmth, strength, caress, greatness, truthfulness. Musical form of the composer’s works is determined by the intonation of the music. Based on linguistic-vocal intonations, most of the author’s works have strophic forms that follow from the semantic aspect of the literary text. Karminskyi is a master of choral unison. This mean of expressiveness, which is not often used by composers, in Karminsky’s works is a carrier of expressive melodism and suppose the performance with a great inner feeling. Features of declamation always find a place in his choirs, they reproduce the living human language, the spiritual experiences of a man. Conclusion. The works for the children’s choir have a special purity and cordiality that is so subtly perceived by children. Mark Karminsky’s music is capable of drawing children’s attention to musical values that purify the soul and nurture personality. His music makes you think and feel! M. Karminsky’s creativity has forever entered the concert practice of children’s choirs of Ukraine.
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Lee, Sl. "Analysis of Factors affecting the Competence of Choral Accompanist." Korean Society of Music Education Technology 32 (July 16, 2017): 213–32. http://dx.doi.org/10.30832/jems.2017.32.213.
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The purpose of this study was to identify the perceived factors affecting the competence of choral accompanists as a choral conductor and choral accompanist(n=65). The results of this study indicated that the musical communication skill with choral conductor, the preparation for choral rehearsals, the ability of playing piano with exact rhythm, the cooperative attitudes were the most influential factors affecting the competence of choral accompanists. Also, choral conductors and accompanists indicated that piano techniques to adjust tone color including the effect of orchestral sound for the choral works were the essential factors for choral accompanists. Other important factors affecting the competence of choral accompanists were the sight-reading skills and the ability that manages a panic situation during the performance. Recommendation and conclusion were provided for choral accompanists.
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Ryzhinskii, Aleksandr S. "The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 21–38. http://dx.doi.org/10.21638/spbu15.2021.102.
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The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).
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Teriaieva, Larisa. "Intensification of student creative activity at choral conducting classes." Educological discourse 38-39, no. 3-4 (2022): 107–16. http://dx.doi.org/10.28925/2312-5829.2022.347.
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Modern national education is aimed at improving the quality of training musical art teachers-to-be, self-improvement of the professional and methodological competence of teachers and students, enhancing their creative activity, practical The purpose of this article is a purposeful search and selection of principles, methods and forms of education that contribute to the activation of student creative activity, the development of their creative thinking, imagination and fantasy. The article reflects the features of choral conducting classes based on the principle of interdisciplinary connections; different methods, forms and innovative principles of activating creative activity of students are offered; game methods of training are considered and examples of musical tasks for development of creative abilities of students are presented. At choral conducting classes, it is advisable to use innovative principles for the creative development of students, namely: the principle of individual abilities for choral conducting; interdisciplinary connections of choral conducting with other disciplines; interactive learning; innovative visibility; creative development, as well as special musical methods, methods of cognitive activity and others. The musical and creative games proposed in this article aim to activate the attention and thinking of specialists-to-be, to contribute to the creation of their own interpretation of choral works, to intensify their mental activity, musical memory, to expand the knowledge of specialists-to-be about vocal and choral terminology, to deepen the theoretical knowledge of students about the authors of choral works, to highlight the performing activities of famous modern choirs. During the games, students are invited to demonstrate the expressive playing of the choral score on the piano, show their ability to transpose the melody into a convenient vocal range and arrange choral works, create their own vocal and choral exercises and songs for students.
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Mnatsakanyan, Elina K. "Sacred Music by Valery Arzumanov." Университетский научный журнал, no. 77 (December 25, 2023): 93–98. http://dx.doi.org/10.25807/22225064_2023_77_93.
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. The subject of consideration in this article is the extra-liturgical works of Valery Arzumanov, an emigrant composer of the “third wave”. The author of the article focuses on the unique implementation of religious themes in the composer’s choral works. The theme of repentance dominates in the presented panorama of works; its priority genre is choral concert, representing the creative credo of the Russian-French composer.
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Кривицкая, Евгения Давидовна. "Choral Works by Rodion Shchedrin. 21 Century." Музыкальная академия, no. 4(772) (December 21, 2020): 158–71. http://dx.doi.org/10.34690/119.
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Статья представляет собой обзор сочинений для хора a cappeLLa, созданных Родионом Щедриным в XXI веке. Произведения рассматриваются в хронологическом порядке, многие из них вдохновлены творческими контактами с Камерным хором Московской консерватории и с его руководителями - основателем коллектива Борисом Тевлиным и его преемником Александром Соловьёвым. Среди хоровых сочинений композитора есть и произведения на стихи российских поэтов - Андрея Вознесенского, Владимира Маяковского, Велимира Хлебникова, и опусы, написанные на библейские тексты, - «Эпиграф графа Толстого к роману “Анна Каренина”», «Месса поминовения»; последние можно отнести к области духовной музыки. Ряд сочинений отмечен гражданским пафосом (Диптих, «Два последних хора»). В партитурах 2020 года, созданных в период пандемии, в самоизоляции, автор размышляет о смысле бытия (Триптих). Щедрин постоянно экспериментирует с жанрами хоровой музыки. Ярким примером его изобретательности в творчестве последних лет являются Русские народные пословицы. В более ранней Серенаде (2003) традиционный жанр трактован новаторски: текст произведения целиком основан на междометиях. The article is a review of compositions for a cappella choir, written by Rodion Shchedrin in the 21 century. The works are viewed in chronological order, many of them are inspired by creative reLationships with the Chamber Choir of Moscow Conservatory and with its Leaders-the founder of the collective Boris TevLin and his successor Aleksandr Solovyov. Among the composer's choral works, there are music on verses by Russian poets-Andrei Voznesensky, Vladimir Mayakovsky, VeLimir Khlebnikov, and opuses written on bibLicaL texts-“Count ToLstoy's Epigraph to the NoveL ‘Anna Karenina'”, Mass of Commemoration; the Latters can be attributed to the fieLd of sacred music. A number of works are marked by civic pathos (Diptych, “The Last Two Choirs”). In the 2020 scores, created during the pandemic, in self-isolation, the author reflects on the meaning of being (Triptych). Shchedrin constantLy experiments with genres of choraL music. A striking exampLe of his ingenuity in the current oeuvre is the “Russian FoLk Proverbs”. In the earLier Serenade (2003), the traditionaL genre is interpreted in an innovative way: the text of the work is entireLy based on interjections.
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Lesnik, Olena, and Olena Mamykina. "Features of Vocal and Choral Training of Future Music Teachers." Musical art in the educological discourse, no. 8 (2024): 41–47. http://dx.doi.org/10.28925/2518-766x.2023.87.
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The article reveals the peculiarities of vocal and choral training of future music teachers. The current stage of modernization of higher education in Ukraine, which is connected with the integration of our country into the European educational space, actualizes the problem of the quality of professional training of future music teachers. Vocal and choral activity is one of the most important activities of a future teacher-musician, and the training of highly qualified specialists in this field is one of the priority directions of art education. A promising direction of vocal and choral training of future specialists in the field of musical art during higher education is the arrangement of a certain sequence of teaching professional disciplines and its complex integrity, which includes the disciplines of the cycle of choral conducting, methods of teaching choral conducting, disciplines of choral studies, choral class, practical work with the choir, choral arrangement and reading of choral scores, voice production, vocal teaching methods, practical assimilation of school repertoire, etc. A feature of vocal and choral training of students of higher education institutions of artistic direction is the presence of basic structural components in it, which include conducting and choral and vocal and performing components. The conducting and choral component prepares students for the activities of a leader of a student choir, capable of organizing and implementing work on choral works at an appropriate methodical level, and capable of creating choral groups for children of various age groups in institutions of general secondary and extra-curricular education. in the workshops of which students will be able to form and develop their own aesthetic sphere, enrich their internal culture, master the values of vocal and choral art, develop their musical, singing, and artistic abilities. The vocal-executive component prepares students for the demonstration of vocal, vocal-choral works and their fragments during vocal-choral work in educational institutions, and without it, the full functioning of the conducting-choral component is impossible. Independent work of students is also an important component of the professional training of future specialists in the field of musical art.
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Ryzhinsky, Alexander S. "Utrenya by Krzysztof Penderecki: Concerning the Question of the Influence of the Musical Traditions of Orthodox Christianity." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 71–82. http://dx.doi.org/10.33779/2782-3598.2022.1.071-082.
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The object of research in article is Krzysztof Penderecki’s large-scale work Utrenya composed in 1970–1971 after the composer’s visit to The Trinity Lavra of St. Sergius. The author analyzes the textual basis of the composition, explaining the principles of selection of the verbal texts, and describes the relationships between individual techniques of the position of the words to the music with the tendencies in the development of choral music in the 1950s and 1960s. Analysis of textural and timbre features of the composition reveals three main sources of the technical compositional solutions: Krzysztof Penderecki’s own methods of choral writing, applied in Stabat Mater and in Passio Et Mors Domini Nostri Jesu Christi Secundum Lucam; the innovations of the post-war avant-garde, which became widespread in the works of Karlheinz Stockhausen, Luigi Nono, Mauricio Kagel, György Ligeti; the intonational and textural elements of choral writing typical of Orthodox Christian worship. All these components of Penderecki’s choral style are organically combined with each other as part of the embodiment of a vivid sound picture of the climactic services of the church year, reflecting the extreme contrast between the mourning of Christ (Orthros of the Great Saturday) and the joy of His resurrection (Easter). A separate issue studied in the article is the position of sacred works in Penderecki’s legacy and the relationship between the composer’s choral oeuvres composed between 1962 and 1971.
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Bielik-Zolotarova, N. "Directions and forms of modern national choral performance." Culture of Ukraine, no. 83 (March 21, 2024): 50–57. http://dx.doi.org/10.31516/2410-5325.083.05.
Full textAbstract:
The purpose of this paper is to examine the trends and forms of modern national choral performance.
The methodology is based on the use of systematic, terminological, ethnographic and interpretive methods of analysis.
The results. Choral performance is a component of choral culture, a communicative system formed in the process of building a performing interpretation and its realization. The need to comprehend the directions of modern choral performance with the identification of forms of its existence in society is an urgent task of the national choral science. As a result of the analysis of the performing versions of choral and orchestral choral works, the following directions of modern performing choral practice have been identified. The academic direction is represented, in particular: E. Stankovych’s “Ukraine. Music of War” performed by the National Academic Chapel “Dumka” (artistic director E. Savchuk) and the National Academic Symphony Orchestra (conductor V. Sirenko) — in the form of a concert at the closing of the XXXIV International Festival “Kyiv Music Fest-2023”; performance interpretation of “Misatango” (“Misa a Buenos Aires”) by M. Palmeri by the choir and symphony orchestra of M. D. Leontovych Vinnytsia Professional College of Arts, the ensemble of modern dance “Grotesque” in the form of visualization within the framework of the anniversary concert; “Psalms of War” by E. Stankovych in the performance version of the choir and symphony orchestra of the Lviv National Opera House, conducted by I. Cherednichenko, directed by V. Vovkun, choirmaster — V. Yatsenko, media artist — O. Kindrativ — a theatrical musical performance; “My childhood was killed in the war” (modern songs arranged by R. Tolmachov and poems by L. Kostenko) was presented by the girls’ choir “Vohonik” (O. Solovei) and the Choir of Boys and Young Men “Dzvinochok” (R. Tolmachov) in the form of a performance. The performance version of E. Petrychenko’s choral symphony-performance “Illuminated by the Black Sun” (Choir of the National Opera of Ukraine, chief choirmaster B. Plish) is a synthesis of performance and theatrical choral action. The folk direction is represented by the show-project “We Are Ukrainians” (Hryhorii Verovka National Honored Choir: artistic director I. Kuryliv, production director H. Nenov).
At the present stage, the pop-jazz direction is characterized by the creation of concerts and projects in which the pop-jazz style of sound production is chosen in accordance with the style of the works performed.
The virtual form of presentation of choral works is represented by both choral groups of artistic institutions and all-Ukrainian projects.
Conclusions. As a result of a brief analysis of the current state of national choral performance:
the following directions in terms of the manner of sound formation were identified: academic, folk, pop-jazz and their synthesis;
the typology of forms of presentation of choral works has been created:
– concert. According to the theme, they are divided into the following types: concert as such, authorial, anniversary, reporting, memorial, gala concert;
– performance, theatrical performance, show project, visualization, which are types of theatricalization as a method of interpreting a choral work;
– virtual project (video presentation of a choral work, video clip, video concert, etc.).
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Kaihua, Xu. "THE CONTRIBUTION OF SHEN XINGONG AND LI SHUTONG TO THE FORMATION OF CHORAL ART IN CHINA: FROM "SCHOOL SONGS" TO "SPRING WALK"." Arts education and science 1, no. 34 (2023): 79–88. http://dx.doi.org/10.36871/hon.202301079.
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The article traces the early development of Chinese choral art: from the singing courses introduced into the secondary school curriculum and the "school song" (Xue tang yuey ge), which acted both as an academic discipline and a popular vocal genre, to the appearance of the first three-voice choir "Spring Walk" by the composer and teacher Li Shutong. It is noted that the school song genre originated as an independent phenomenon in Japan, where works written in the hogaku style were highly revered, and the reforms of the Meiji period (1898–1912) played an important role in the development of choral art. Many Chinese students continued their studies in Japan, where, during the reforms, Western military and school music was borrowed, and choral singing began to be cultivated as a result of the perception of Christian culture. The purpose of this article is to present the works of Chinese educators, Shen Xingong and Li Shutong, whose activities were aimed at establishing the choral art in China. It describes the first school songs composed by Shen Xingong and Li Shutong to music borrowed from folklore, Christian hymns or famous Western European works, and the first three-voice composition by Li Shutong, which paved the way to Chinese choral polyphony.
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TOPÇU, Ömer Yusuf. "OVERVIEW OF POLYPHONY AND NATIONALISM IN EUROPE, OTTOMAN AND OTTOMAN TÜRKİYE." International Refereed Journal of Humanities and Academic Sciences, no. 30 (2023): 57–72. http://dx.doi.org/10.17368/uhbab.2023.30.04.
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Aim: This research investigates the relationships between the folk songs, which are the roots of choral music in Turkey, and the qualities in polyphony practices were questioned and the approaches with which they were polyphonic were investigated from a quantitative perspective. Method: Under the titles of melody and harmony of polyphonic works; The use of major-minor scales, pentatonic and maqam transitions, dynamic and expression terms, triad, multiplication, scoredorg, double-quadruple-quintet harmony were evaluated by quantitative analysis method, findings and results were obtained and interpreted. Polyphony practices in choral works, whose source is folk songs, have been researched with a comparative perspective. Findings: In order to eliminate the problems arising from modality while the works in which Turkish music maqam scales are used are polyphonic, different from the triple harmony system, which was defined by Kemal İlerici (1910-1986), it was formed by the overlapping of the quartets and based on the Hüseyni maqam. It was determined that the quartet harmony system was also used. Conclusion: Folk songs and polyphonic choral works that take them as a source show affinity in terms of musical characteristics. The words of the material have undergone few changes, some of them have been given a canonical structure, dynamic and expressive indicators have been added. Chromatic transitions, double, quadruple and quintuple intervals are used cyclically on SATB lines.
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Végh, Mónika. "Antecedents, and Development of the Sacred Choral Concerto in Russia." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 173–92. http://dx.doi.org/10.24193/subbmusica.2020.2.12.
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"Upon dealing with Russian religious choral music of the 18th century, one may clearly recognize the outlines of a unique genre, the duhovny kontsert, or in other words, the genre of the religious choral concerto. The subject is suppletory, since very few people in Hungary have dealt with pre-19th century Russian music, let alone with choral repertoire. In the present study, we may follow up the legalization and development of polyphony in church music – which was strictly monophonic up until the 1500s – and the different types of multivocal hymns. We will also get to know the Russian composers of the 17th and 18th centuries, who contributed to the genre with their own works. We will receive a detailed description about concertante techniques used in European vocal music, and about their appearance in the 18th century Russia, which was unique to a cappella choral concerto. We will also get to know more about the structure and characteristics of the duhovny kontsert, while taking a glance at the historical background. In the final part of the study, we will see how the genre influenced subsequent eras, and how the stylistic marks and techniques appear in the choral oeuvre of Rachmaninoff. Keywords: Russia, 18th century, church music, choral concerto, Bortniansky, Berezovsky"
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Belyaeva, Antonina. "Religious theme in the cantata-oratorio works of Viktor Ulyanich." St. Tikhons' University Review. Series V. Christian Art 48 (December 30, 2022): 114–25. http://dx.doi.org/10.15382/sturv202248.114-125.
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The work of Viktor Ulyanich is multifaceted and varied. A special place in the composer's work is occupied by cantata-oratorio works. The article is devoted to the religious theme in Viktor Ulyanich's choral works, revealing their figurative and thematic content, genre and stylistic features. Victor Ulyanich in his works refers to the poetic work of Russian classics - A.S. Pushkin, M.I. Lermontov, F.I. Tyutcheva, A.S. Khomyakova, Ya.P. Polonsky, uses folklore and Church Slavonic liturgical texts. In his works, the composer touches on eternal themes, he mainly refers to religious and lyric-philosophical poems about self-knowledge, about the creation of space and nature, about divine destiny. As a material for the analysis, the cantata "Guiding Ligthouse" the lyrics by Archimandrite Vitaly (Sidorenko) was used. Works for the choir a capella - "Two choirs to the lyrics by F. Tyutchev", "Choral diptych" to the lyrics by V. Lazarev and "Three spiritual chants" to the canonical texts.General conclusion: The religious theme in the work of Viktor Ulyanich acquires a new, individual sound. The composer's innovative musical language is closely connected with the traditions of choral writing and incorporates the characteristic features of the spiritual works of Russian composers of the 19th-20th centuries.
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Klein, Ilona. "Teaching Italian Romanticism through Philately and Choral Works." Essays in Romanticism: Volume 28, Issue 2 28, no. 2 (October 1, 2021): 127–43. http://dx.doi.org/10.3828/eir.2021.28.2.6.
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Philately and choral works can be excellent integrative pedagogical tools when teaching Italian Romanticism at undergraduate level. In the classroom, postage stamps provide an historical narrative for students and can help clarify the political, artistic, and cultural mood of the time. The intrinsic symbolism of stamps represents the way a nation wants to be seen by the rest of the world. Instrumental and choral music, in their infinite combination of tones, blend sound with sung words, creating an artistic subtext that reveals the complexity and variety of human aesthetic expression. For the current generation of students accustomed to visual and auditory learning tools, classroom realia and a multidisciplinary approach to Italian Romantic literature enhance peer discussions, and encourage students to explore and value the development of human thought in all of its non-linear manifestations.
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Локотьянова, Д. Е. "Choral Activities of Anton Bruckner. Secular Vocal Works." OPERA MUSICOLOGICA 15 / 3, no. 15/3 (2023) (September 12, 2023): 206–31. http://dx.doi.org/10.26156/om.2023.15.3.012.
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Австрийский композитор Антон Брукнер (1824–1896) занял прочное место на «симфоническом олимпе» в мировой музыкальной культуре, а также еще при жизни снискал славу виртуозного органиста-импровизатора. Сегодня у слушателей вызывают восхищение и его церковные сочинения (масштабные вокально-инструментальные опусы Te Deum, Месса ми минор, мотеты Ave Maria, Locus iste, Os justi), вошедшие в историю хоровой музыки. Именно эти три сферы (Брукнер-симфонист, Брукнер-органист, Брукнер-церковный музыкант) чаще всего попадают в поле внимания исследователей. Светская же хоровая музыка композитора (как и его хоровая деятельность в целом) незаслуженно оказалась в тени. Между тем, данное направление всегда занимало важное место в жизни Брукнера: великий симфонист начинал свой путь как певчий монастырского хора, затем он был участником и руководителем хоровых коллективов, в том числе широко известного Liedertafel Frohsinn. Хоры (как церковные, так и светские) композитор писал на протяжении всей жизни; сохранилось более 40 светских вокальных (хоровых, ансамблевых) произведений, созданных мастером. Эти пьесы варьируются от кратких фанфар без сопровождения до развернутых по форме кантат. По ним сегодня можно судить об эволюции творческих поисков музыканта, о связях его хоровых сочинений с другими областями композиторского наследия. В статье впервые в отечественном музыкознании осуществляется попытка осветить хоровую практику Брукнера (включая создание его светских хоров) в историческом контексте. The Austrian composer Anton Bruckner (1824–1896) has taken a strong place on the symphonic Olympus in the world musical culture, and even gained life fame both as a virtuoso and an organist-improviser. Today, listeners also admire his church choirs (for example, the famous vocal opuses Te Deum, Mass in E minor, motets Ave Maria, Locus iste, Os justi), which have become manuals in the field of choral music. It is these three areas (Bruckner as an organist, Bruckner as a symphonist, Bruckner as a church musician) that often draw attention of many researchers of his art. Secular choral music, however, like all his choral activities, was undeservedly in the shadow of the artist’s creative biography. Meanwhile, this area in the life of Bruckner always occupied an important place: the great symphonist began his career as a chorister of the monastery choir, then he was a member and leader of choral groups, including the well-known Liedertafel Frohsinn. The composer created (both church and secular) choirs throughout his life. Many secular vocal opuses (more than 40) created by the master have been preserved. These pieces range from short, unaccompanied mottos to extended cantatas. According to them, today one can judge the evolution of the musician’s creative endeavors, the musical ties with other areas of the composer’s heritage. This article is the first attempt in Russian musicology to highlight Bruckner’s choral activities (including creation of his secular choirs) in the historical context.
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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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Ryzhinsky, Alexander S. "British Choral Music at the Turn of the 19th and 20th Centuries: the Phenomenon of the English Musical Renaissance." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (July 2023): 53–67. http://dx.doi.org/10.56620/2782-3598.2023.2.053-067.
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The article is devoted to the phenomenon of the English musical renaissance, little studied in Russian musicology — a movement under which presently the formation of the British national compositional school of the turn of the 19th and 20th centuries is comprehended. The author turns to the musical heritage of the leading composers of that period — Alexander MacKenzie, Hubert Parry, Charles Stanford and Sir Edward Elgar — with the aim of demonstrating the sources of the English musical renaissance and determining, what significance was exerted by the choral heritage by its main representatives on the subsequent evolution of choral music in Great Britain. Among the chief factors which influenced the English musical renaissance, the following are highlighted: the development of the choral festival movement, the establishment of the Royal College of Music, the directedness of the British professional education on the formation of the national school of composition, as well as Parry’s and Stanford’s active work in musical criticism and research. The peculiarities of the choral writing of each of the aforementioned composers are analyzed on the example of the most well-known works in the genres of the cantata and the oratorio. The author brings to light the general tendencies in the organization of the choral texture and timbre and the unique techniques the discovery of which is capable of making adjustments to the existent perceptions about the evolution of the choral music of the early 20th century. In particular, study of Elgar’s choral works makes it possible to confirm the composer’s interest in the textural and timbral techniques typical for the composers of the first and the second avant-garde in Europe, such as diagonal texture and non-standard unisons. The author’s conclusions make it possible to form a perception of the works by the composers of the “first renaissance trio” (Parry, Stanford, MacKenzie) and their younger contemporary Elgar as the greatest impulse of the formation of 20th century British choral music, which in the second half of the century became among the most on demand in world performance.
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Makarenko, Oleksij. "Psalm’s lyricism in choral works by Mykola Lysenko." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 121 (March 29, 2018): 59–71. http://dx.doi.org/10.31318/2522-4190.2018.121.133130.
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PERTSOVA, Natalia, and Nadiia KONONSKA. "Harmonious language of choral works of modern composers." Humanities science current issues 4, no. 35 (2021): 74–78. http://dx.doi.org/10.24919/2308-4863/35-4-10.
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Groves, S. "Period-instrument performances of choral works, 1794-1846." Early Music 39, no. 4 (November 1, 2011): 658–62. http://dx.doi.org/10.1093/em/car114.
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Sutton, Kevin. "Choral works from the Bachs and their contemporaries." Early Music 46, no. 4 (November 2018): 700–702. http://dx.doi.org/10.1093/em/cay074.
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MININA, Olena. "THE SACRAL ORIGIN IN TOIVO TULEV’S CHORAL WORKS." Humanities science current issues 3, no. 73 (2024): 43–49. http://dx.doi.org/10.24919/2308-4863/73-3-6.
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Shirieva, N. V. "QURANIC TEXTS IN CHORAL WORKS MODERN TATAR COMPOSERS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 26, no. 94 (2024): 107–13. http://dx.doi.org/10.37313/2413-9645-2024-26-94-107-113.
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The purpose of this work is to concentrate the reader’s gaze on the choral works of Tatar composers, to show that the creation of these works was inspired directly by a religious idea, and this idea manifested itself at the level of the use of Koranic texts. The research material was partly the work of S. Gabyasha, as well as works by Sh. Sharifullin, R. Kalimullin, M. Shamsutdinova, S. Zoryukova for choir, alto flute, double bass, prepared piano and percussion. The author of the article comes to the conclusion that the appeal to the Koranic texts of modern Tatar composers is not only due to the desire to join Muslim spiritual ethics, but also to comprehend their past from the present, thereby outlining the appropriate vector of musical development into the future.
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Gomeniuk, Svitlana, and Nazarii Tarasenko. "Features of the early tintinnabuli style in the works by Arvo Pärt: interaction а word and a number." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 137 (October 30, 2023): 95–109. http://dx.doi.org/10.31318/2522-4190.2023.137.294668.
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Relevance and scientific novelty of the selected topic of the research. The work of Arvo Pärt is regularly covered in Ukrainian musicology, however, the issue of the interaction of his compositional technique with the verbal text used to be a part of a broader scientific problem—such as the author's style, modern choral writing, etc. At the same time, a comparison of the methods of applying the tintinnabuli technique in works with and without text was not undertaken yet. Indeed, the comparative method allows a better understanding of how word and number—two main compositional factors in the works of A. Pärt—work. The opportunity to clarify our ideas about the creative method of one of the most performed contemporary composers, as well as the use of rare works by A. Pärt as research material, ensures the relevance of the article. In addition, the performer's view of the choral work of A. Pärt, reflected in the article, has a certain novelty.
The aim of the article is to identify the specifics of the composer's work with the verbal text, to establish the ways of interaction between the number and the word in the choral works of A. Pärt, to substantiate the choice of performing means that are adequate in terms of style.
Main results and conclusions: 1) both instrumental and choral works by A. Pärt are algorithmic compositions based on numerical series as the fundament of the melodic voice; 2) in both groups of works, the numerical series are not formed on immanent musical patterns, but are borrowed from outside; 3) the numerical series of the instrumental compositions “Für Alina” and “Cantus in Memory of Benjamin Britten” are increasing and/or decreasing arithmetic progressions: each subsequent modus-block of the melodic voice contains a tone more/less than the previous one; 4) the numerical sequences of works with verbal text are based on the syllabic structure of the word: in the works "Missa Syllabica", "Cantate Domino" the number of sounds in each modus-block corresponds to the number of syllables in the word. A hypothetical judgment is made that the work “Summa” is a creative experiment of Arvo Pärt: the composer uses the method of forming numerical series not on the basis of the word (as in other choral compositions), but on the basis of number (as in instrumental compositions). Later, the composer revised this approach to working with the word, he’s created an instrumental version of this work for string quartet. The way the tintinnabuli technique presents in A. Pärt's choral works emphasizes the priority of the verbal text.
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Glebov, Ana. "5. Historical and Theoretical Foundations of the Development of Vocal and Choral Culture in Moldova." Review of Artistic Education 21, no. 1 (June 1, 2021): 31–34. http://dx.doi.org/10.2478/rae-2021-0005.
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Abstract The origins of the national choral art are based on Church singing, which has been widely developed since the founding of the Putnyansky and Nyametsky monasteries. In the further development of the centuries, Church singing intertwined with folk choral singing, which was reflected in the works of such conductors and composers as G. Muzichesku, M. Berezovsky, A. Kristya, M. Byrke, V. Popovich. Special attention is paid to the creative and conducting activities of Gavriil Muzichesku, all of whose initiatives were innovative and progressive, later becoming the leading ones in the national choral activities of Romania and Moldova. This article identifies and systematizes the main trends related to the process of creating vocal and choral works and their application in the system of Romanian and Moldovan musical education. Their analysis shows that the composer worked on the theoretical generalization of his own experience, turned to the best ideas of domestic and foreign pedagogy, including Russian, and thanks to this he was able to bring his knowledge and experience into a fairly coherent and integral system of musical education and education through vocal and choral culture.
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Варакута, М. І., and Ю. О. Черненко. "To the problem of interpreting the genre of choral miniatures in the work of the Ukrainian composers (on the example of choral miniatures V. Stetsenko)." Музикознавча думка Дніпропетровщини, no. 15 (November 1, 2019): 5–15. http://dx.doi.org/10.33287/22191.
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The purpose of the article is to focus on the features of theUkrainian choral miniature genre and to identify the main aspects of theirimplementation in choral works by V. Stetsenko. The article deals with thestyle of writing of choral miniatures of the composer, influenced by thetraditions coming from M. Lysenko, K. Stetsenko, M. Leontovich. Themethods of the research are based on historical-typological, genre,stylistic and functional methods of analysis. The structurally analytical investigative method have had weighty significance into process theregularization of scientific material and improvement of the conclusions.The comparative method was applied by author for profound formation ofthe results concerning the scientific studying of series compositions inreference to the choir miniature genre. The performing analysis of choralmasterpieces is also employed by writer in the process of the researchwork. The scientific novelty of the article is the circulation and analysis ofchoral works by V. Stetsenko, which are first studied in musicology; inrevealing the specifics of linguistic means, compositional features and theformation of choral miniatures. Conclusions. Proceeding from thepeculiarities of the figurative content of texts used in miniatures as theprimary source, V. Stetsenko uses a whole complex of intonations thatreproduce the musical-intonational populist basis. One of the ways ofconstructing works is a combination of harmonic and polyphonic tools inthe choral text. The verse is complemented by the introduction and thecode. The analysis of choral miniatures of folk type by V. Stetsenkoshowed their interconnection with the traditions of Ukrainian folk-danceculture.In this case, the composer does not seek to use genuine folkmelodies, but uses the method of stylization of song folklore, taking as itsbasis the basic intonational, fashion, texture features.
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Ryzhinsky, Alexander S. "Timbral Innovations in Heinz Holliger’s Choral Music: from Dona nobis pacem to Die Jahreszeiten." Problemy Muzykal'noj Nauki / Music Scholarship, no. 3 (2022): 45–58. http://dx.doi.org/10.56620/2782-3598.2022.3.045-058.
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The article is devoted to the three most famous works for chorus by contemporary Swiss composer Heinz Holliger (b. 1939) composed during the course of ten years – from 1969 to 1979. Departing from the field of experiments in the field of vocal articulation of the representatives of the post-war avant-garde, Holliger was able to enrich to a considerable degree the timbral element of vocal composition with new performance techniques. The latter include singing through inhalation, singing with emptied lungs, voiced exhalation, etc. The systematization of Holliger’s timbral techniques presented by the author of this article sets as its goal the continuity between Holliger’s choral works and those by his older colleagues. While the analysis of Dona nobis pacem demonstrates the development of the techniques of phonemic composition which are present in the works of Mauricio Kagel, Luciano Berio and Gyӧrgy Ligeti, in Psalm and in the cycle Die Jahreszeiten Holliger generates new methods of vocal articulation, which were later reflected in the works of not only his younger, but also his older contemporaries. The main accentuation in this article is placed by the study of the cycle Die Jahreszeiten – Holliger’s largest and most significant choral composition. Analyzing the timbral and textural structure of the pieces comprising the cycle, the author arrives at the conclusion about the composer’s wish to approach the reflection of the automatized “impersonal” writing of Scardanelli (which was Hölderlin’s pseudonym in the late period of his poetical creativity, when he was suffering from mental affliction) by means of his compositional resources. The phenomena of the soundless word and fragmented statement of the musical material bring a number of pieces from Holliger’s cycle closer to the identical musical discoveries by Luigi Nono in his works from the 1950s and 1960s, as well as in his late works composed from the influence of reading Hölderlin-Scardanelli’s poetic works. Thereby, the study of Holliger’s musical compositions makes it possible for us to examine the Swiss composer’s choral works not only as an organic continuation of his colleagues’ experiments, but also as a genuine culmination in the development of Western European choral writing in the 1970s manifested in the greatest amount of enrichment of the timbral side of modern choral composition.
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Vyshnevetska, Anna. "Spiritual choral music of modern Kharkiv composers: stylistic parameters." Aspects of Historical Musicology 28, no. 28 (December 28, 2022): 139–54. http://dx.doi.org/10.34064/khnum2-28.08.
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Statement of the problem. The Kharkiv composer school is rich in artists who turn to the tradition of church music and embody it in various modifications. The concert type of sacred music, reflecting the style of the postmodern era, is clearly expressed in the work of O. Shchetynsky, V. Muzhchil, I. Haidenko, M. Shukh, and others. However, it is important to pay attention to the work of composers representing the church type of culture and known only in the narrow circle of regents. The purpose of the study is to identify the stylistic features of spiritual choral works by modern Kharkiv composers Volodymyr Fainer, Liudmyla Vyshnevska, Vasyl Borysenko, whose creative activity is connected with the direct practice of temple singing. Recent research and publications showed that the choral works by V. Fainer is explored rather well, first of all, in the articles of S. Anhelovska (2010), while L. Vyshnevska‘s and V. Borysenko‘s compositions almost are not researched. The scientific novelty of the paper lies in systemating of information about V. Fainer’s work, as well as in the first experience of genre-stylistic analysis of spiritual choral works written by L. Vyshnevska and V. Borysenko. Research methods. The study of the spiritual choral work of modern Kharkiv composers required the interaction of general and special scientific tools (historical, genre-semantic, stylistic, functional-structural research methods) taking into account the concept of ‘Homo credens’ in liturgical choral genres (Shapovalova, 2010). Results and conclusion. The style of thinking of the 21st century spiritual composers is characterized by a combination of tradition and innovation, by genre diversity, and stylistic searches. The artists, whose work is focused on the traditional models and liturgical function of the spiritual genres, deserve on special attention. So, V. Fainer created his own original style of church works, using polyphonic techniques subording to contemplative prayer moods. L. Vishnevska masterful uses emotional expressive melody, colorful harmony and choral timbres, developed dramaturgy, bright climaxes, due to that her choral works can be performed both at Divine services and in concert format. V. Borysenko gravitates to the tradition of ancient orthodox church chants, varying often only one theme by harmonic and textural-timbral means. In general, their creative work is oriented towards the traditional genre model in its primary confessional source with the use of the indnvidual author’s music language. Their works are marked by a sincere prayer orientation and high spirituality, which appeals to the ethical values of Christianity, deeply rooted in the national self-consciousness of Ukrainians.
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Ryzhinsky, Alexander S. "Luigi Nono’s Works from the Late 1950s: The Emergence of a New Choral Style." Problemy muzykal'noi nauki / Music Scholarship, no. 2 (2024): 148–65. http://dx.doi.org/10.56620/2782-3598.2024.2.148-165.
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At the center of attention in the article are Luigi Nono’s choral works from the late 1950s. On the example of analysis of two compositions created consecutively one after the other — La terra e la compagna (The Earth and the Female Friend, 1957) and Cori di Didone (Choruses of Dido, 1958), — the composer demonstrates innovative techniques expanding the arsenal of technical means and testifying of the intensity of the development of his personal choral style within the indicated period of time, and also manifests the tendencies characteristic for the choral texture of the subsequent years. Special attention is given to the texts of Cesare Pavese and Giuseppe Ungaretti that comprised the verbal basis of the analyzed compositions. It is noted that the pathos of the struggle for liberation of the earlier compositions is overshadowed by a lyricism connected to the composer’s focusing to the images of nature. During his work on the texts, Nono actively experiments with the phonetics establishing its impact on the vocal sound. Among the specific peculiarities of the choral writing in the examined compositions, the techniques of timbral modulation, as well as poly-timbral and mono-timbral stereo-monody are emphasized. In the sphere of the organization of the sound material, the transition from serial technique to the technique of sound masses is noted. On the basis of the carried out analysis, the tendencies conducive to the transformation of the image of the choral texture are indicated: the reduction of the melodic horizontal motions to sound-points; the acceleration of attention in mixing timbres within the framework of the unison; and the expansion of the functions of the verbal text (the process of its delinearization and phonetic disintegration).
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Kyfenko, Anna, and Tetyana Romanova. "FEATURES OF WORK WITH SACRED CHORAL WORKS IN THE CLASSES OF THE EDUCATIONAL CHORAL COLLECTIVE." Collection of Scientific Papers of Uman State Pedagogical University, no. 2 (June 29, 2022): 148–54. http://dx.doi.org/10.31499/2307-4906.2.2022.262954.
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The article analyzes the problem of working with sacred choral works in classes of an educational choir. The role of religious and spiritual culture and sacred choral art is covered. Domestic national values and priorities in the current conditions are outlined. The importance of sacred choral music in the repertoire of the student choir is also substantiated; the system of Christian values based on the Holy Scriptures, and the conciliar spiritual experience of the Church is singled out. The norms of phonetics of hymns in the Church Slavonic language are outlined, it is noted that the texts of hymns originate from liturgical books such as “Irmology”, “The Octave”, “New Testament”, “Old Testament”, “Horology”. Sacred choral music is considered a factor of spiritual and moral qualities of student youth; determined that at the present stage one of the pressing issues and tasks of art education is the revival of the nation’sspirituality, the search for new landmarks, a new system of values. The positivity of the influence of spiritual singing on people is proved, which is confirmed by Christian writers and teachers of the Church, such as St. John Chrysostom, st. Vasily the Great, st. Isidore Pelusiot; it has been proved that sacred music is a source of harmony with the world, a harmony of one’s feelings and thoughts.Choral singing is a carrier of enormous informational and educational potential, containing interdisciplinary communicative connections of the main subjects of the musical cycle: solfeggio, music theory, harmony, polyphony, history of music, analysis of musical forms, solo singing, and conducting.The article examines the main problem in the work of choirmasters, namely, the lack of knowledge of the traditional style of sacred music, its genre affiliation, and stylistic features.
Keywords: sacred choral music; spiritual development of personality; vespers service; hymns; church traditions; liturgy; intonation; psalms; Christian values.
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GRIGORYEVA, V. V. "ЗМІСТ ДИРИГЕНТСЬКО-ХОРОВОЇ ПІДГОТОВКИ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА У ПЕДАГОГІЧНИХ ЗАКЛАДАХ ВИЩОЇ ОСВІТИ." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 2 (October 4, 2021): 211–17. http://dx.doi.org/10.31494/2412-9208-2021-1-2-211-217.
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The article considers the problem of choral-conducting training of future music art teachers and its place in the system of professional training in pedagogical institutions of higher education. It is noted that the discipline «Choral Conducting», which is part of the Workshop of choral-conducting training is included in the professional unit of the professional system of training specialists, specialty 014 Secondary Education (Music). It includes knowledge, skills and abilities of conducting and choir organization. The effectiveness of the individual form of conducting training is substantiated, which is due to the specifics of choral conducting as a performing art and contributes to the formation of each student’s professiogram. The author highlights the interdisciplinary links of the course «Choral Conducting» with other disciplines that provide a complex professional training of the student, as well as strengthen his/her professional and pedagogical orientation. The article analyzes the theoretical views and pedagogical principles of representatives of Ukrainian conducting and choral schools, which created unique scientific and pedagogical systems of a conductor’s formation. Based on the main provisions of these systems, the author developed the content of choral-conducting training of future music art teachers in pedagogical institutions of higher education, taking into account the regional component (Zaporizhzhia region, Northern Azov), which is represented by works of relevant composers. The article presents the gradual formation of a music art teacher as a specialist choirmaster. The detailed content of choral-conducting training of bachelor's degree students is given. The basic skills that are complicated and improved in the process of conducting are highlighted. The role of the regional component in the content of educational programs and its assistance in preserving the cultural traditions of the region is determined. Key words: future music art teachers, choral-conducting training, conducting activity, choir.
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Lupu, Anamaria. "The Influence of Luther's View of Music on the Emergence of the Concepts of Musica poetica and Musical Rhetoric." Musicology Papers 35, no. 1 (November 1, 2020): 41–51. http://dx.doi.org/10.47809/mp.2020.35.01.03.
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La casa di peste drum [At the House across the Road] is, perhaps, Tudor Jarda`s most emblematic choral work, being the first composition of the 10 carols for mixed choir included in the volume Coruri [Choral Works] (1981). Dedicated to Maestro Dorin Pop and the Cappella Transylvanica choir, this work has been part of the ensemble`s repertoire since the publication of the collection, being also found in the repertoire of the most important Cluj and Transylvanian choirs. This paper aims to detail aspects of musical grammar in the choral work La casa di peste drum, highlighting the close connection between the text and music and its implications in the choral interpretation. The morphological and syntactic analysis also highlights certain characteristics of Tudor Jarda`s choral writing.