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1
Apter, Ronnie y Mark Herman. "Translating Art Songs for Performance: Rachmaninoff'sSix Choral Songs". Translation Review 84, n.º 1 (noviembre de 2012): 27–42. http://dx.doi.org/10.1080/07374836.2012.730315.
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Sifakis, G. M. "The structure of Aristophanic comedy". Journal of Hellenic Studies 112 (noviembre de 1992): 123–40. http://dx.doi.org/10.2307/632156.
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The structure which is generally taken to underlie the composition of the plays of Aristophanes is made up of a number of quantitative parts which have been abstracted by dividing the comedies into broad sections. It roughly corresponds to the quantitative division of tragedy offered by the twelfth chapter of Aristotle'sPoetics (viz.prologue, episode,exodos, khorikonor choral song, the last-named subdivided intoparodosandstasimon), and includes prologue,parodos, ‘proagon’or ‘battle scene,’ ‘epirrhematicagon,’ parabasis, iambic scenes, choral songs orstasimo, exodos.
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Strolonga, Polyxeni. "From Choral to Monodic Hymns: Some Evidence from theHomeric Hymns". Trends in Classics 12, n.º 1 (25 de junio de 2020): 16–47. http://dx.doi.org/10.1515/tc-2020-0003.
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AbstractThis paper investigates internal evidence from the Homeric Hymns in order to trace the development from choral to monodic hymns. A study of the words humneo and humnos and the analysis of the embedded choral theogonic songs in the corpus of the Homeric Hymns show that women’s choral songs about gods are always identified as hymns, while the monodic theogonies, which are described in this corpus, are not identified as such. This division between choral and monodic hymns, reflected to some extent in the diction, is reconciled in the Homeric Hymn to Apollo, in which the poet, representing a different genre, addresses and praises the Delian Maidens – the choral singers par excellence. As the Homeric Hymns evolve from cultic, choral hymns, they turn the local praise of gods into panhellenic encomia. Such transition is also alluded to in other sources, in which hymns are disseminated and adapted by male performers, as a result of a female chorus’ instruction.
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Walton, Patrick. "Using Singing and Movement to Teach Pre-reading Skills and Word Reading to Kindergarten Children: An Exploratory Study". Language and Literacy 16, n.º 3 (24 de noviembre de 2014): 54. http://dx.doi.org/10.20360/g2k88j.
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Kindergarten classrooms were randomly assigned to a songs group (n = 44) that used choral singing and movement to teach phonological skills, letter-sounds, and word reading, or to a control group (n = 49) where children received their regular language and literacy programs for equal amounts of time. The songs group teaching involved choral singing and movements created for the project to teach phonological skills, letter-sounds, and word reading. Children preferred songs that were quick to learn, had strong or soothing rhythms, and incorporated movements. Children in the songs group had increased letter-sounds, medial phoneme identity and word reading compared to children in the control group. Children in both groups made equal gains in rhyming and identifying phonemes in initial and final positions. Songs group children also read new words not presented in the songs program. Initial and medial phoneme identity and letter-sound knowledge made independent contributions to word reading.
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Prickett, Carol A. y Madeline S. Bridges. "A Comparison of the Basic Song Repertoire of Vocal/Choral and Instrumental Music Education Majors". Journal of Research in Music Education 48, n.º 1 (abril de 2000): 5–9. http://dx.doi.org/10.2307/3345452.
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Following up on an earlier study, an audiotape of the tunes of 25 standard songs, assumed to be known by everyone who has finished 6th grade, was played for 135 undergraduate instrumental music education students and 79 undergraduate vocal/choral music education students. There was no significant difference in the ability of either group to identify the songs. The means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that professors preparing music education students for their future careers consider adding activities to music education courses that build a strong song repertoire.
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Lawrence, Mark. "Ancient song re-employed: The use of Regilaul in the music of Veljo Tormis". Studia Musicologica 56, n.º 4 (diciembre de 2015): 343–53. http://dx.doi.org/10.1556/6.2015.56.4.4.
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The music of Veljo Tormis (b. 1930) became well-established in Estonia during the 1960s yet remained little known in the West until the fall of Communism. By incorporating traditional Estonian folk song, regilaul, into his works, Tormis’s name became closely associated for Estonians with upholding a sense of national identity against the Soviet regime. It is his vast output of some 500 choral songs for which he is most immediately recognised; indeed, once regilaul had come to dominate the ‘Tormis style’, he dedicated himself almost exclusively to choral composition. This paper examines regilaul, its impact on Tormis during his formative years, and its integration into his mature compositional style, leading him to claim that he had ‘found his voice’ as a composer.
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Yagovets, Natalia. "СПЕЦИФИКА ХОРОВОЙ АРАНЖИРОВКИ РУССКИХ НАРОДНЫХ ПЕСЕН РЕБРИХИНСКОГО РАЙОНА АЛТАЙСКОГО КРАЯ (РОССИЯ) ДЛЯ СЦЕНИЧЕСКИХ НАРОДНО-ПЕВЧЕСКИХ КОЛЛЕКТИВОВ". Proceedings of Altai State Academy of Culture and Arts, n.º 2 (2021): 68–72. http://dx.doi.org/10.32340/2414-9101-2021-2-68-72.
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Based on long-term experience of vocalic-choir work with academic ensembles of the Altai State Institute of Culture (Barnaul, Altai Krai, Russia) on pieces of local music folklore, the author discloses some theoretic and instructional aspect of adaptation of people's song material to people's vocal ensembles of various team compositions, and also describes specifics of choral arrangement of Russian people's songs that reflect stylistic peculiarities of ethnic song tradition of Russian areas of the South of Western Siberia (Rebrikhinsky District of Altai Krai, Russia).
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Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music". ICONI, n.º 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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Gao, Chiling. "Genre context of Ihor Shamo’s choral creativity". Culture of Ukraine, n.º 75 (21 de marzo de 2022): 109–14. http://dx.doi.org/10.31516/2410-5325.075.14.
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The purpose of this paper. The purpose of the study involves a thorough study on the genre system of choral heritage I. Shamo, as understanding the genre essence of choral work is an essential component of performing interpretation.
The methodology. Methodological principles are the principle of historicism, historical-contextual method, genre-style analysis and acmeological method in musicology, used to understand the top achievements of I. Shamo in the context of the evolution of artistic thinking of the artist.
The results. The genre system of I. Shamo’s choral heritage consists of the genres of choral song, suite, choral cycle, cantata, cantata-poem, cantata-oratorio, choral opera a cappella, oratorio (concert-performance). The directions of the composer’s creative search in the genre of choral song are connected with the usage of different choral compositions, appeal to the genres of lyrical song, stylization of ritual songs, romanticization of patriotic song. It is determined that the semantics of the first cycle of choirs a cappella by I. Shamo in the poem by I. Franko reveals the theme of the cycle of the seasons, drawing a parallel with the stages of human life. For the choral cycle “Flying Cranes”, the name of which is a symbol of unattainable happiness and, at the same time hope, the composer improves the techniques of sound recording, creates expansive melodic lines based on a synthesis of folk and romantic intonations. The third cycle of I. Shamo “10 choirs on the poems of Ukrainian poets” demonstrates the latest achievements of the artist in choral writing, timbre drama, the implementation of the principles of working with folk poetic sources, characteristic of the “second wave of folklore”. It is substantiated that the unity of the “Carpathian Suite” of the composer is promoted by: tonal plan, contrasting tempo drama and artistic sound images, intonational unity based on the theme of Ukrainian folk models. Based on the author’s genre definitions of the “Yatran Games”, it is determined that in I. Shamo’s choral opera a cappella there is a synthesis of genres: suite, choral scenes originated from folk life and ceremonial action under the auspices of the opera genre. It was found that among the genres of orchestral and choral compositions of the artist — cantata, cantata-poem, cantata-oratorio, which is dominated by civic themes. Innovative is the work of I. Shamo “Skomoroshyny”, which synthesizes the genres of oratorio and concert, with theatricalization of these genres. The choral opuses showed such features of the artist’s style as the synthesis of genres, the tendency to cyclicality, reliance on national roots, the creation of author’s melodies, where deep folklore manifestations, sprechstimme, sonorism, aleatorics.
The scientific creativity lies in the analysis of the components of the genre system of I. Shamo’s choral heritage, in the awareness of the genre phenomenon of each choral work and in the identification of the evolution of the artist’s style.
The practical significance of the obtained results is due to the need to determine the genre of choral work to create a performing interpretation.
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Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square". Tempo 68, n.º 267 (enero de 2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.
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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 1972 and 2009, respectively), are considerably less widely known. It was with keen anticipation and no little curiosity, then, that I attended the first performance of McCabe's latest work for chorus and orchestra on 16 March 2013 at St John's, Smith Square.
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DEM’YANKO, N. "COMPONENTS OF NATIONAL CULTURE IN PEDAGOGICAL HERITAGE AND ACTIVITY OF V. VERKHOVINETS". ТHE SOURCES OF PEDAGOGICAL SKILLS, n.º 22 (7 de noviembre de 2018): 81–86. http://dx.doi.org/10.33989/2075-146x.2018.22.185019.
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The article considers the components of national culture as theoretical foundations of pedagogical heritage and activities of the outstanding Ukrainian teacher, musicologist, ethnographer, choreographer, conductor and composerV. Verkhovynets. These include folklore, musical, choreographic and dramatic art. The essence of Ukrainian folklore as a form of social consciousness and its national peculiarities is revealed. The criteria of distribution of folklore to genres are given (by discharges, means of artistic expressiveness and the nature of their combination). Epic prose and song genres are described. The specifics of using animal tales by the teacher are revealed. The author analyzes artistic features of lyrical genres: songs (labor, charm, anthem, heroic, elegiac, humorous); musical-choreographic (domestic dance, plot dance), song and choreography (dance song, round dance, choral and play song). Dramatic genres (ceremonial games, folk games, folk drama) are described. The educational value of Ukrainian folklore, musical and choreographic art is revealed. The peculiarities of their application by V. Verkhovynets in work with student and student youth, with artistic theatrical, choral and choreographic groups are analyzed. The role of choral art in the educational process was identified and its place in the work of the teacher was determined. The results of implementation national culture’s components in its theoretical activities (creation of scientific works "Ukrainian Wedding", "Theory of Ukrainian folk dance", "Vesnyanychka") are highlighted.
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RASİMİ, Adhurim y Armend XHONİ. "The right choice of choral repertoire - a weakness or good opportunity for encouraging students’ musical talent development". Rast Müzikoloji Dergisi 10, n.º 4 (30 de diciembre de 2022): 463–80. http://dx.doi.org/10.12975/rastmd.20221042.
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This study investigates the views and practices of teachers on the way of selecting the choral repertoire and the opportunities that this repertoire offers for encouraging musical development of from primary and lower secondary schools students within the framework of general education in Kosovo. In this aspect, the experiences during the practical work of choir teachers and the technical or professional difficulties they encounter during the selection of choral songs have been studied. Among other things, the research aims to identify and analyze these factors, through which it is intended to pave the way for further improvement in this matter. The design of this research was carried out through semi- structured interviews, including the detailed analysis of choral songs, both in terms of musical content and pedagogical aspects. The research was carried out with choir teachers of different schools in Kosovo and satisfactory results were achieved, which highlight the real situation regarding the selection of the repertoire, its quality in terms of musical and textual content and the opportunities it offers to students in encouraging and developing musical talent. The recommendations from this study are addressed to the relevant institutions which should aim to encourage and support the work with choral ensembles and the improvement of practices regarding work with choir within general education.
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Vroegindeweij, Lydia. "Comfort in Luther and Bach. A Study of the Comforting Value of Martin Luther’s Church Songs and Interpretation of Comfort in the Choral Cantatas of Johann Sebastian Bach". Yearbook for Ritual and Liturgical Studies 37 (31 de diciembre de 2021): 61–68. http://dx.doi.org/10.21827/yrls.37.61-68.
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Summary of the dissertation "Comfort in Luther and Bach. A Study of the Comforting Value of Martin Luther’s Church Songs and Interpretation of Comfort in the Choral Cantatas of Johann Sebastian Bach".
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Nikolaeva, Elena V. "“One-Voice Collective-Distributed Singing” as a Necessary Attribute of the Initial Stages of Teaching Children of Primary School Age Choral Singing". Musical Art and Education 7, n.º 3 (2019): 163–77. http://dx.doi.org/10.31862/2309-1428-2019-7-3-163-177.
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The write incentive for this article was the desire to characterize the pedagogical potential of the method “One-Voice Collective-Distributed Singing” at the initial stages of training children of primary school age choral performance. Its essence is connected with a specific approach to learning and playing melodies of songs or vocal choral exercises. In the exercises, a sequential transmission / reception of the melodic line from one singer to another / another or from one group of singers to another is provided. The article reveals the author’s position, according to that this method is considered as a special kind of role-playing singing. At the initial stage of training in choral performance, its use (i) creates the favorable conditions for the implementation of an individual-personal approach to students in the process of vocal-choral activity, (ii) contributes to their mastery of vocal, (iii) effectively prepares children for intonationally pure and expressive intonation of the “choral part” performed by them, (iv) contributes to their experience in tracking the melodic line as a dialogue / polylogue of several choral parts, each of which brings new colors. This kind of choral performance stimulates the preparation of children for the development of polyphonic singing.
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Інна Терешко y Лариса Пшемінська. "M. LEONTOVYCH’S WORK OF FOLKLORE IN THE CONTEXT OF THE NEW UKRAINIAN SCHOOL". Collection of Scientific Papers of Uman State Pedagogical University, n.º 4 (4 de septiembre de 2020): 128–35. http://dx.doi.org/10.31499/2307-4906.4.2020.224180.
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The methodical concepts of organization, recording, processing and documentation of folklore by the outstanding Ukrainian composer, conductor, teacher Mykola Leontovych are defined in the article. The artist's interest in folk songs is revealed, and his purposeful work as a recorder of folk melodies is studied. The composerʼs approaches to collecting, studying and popularizing the folklore of Ukraine are defined. The memories of friends and students, which reveal the composer’s and folklore activities, are analyzed.Much attention is paid to the definition of individual perception, techniques and methods of presentation of folklore in the professional activities of M. Leontovych, in particular, describes the diverse and multilevel system of the composerʼs creative approach to folk songs and outlines the leading role of folklore in music and aesthetic education. The article considers the national originality of M. Leontovych’s choral music, reveals the close connection of the composer’s activity with the rich folk song culture of Ukraine, highlights the composer’s innovative approaches to the embodiment of folklore in Ukrainian music, traces the artist’s influence on the development of the choral miniature genre. The paper presents a creative understanding of the folk song heritage of the composer and the use of its best examples in the education and artistic training of todayʼs young generation. Some aspects of the development of professional skills of future teachers of music are highlighted. The use of certain forms, methods, techniques of educational activities contribute to the formation of studentsʼ readiness to use arrangements of M. Leontovychʼs song folklore in modern secondary schools in the context of the New Ukrainian School.
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Vadhanasiriphongs, Bhannavichaya. "The Refashioning of Thai School Theme Songs: A Case Study of Symphony on a ‘Pin-Hatai’ Theme". ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 10 (7 de diciembre de 2022): 21–32. http://dx.doi.org/10.30819/aemr.10-4.
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At present, the idea of re-composing school theme songs into more fashionable icons is tenable in the eyes of local composers. In Thailand, although numerous school theme songs are presumably in need of refashioning, yet there are not many where this need has been addressed. A school theme song Pin-Hatai of Triam Udom Suksa School is one of those songs that was successfully re-composed by the author into a sophisticated choral symphony, called Symphony on a Pin-Hatai Theme. There are the compositional techniques such as the use of cyclic form, the intermingling of Thai and Western compositional idioms, and a systematic tension and release being integrated into re-composing Symphony on a Pin-Hatai Theme. I argue that the newly written symphony can rightfully be perceived as a corollary of a new assertion to change twentieth century compositional methods on the consistency of showing an attempt to preserve its traditional characters to please a large audience. Based on the author’s PhD dissertation, the purpose of this article is to conceptualise ways on how Thai school theme songs can be refashioned into upgraded versions, on which a Pin-Hatai theme song of Triam Udom Suksa School will be a particular focus.
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Oras, Janika, Žanna Pärtlas, Mari Sarv y Andreas Kalkun. "The Metrics of Seto Choral Laments in the Context of Runosong Metrics". Studia Metrica et Poetica 8, n.º 1 (14 de octubre de 2021): 40–98. http://dx.doi.org/10.12697/smp.2021.8.1.02.
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The aim of this paper is to get an overview of the lament metrics in Seto oral song tradition, which belongs to the southern border area of the Finnic song tradition, and the placement and historical development of lament metrics in the framework of the whole Seto oral song tradition. In the paper the metrical structures of two main genres of Seto choral laments – choral bridal laments and death laments – are analysed that share common features with solo laments and are similar to the structures of Seto runosongs. Metrical structures of the laments are detected based on sound recordings, taking into account the linguistic structure of the lines and the varied realization of it in a musical performance rhythm.
The analysis showed that laments’ metrics where 5-unit end structures play an important role, differs the most from the main body of runosongs and is structurally more similar to a group of runosongs with refrains and varying line length. Outlining the development patterns of the metrical system of Seto songs, the influences of local unique musical tradition with varied rhythmic structures atypical of the most runosong area, specific functions of ritual song genres, historical changes in language, as well as possible external connections to early eastern and southern song cultures are highlighted.
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Oras, Janika, Žanna Pärtlas, Mari Sarv y Andreas Kalkun. "The Metrics of Seto Choral Laments in the Context of Runosong Metrics". Studia Metrica et Poetica 8, n.º 1 (14 de octubre de 2021): 40–98. http://dx.doi.org/10.12697/smp.2021.8.1.02.
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The aim of this paper is to get an overview of the lament metrics in Seto oral song tradition, which belongs to the southern border area of the Finnic song tradition, and the placement and historical development of lament metrics in the framework of the whole Seto oral song tradition. In the paper the metrical structures of two main genres of Seto choral laments – choral bridal laments and death laments – are analysed that share common features with solo laments and are similar to the structures of Seto runosongs. Metrical structures of the laments are detected based on sound recordings, taking into account the linguistic structure of the lines and the varied realization of it in a musical performance rhythm.
The analysis showed that laments’ metrics where 5-unit end structures play an important role, differs the most from the main body of runosongs and is structurally more similar to a group of runosongs with refrains and varying line length. Outlining the development patterns of the metrical system of Seto songs, the influences of local unique musical tradition with varied rhythmic structures atypical of the most runosong area, specific functions of ritual song genres, historical changes in language, as well as possible external connections to early eastern and southern song cultures are highlighted.
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Eginbayeva, T. y А. Mombek. "Abai vocal cycle of E.Rakhmadiev: interpretation of the genre". Pedagogy and Psychology 44, n.º 3 (30 de septiembre de 2020): 205–15. http://dx.doi.org/10.51889/2020-3.2077-6861.26.
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The article examines the musical creativity of E.Rakhmadiev, a classic of the Kazakh composing school, the author of vocal-symphonic, opera, chamber-instrumental, song-choral works that are included in the national musical treasury. The author of article presents an analysis of the vocal cycle of seven romances dedicated to the legacy of Abai. In the cultural life of the Kazakh people, the personality of Abai Kunanbayev, his poetic and musical creativity occupy a special place. Each of his poem “sings”, and it is not surprising that many composers, when creating their songs and romances, turn to the poetic heritage of Abai. In each of the romances the organic unanimity of the composers and the poet is manifested, each of the songs is self-sufficient and has its own musical and poetic content, all romances differ from each other both genre and stylistically.
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Bushueva, Lyubov Ivanovna. "Composer A. A. Egorov in the History of the Musical Culture of Chuvashia". Ethnic Culture 4, n.º 4 (27 de diciembre de 2022): 8–14. http://dx.doi.org/10.31483/r-103771.
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The article is devoted to the creative connections of the famous Soviet conductor and composer A.A. Egorov with the musical culture of Chuvashia in the 1930s. The purpose of the work is to recreate the historical picture of these connections, to determine his contribution to the Chuvash art and to identify the characteristic features of the interpretation of the national song folklore. The material of the study was musical texts of works by A.A. Egorov (first of all, the author’s collection «Folk Songs Arranged for Mixed Choir by A. Egorov»), as well as his theoretical and methodological work in the field of choral arrangement of folklore primary sources. Using the analytical method, the author traces the history of the appearance of choral arrangements by A.A. Egorov on the themes of Chuvash folk songs, the musical and poetic text of the most popular work «Kolkhoz uy-khire» («Kukkuk») («Kolkhoz fields» («Kukushka», «Kukuk!”)) is analyzed. It is concluded that the communication of A. A. Egorov with the head of the team the Chuvash composer V. P. Vorobyov inspired him to create ten miniatures for a cappella choir. Among the Chuvash adaptations, the most popular was «Kolkhoz uy-khire» («Kukkuk») – «Collective Farm Fields» («Kukushka»). Her undoubted success in the artistic culture of the 1930s let us explain not only the folklore theme successfully chosen by the composer, the organic interaction of the found methods of arranging the folklore source with the typical features of A. Egorov’s creative style as a whole, but also the masterful use of all musical and expressive resources. Together with other works by A.A. Egorov’s adaptation of «Kolkhoz uy-khire», included in the golden fund of Russian choral literature, can be called a classic of the musical art of Chuvashia.
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Vavryshchuk, Serhii. "“Winds Are Blowing” by Hanna Havrylets in the Theatrical Interpretation of the Chamber Choir "Kyiv"". Часопис Національної музичної академії України ім.П.І.Чайковського, n.º 3-4(52-53) (14 de diciembre de 2021): 50–65. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251795.
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The author has characterized the demonstrative features of the choral theater genre and their embodiment in the performance of historical oratorio "Winds are blowing" by Ganna Havrylets by the Municipal Academic Chamber Choir "Kyiv". The author defines the affiliation of this play to the type of choral theater "History in the Faces", as 12 historical songs recorded by O. Koshyts during the Kuban expedition (1903-1905) were selected, processed and combined into a dramatic integrity by composer Ganna Gavrilets. They focus on pictures of the national liberation struggle of the Ukrainian people. The theatrical concept of staging in the communicative link is built: composer - conductor - arranger - director - spectator. It was found that in order to dynamize the performance the authors of concert-theatrical performance (conductor Mykola Hobdych, director Vasyl Vovkun) made structural changes (removed individual numbers, added the final instrumental number), enriched the timbre sound palette of the chamber choir with additional instruments (bandura, reed pipe or flute, percussion), which are used by choristers simultaneously with singing. Approaches to the theatrical performances with personification images and general choral scenes, alternating in the form of contrast of drama of the work were underlined. It is established that in the choral works of the cycle with personified imagery the emphasis was on more effective individual acting means (facial expressions, plastics, movements), in epic songs - on more static but symbolically filled mise-en-scène factors (graphic-spatial forms of stage arrangement of performers on stage). It is noted that the directors contributed to the better disclosure of the content of the play through the integrated use of the background (eg, costumes), mise-en-scène and acting means of theatrical choral performance. These artistic techniques also increased the spectacle, concert and stage representativeness and created a variety of acoustic effects.
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Teriaieva, Larisa. "Intensification of student creative activity at choral conducting classes". Educological discourse 38-39, n.º 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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Jackson, Myles. "Harmonious Investigators of Nature: Music and the Persona of the German Naturforscher in the Nineteenth Century". Science in Context 16, n.º 1-2 (marzo de 2003): 121–45. http://dx.doi.org/10.1017/s0269889703000759.
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ArgumentDuring the early nineteenth century, the German Association of Investigators of Nature and Physicians (Versammlung Deutscher Naturforscher und Ärzte) drew upon the cultural resource of choral-society songs as a way to promote male camaraderie and intellectual collaboration. Investigators of nature and physicians wished to forge a unified, scientific identity in the absence of a national one, and music played a critical role in its establishment. During the 1820s and 30s, Liedertafel and folk songs formed a crucial component of their annual meetings. The lyrics of these tunes, whose melodies were famous folk songs, were rewritten to reflect the lives of investigators of nature and physicians. Indeed, the singing of these Liedertafel songs played an important part in the cultivation of the Naturforschers’ persona well into the twentieth century.
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Shikhragimova, Emiliya Robertovna. "The realization of M. Tsvetaeva's poetry in the choral concert "Trinity Day" by Y. Falik". PHILHARMONICA. International Music Journal, n.º 4 (abril de 2022): 1–9. http://dx.doi.org/10.7256/2453-613x.2022.4.38280.
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The name of the St. Petersburg composer Yuri Alexandrovich Falik is known both in Russia and abroad. He has created a large number of compositions in different genres. Falik pays considerable attention to choral music. His choral legacy is represented by a wide range of genres. These are miniatures, a choral concert, a poem and a choral cycle, Orthodox hymns and a Catholic ordinary mass. The range of the composer's poetic preferences is also rich. Falik refers to the poems of A. S. Pushkin, M. Y. Lermontov, A.A. Tarkovsky, A.I. Solzhenitsin, N. A. Klyuev, A.A. Akhmatova, N.S. Gumilev and M.I. Tsvetaeva. The article discusses the peculiarities of the implementation of the content of M. Tsvetaeva's poems by musical means in the choral concert "Trinity Day" by Yu. Falik. Starting from the folklore motifs embedded in the poems, Falik creates stylizations referring to Russian drawling songs, ditties, and the dialect characteristic of the folk tradition. The composer uses variation of melodic motifs, rhythmic variation, combines natural-fret means and chromatics, uses such techniques as choral staccato, glissando, imitation of instrumental tunes, introduces ostinate layers of sound. It is established that the composer managed to find such structural, melodic, rhythmic techniques and musical means that not only illustrate the content of the poems, but also reveal its new facets.
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Ivanova, Yuliia. "Children’s choir in MarkKarminskyi’s creativity". Aspects of Historical Musicology 19, n.º 19 (7 de febrero de 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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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century". Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, n.º 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.
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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.
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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, n.º 21 (10 de marzo de 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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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, n.º 55 (20 de noviembre de 2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.
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Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert “Witchery songs” in order to understand the multidimensionality of the late style of M. Shukh (2010). Methods. The methodology of the research is based on the genre, stylistic, structurally functional, intonation-dramaturgicaland semantic scientific approaches. Results. The structure of the cycle includes three miniatures created in different years (1993, 2006 and 2009). The composer combined them into a new author’s concept: the unifier was the image of the author’s contemplation, meditation on various images of O. Kryvoruchko’s poetry, which was related to his spiritual universe. The program title of the cycle “Witchery Songs” chosen by the author is general, borrowed from the dramatic imaginary sphere of the first movement. The first movement “Practising witchery on a Gray Seagull” embodies the image of a seagull appearing in different forms: as a white bird, a symbol of purity, and the grey one, which had been grief-stricken and died, leaving behind baby seagulls. The poetic text is abundant with symbols of death (“black water”, “bitter mountain”), and vice versa, with signs that symbolize hope: “clear field”, “pure wonder”, “white grasses”. At the same time, the name of the movement, its folklore bias and content also point to the image of witchery, which is embodied by M. Schukh in thematism through meditation (means of tempo and timbre dramaturgy, “dark” modal and tonal focus). The metrical organization of the movement attracts attention. If the beginning of the introduction is presented in the 4/4 time, then in the enunciation of the main theme (bar 7) the composer uses an odd meter of 11/8 with the subsequent change to 10/8, 5/8, then 3/4. The frequent change of the metric rhythm indicates the relation of the musical stylistics of this theme to the Ukrainian folk-song tradition. The second movement “Night” contains no specific symbolism of practising witchery: the semantics of the night includes rather a genre model of a nocturne with its onomatopoeia (breeze, bells, stars, moon). A beautiful pattern is perceived as an intermezzo between the dramatic text of the cycle exposition and the celestial lullaby, which elevates the earth’s feelings to the Light. The movement reveals a magical picture of nightlife. The composer embodied this contemplative image by creating light meditation. Major colour, quiet dynamics, slow tempo, and chamber-like use of musical expressiveness all contribute to the basic essence of a meditative state – calmness and relaxation. Meditative onomatopoeia interfuses the whole movement – a light breeze, lighting up the stars. The image of the bell is found in all parts: the first soprano part has a poetic text – “the wind tinkles “, the alto one has mormorando, a singing technique, the second sopranos – syllables “din, don” with sonorous singing of the last “n”. In this part the composer often applies the techniques of free development – glissando, tenuto, rhythmic variety – triples, long delays. In such a way the artist sought to “let the performers go”, creating a meditative image of night silence. In the third movement, “Angelic lullaby,” meditative semantics is multiplied, since the genre of lullaby, like meditation, has a calming effect. Thanks to its name the composer gave the song a higher, deeper meaning. Musically, the composer filled the imagery of the movement with an incredibly expressive theme, onomatopoeic techniques similar to the previous movements: imitation of a breeze, hum of birds, stream overflows. Basically, the theme of the movement unfolds with the help of a spiral-like motion technique, the sound of which contributes to the lulling of a baby to sleep. The rhythmic basis of the theme is coloured by the intonational ostinato. The metro-rhythmic structure plays a special role in the dramaturgy of the movement: the composer often changes time signature, a large number of syncopescolour the musical texture, adding depth and at the same time lightness to the texture, and making the choir sound elusively charming. Conclusions. The semantics of the work is formed by stylistic synthesis (folk elements of the musical language embedded in the poetic text of O. Kryvoruchko; sacral signs – bells, angelic lullabies and onomatopoeia), emphasized at the soundintonational level. Taking into account the program subtitle (Practising witchery), the work, at first glance, seems to be a “cognitive dissonance” in the context of spiritual themes predominance in M. Schukh’s music. However, in the original concept of the composition, the composer clarifies for the thoughtful listener his idea – “modulation” way from mythopoetic (earthy) magic to the sacredness of the spiritual type (blissful sleep). The use of folklore stylistics shows that the artist continued the national tradition of O. Koshits, L. Dychko, Ye. Stankovich and others in the choral genre. Such a genre-stylistic decision is today perceived as an actualization of the appeal to traditional folk art, through the lens of philosophicalreligious poetics of author’s thinking.
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Karas, Hanna. "Arrangement of Choral Folk Songs in the Works of Mikhail Hayvoronsky". Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art, n.º 1 (11 de junio de 2018): 45–56. http://dx.doi.org/10.31866/2616-7581.1.2018.140570.
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Akamov, A. T. y A. R. Gasharova. "SONGS OF CHORAL PERFORMANCE OF THE PEOPLES OF DAGESTAN (on the example of Kumyk and Lezgin songs)". Bulletin of Udmurt University. Series History and Philology 31, n.º 2 (11 de mayo de 2021): 398–404. http://dx.doi.org/10.35634/2412-9534-2021-31-2-398-404.
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Non-ritual lyrics are works of oral and poetic creativity. It, like ritual poetry, is closely connected with the life of the people. It reflected his desires and aspirations, the make-up of his soul, worldview, aesthetic and ethical ideas. The most important theoretical problem of folklore is the elucidation of the specifics of various folklore genres, which is primarily reflected in their names. The object of our research is the songs of the choral performance of the peoples of Dagestan. This genre variety of non-ritual lyrics is most widespread in the oral and poetic work of the Kumyks and Lezgins. The purpose of our work is, on the basis of a systematic study, to form a holistic view of this genre. We rely on an integrated approach to the text, which acts as a link between individual scientific techniques and methods: comparative, descriptive, etc.
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Untung, Rachel Mediana, Wisma Nugraha Christianto y Victor Ganap. "Hybrid Performance as The Behavior of Singing Folk Songs Chorally in Indonesia Choir Competition in 2019". Jurnal Kawistara 12, n.º 1 (8 de junio de 2022): 33. http://dx.doi.org/10.22146/kawistara.68229.
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The artistic contestation between choral culture and folk song is an important concern in the study of musicology. The problem that is of concern in this study focuses on singing behavior in singing hybrid vocal music. Choir singing behavior has standard vocal techniques, on the other hand the context of understanding folk songs includes natural singing expressions from an ethnicity without being overshadowed by good vocal techniques. The study aims to reconstruct the practice of artistic requirements in Indonesian folksong choir competitions. The study is important because there is artistic contestation between choir culture and folk songs culture leading to a good hybrid performance in the Folklore category. This research method takes material from singing events through observations and studies of audio-visual documentation that are observed repeatedly. This study uses a performance centered approach study that concentrates on the choir's performance. Descriptive-analytic analysis is used as a consequence of the material of the event‘s that relies on careful descriptions. The results of this study indicate, firstly the choirs which sang folk song repertoire are a hybrid performance characteristic. Second, the relationship that occurs between artistic requirement and the reality of performances on stage occurs in a multidimensional manner. It was found that there was an adjustment to standardization in the perspective of the coral setting. Third, an understanding of the performance practice as multidimentional and hybrid with artistic requirements shows that a small portion is given to other dimensions (kinesthetic & visual).The findings can be used to reformulate artistic requirements entailing a bigger cultural aspect of folk songs.
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SYNKEVYCH, Natalia. "Folk songs heritage recorded by Ivan Franko in Mykola Lastovetsky’s choral works". Humanities science current issues 3, n.º 47 (2022): 56–61. http://dx.doi.org/10.24919/2308-4863/47-3-9.
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Agu, Daniel C. C. "Youth songs: a type of Igbo choral music in Igbo Christian worship". African Music: Journal of the International Library of African Music 7, n.º 2 (1992): 13–22. http://dx.doi.org/10.21504/amj.v7i2.1941.
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Lisiecki, Tomasz. "Muzyka chóralna w diecezji lubelskiej w okresie posługi biskupa Stefana Wyszyńskiego". Roczniki Humanistyczne 69, n.º 4 Zeszyt specjalny (2021): 123–36. http://dx.doi.org/10.18290/rh21694spec-6.
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The article presents the pastoral project of recreating the musical culture of the Catholic Church in Poland after World War II. The author outlines a broader context of pastoral activities undertaken at that time by the Primate of Poland, August Hlond. The pastoral work of Bishop Stefan Wyszyński in the Lublin Diocese was part of this nationwide plan to rebuild the role of music in churches, especially in the field of choral music. The article discusses the main assumptions of this work. It was based on Wyszyński’s understanding of choirs as a very important pastoral group in the Church, which should be constantly educated musically and religiously formed. The main liturgical task of the choir, as understood by Bishop Wyszyński, was to introduce new liturgical songs to the churches of the diocese. Choirs, as always, also performed polyphonic pieces. Together with the Diocesan Organist Commission, he precisely defined the repertoire of the choirs, both in terms of liturgical monody and polyphonic pieces. This procedure helped achieve two goals: raising the level of performance by drawing attention to valuable and original compositions and creating a diocesan choral community. The latter case was especially favored by the conventions of choirs of a competition and festival nature, which gathered several hundred people. Bishop Wyszyński’s extensive pastoral activities, also in the field of choral music, contributed to a significant revival of the diocesan choral movement and to raising the level of church music performed in the Diocese of Lublin.
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Doherty, Seán. "‘I am because you are’: A critical reflection on composing choral music to promote social inclusion for asylum seekers in Ireland". International Journal of Community Music 15, n.º 3 (1 de noviembre de 2022): 341–53. http://dx.doi.org/10.1386/ijcm_00067_1.
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This article presents a critical reflection from a composer embedded in a national community-music project centred around asylum seekers. This reflection-on-action is contextualized within wider scholarly discourse in community music, including the notion of ‘hospitality’ and the generic features of participatory performance. An account is given of the research and analysis that informed the composer’s process for the choral work, the Song Seeking Songbook (2019). This collection of six pieces is tailored to the specific context of the project, which aimed to provide a stimulating basis for musical engagement in order to promote social inclusion. The effective pre-existing repertoire is explored to identify the key musical features that helped articulate the core principles of composition. A selection of the newly composed songs is discussed to demonstrate how these principles were deployed in the final composition.
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GREAVU, Elena-Laura y Roxana PEPELEA. "Stylistic aspects reflected in the musical choral volume Cântece pentru copii/Songs for children, signed by Dan Voiculescu". BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (20 de enero de 2021): 85–92. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.9.
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In Dan Voiculescu's choral compositions, music and poetry are particularly intertwined, the syncretism of the arts being a fundamental feature in the composer's approach to this type of repertoire. The more detailed analysis, with examples of excerpts from works from the volume Songs for Children, are convincing proof of the compositional mastery that is necessary for the succesful creation of a deep connection between musical construction and text. Even the choice of certain elements related to the mode of musical composition (subordinated to the melodic, harmonic, polyphonic, rhythmic, metrical, dynamic, formal structure, etc.) demonstrates the intrinsic nature of the connection between music and the message of poetic lyrics. At the same time, the capitalization of the Romanian folklore resources, the incorporation in certain works of some underlying influence from baroque music and the preoccupation of introducing innovations related to the singing technique of the choral repertoire on equal voices represent some of the multiple stylistic features reflected in this volume.
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Bielik-Zolotarova, N. "“Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko: conductor’s concept". Culture of Ukraine, n.º 78 (23 de diciembre de 2022): 79–86. http://dx.doi.org/10.31516/2410-5325.078.10.
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The purpose of the study provides a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko creating process coverage.
The methodology. Methodological principles are based on the historicism, genre-stylistic, intonation-dramaturgical and interpretive types of analysis, that are used to create a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko.
The results. The development of the conductor’s concept is a process that covers worldview, analytical and creative-executive systemic levels. A conductor-choirmaster, first of all, must understand the artistic idea due to which V. Kyreiko combined the national philosopher’s poems into a choral diptych. In the first chorus “Ah, the fields” (“Akh, polia”), the essence of H. Skovoroda’s pantheistic doctrine is revealed, enriched with choral means of expression: sound imagery, antiphons between female and male choirs, nominal “dialogues”, a combination of diatonicism and tart, rich harmonies with a dynamic pastel palette. As a result, it creates an image of the Eden Garden, where the hero finds peace and happiness. The second chorus of the diptych “Seeing this life’s woes” (“Vydia zhytiya seho ya hore”) represents the hero’s difficult path to God and to understanding His mercy. The composer creates an artistic sound image due to monody, ostinato, sound imagery, multi-layer character, symbolism, textural and stroke diversity, contrasting dynamics and pleading intonations, the origins of which are found in a national folklore. Two choruses by V. Kyreiko on the H. Skovoroda’s texts, while revealing the spiritual meaning of the brilliant Ukrainian philosopher’s poems, receive features of the neo-baroque style due to the introduction into the XX century’s sound-space of the XVIII century’s poetic heritage, and rhetorical figures (symbols of the Baroque era) introduction into the musical canvas of the choral works. The chorus “Seeing this life’s woes” contains a Renaissance opposition: despair — hope, and chorus “Ah, the fields” represents the beauty cult, which gives the choral diptych Neo-Renaissance features.
Despite the genre and figurative contrasts of these compositions (choral miniature-scenery and dramatic monologue), let’s emphasize the common features between the choral work by V. Kyreiko and the poetic primary source, which directs the development of choral dramaturgy. The use of couplets as a song carrier, which follows the structure of H. Skovoroda’s poems-songs, appears developed and enriched. The movement acceleration is facilitated by the comparison of sections in chorus “Seeing this life’s woes”, which are built according to the contrast principle, and concert baroque style in chorus “Ah, the fields”. In the choral compositions’ finales, the rhythmic and harmonic unity of the choral array reaches the highest culmination and provides “Two choruses on H. Skovoroda’s poems” with a logical completion in the disclosure of the artistic content. A conductor’s concept of Skovoroda’s diptych by V. Kyreiko represents two Worlds: Eearthly and Heavenly, where the renewal of the hero’s soul, the search for a path to happiness in harmony with nature and hope for God’s mercy and salvation in the highest world take place. This concept must be realized in the choir performance interpretation under the choirmaster’s direction.
The scientific novelty. The scientific novelty lies in the conductor’s concept of “Two choruses on H. Skovoroda’s poems” by V. Kyreiko development, which will contribute to its realization in choral reproduction.
The practical significance. The obtained results’ practical significance is determined by the need to find a conductor’s concept for an adequate composer’s intention interpretation.
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Gackle, Lynne y C. Victor Fung. "Bringing the East to the West: A Case Study in Teaching Chinese Choral Music to a Youth Choir in the United States". Bulletin of the Council for Research in Music Education, n.º 182 (1 de octubre de 2009): 65–78. http://dx.doi.org/10.2307/27861463.
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Abstract The purpose of this case study ws to document and evaluate the process which 35 singers (ages 14 to 18 years) in a youth choir in the United States learned Chinese choral pieces during a fourmonth period. The researchers identified challenges and strategies used, and aided by 43 choral directors in China, evaluated the choir’s performance of these Chinese songs. Observations, interviews, and performance evaluations were the main methodologies used. Sources of data included choir members’, choir directors’, and researchers’ accounts of rehearsals and performances. The data revealed eight major themes. These themes concern the importance of parts to whole, the importance of visual and aural demonstration/feedback, aesthetic enjoyment and application of the challenge, high-achieving student profiles, understanding of lyrics and their cultural context, utilization of community culture bearers, extension to native experts, and cultural submersion providing musical and life insights. We conclude that strategies used were effective and resulted in student gains in four areas: musical, pedagogical, cultural, and attitudinal and personal.
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Vasylevska-Skupa, Liudmyla, Iryna Shvets y Lidiia Ostapchuk. "WAYS OF FORMATION OF NATIONAL SELF-CONSCIOUSNESS OF THE GROWING GENERATION BY MEANS OF UKRAINIAN MUSICAL ART". Academic Notes Series Pedagogical Science 1, n.º 204 (junio de 2022): 99–103. http://dx.doi.org/10.36550/2415-7988-2022-1-204-99-103.
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The article considers the historical aspect of educating the national identity of the Ukrainian people. The views of scholars on the concept of «national identity», its features, significance in the socio-cultural and pedagogical context. The importance of Ukrainian folk art, its huge potential for educating the national identity of the younger generation is substantiated. The role of national song folklore in patriotic education of students, features of musical language (coded codes), which formed the «national musical genotype» as a set of hereditary musical structures and means passed down through the generations, forming its unique mentality and national character. It is determined that the song, influencing the emotional – sensory sphere of man, causes empathic experience of his artistic image. At the same time, there is a process of «inner intonation», ie reflexive, unconscious singing of the listener with the sounding work. Therefore, during individual classes of students in classes on «choral conducting», «voice» «future music teachers got acquainted with the peculiarities of Ukrainian folk culture», folk vocal music, educational influence of song folklore on the spiritual development of students, namely the education of patriots of our state. During the «Folk Singing Workshop» students had to record 5-10 songs of their region, learn about the peculiarities of the singing style of different regions of Ukraine, decipher their melodic coded codes and analyze the figurative content of the musical work. While studying the normative discipline «Theory and Methods of Music Education» students got acquainted with the features of musical folklore – the treasury of age-old traditions of the Ukrainian people, with types of folklore activities: folk epics (proverbs and sayings, fairy tales, legends, historical songs, etc.). At the same time, it is necessary to study folk songs, to continue the search for coded codes in the musical language of song folklore, which reported on the mentality, the characteristics of the national idea of the Ukrainian people. At the same time, it is necessary to study the peculiarities of the phenomenon of «national consciousness» and the ways of its development.
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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION". Aesthetics and Ethics of Pedagogical Action, n.º 14 (9 de septiembre de 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.
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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.
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Ribić, Romana. "Contemporary music of Iceland in the post-romantic period: Jôrunn Viđar (Jôrunn Vidar, Reykjavik, Iceland, 1918-)". New Sound, n.º 46 (2015): 141–54. http://dx.doi.org/10.5937/newso1546141r.
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This paper presents a brief overview of the development of Icelandic music through historical and artistic circumstances. We shall also point to the specific social attitude towards the female population and we shall deal with the few Icelandic women composers. Among them Jorunn Vidar particularly stands out, as a pianist, accompanist and music teacher. For over two decades, she was the only woman composer to be a member of the Society of Icelandic Composers. She wrote the music for the first Icelandic ballet suite and the first Icelandic film ever, arranging the old narrative songs called the 'thulur' as a pioneer. Her oeuvre includes a piano concerto, music for theater and film, chamber and choral music and solo songs. She was awarded the Order of the Falcon for accomplishments in music by the president of Iceland.
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Savaryn, T. V. y N. O. Fedchyshyn. "The Lemko Wedding Song (Ukrainian, Polish, Slovak): Peculiarity and Usage". Rusin, n.º 65 (2021): 277–95. http://dx.doi.org/10.17223/18572685/65/15.
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The article analyzes Lemko’s wedding and post-wedding songs in comparison with Polish and Slovak ones. As an integral part of all-Ukrainian ceremonial song fund, Lemky wedding song ritualism is distinguished by some specificity due to Polish and Slovak close proximity. Naturally, Lemko song specificity are best revealed when compared with the similar song traditions of the Western Slavs. The similarity of certain elements is better traced in the wedding song ritualism of the East Slovakian, Ukrainians and Slovaks sons, as compared to the Lemky-Polish neighbourhood. While preserving a lot of archaic forms and elements, the Lemko version of the Ukrainian wedding is characterized by some differences, which reflect Lemko’s continuous ethnocultural contacts with neighbouring nations. The wedding song repertory of the three neighbouring nations has been found to impressively reflect its origin from the Proto-Slavic marriage ritualism, based on the monogamous marriage, husbandry lifestyle, close worldview (similar meaning of fire, water, bread, Eden tree, sun-worship, etc.), as well as on the similarity of ritual acts (garlanding, blessing, roundabout the table and dough trough, breaking wedding loaf, etc.). All mentioned above together with the similar dramatization of the wedding ceremony make ethnonational versions of traditional family ritualism – a so-called “Carpathian cycle”. The Lemko wedding song content has been found to preserve archaic motives and images of relict Ukrainian repertory with its typical ample song/choral expression of the content of wedding rituals, young couple’s and their families’ moral and mental state, varied poetic symbolism and stylistics. Long-term endosmosis of cultural, economic, and sociopolitical contacts between neighbouring ethnoses has conditioned the interchange of the elements of wedding song and ritual dramatization with marked Lemko dominant regarding Slovakian wedding song repertory, as well as with regard to the repertory of Polish Gorals, long-standing song strata in particular.
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Karnes, Kevin C. "A Garland of Songs for a Nation of Singers: An Episode in the History of Russia, the Herderian Tradition and the Rise of Baltic Nationalism". Journal of the Royal Musical Association 130, n.º 2 (2005): 197–235. http://dx.doi.org/10.1093/jrma/fki003.
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Analysis of the contents of Jānis Cimze's harmonized folksong collection A Garland of Songs (1872) and the cultural context in which it was published reveals its musical portrait of an emergent Latvian nation to be a synthetic construct. Drawing upon aspects of the German nationalist choral movement, the quasi-Herderian work of Baltic German folklorists and new opportunities for cultural expression afforded by mid-century Russian imperial reforms, Cimze's work inspired heated and increasingly xenophobic debate among his contemporary Latvians about the destiny of their community in pre-Revolutionary Russia.
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Hettrick, William E. "Johann Herbeck’s Edition of Choral Works by Franz Schubert: History and Analysis". Nineteenth-Century Music Review 16, n.º 3 (5 de septiembre de 2018): 349–82. http://dx.doi.org/10.1017/s1479409818000010.
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Johann Herbeck (1831–1877) served in his native Vienna as conductor of the leading choral and instrumental organizations. He showed his devotion to the legacy of Franz Schubert in his performances and also in his edition, published by C.A. Spina and successors, of 51 selected works of the master for men’s, women’s and mixed chorus. Originally conceived as part-songs for ensembles of soloists, this repertoire had become choral music by Herbeck’s time. Included also are arrangements by Herbeck and others of pieces originally written for different performing media. Surviving copies of numbers in the edition, as well as two additional publications, reveal startling inconsistencies in editorial technique, ranging from a lack of intervention to a much freer approach, including liberal sprinkling of unauthentic markings and other deviations from the originals. In the latter category, the editor’s additions may be said to document the performance practice of these works during his time. His choice of sources was also inconsistent, in some cases resulting in faulty versions of the works presented. This study also documents the production and reception history of Herbeck’s edition.
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Chatterjee, Sebanti. "Performing Bollywood Broadway: Shillong Chamber Choir as Bollywood’s Other". Society and Culture in South Asia 6, n.º 2 (julio de 2020): 304–27. http://dx.doi.org/10.1177/2393861720923812.
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This article attempts to explore the performativity that surrounds choral music in contemporary India. 1 1 Choral music was discovered in Western civilization and Christianity. As a starting point, it had the Gregorian reforms of the 6th century. Choir primarily refers to a vocal ensemble practising sacred music inside church settings as opposed to chorus which indicates vocal ensembles performing in secular environments. Multiple singers rendered sacred polyphony 1430 onwards. By the end of the century a standardized four-part range of three octaves or more became a feature. The vocal parts were called superius (later, soprano), altus, tenor (from its function of ‘holding’ the cantus-firmus) and bassus (Unger 2010, 2–3). Moving beyond its religious functions, the Shillong Chamber Choir locates itself within various sounds. Hailing from Meghalaya in the north- eastern part of India, the Shillong Chamber Choir has many folksy and original compositions in languages such as Khasi, Nagamese, Assamese and Malayalam. However, what brought them national fame was the Bollywoodisation 2 2 Bollywood refers to the South Asian film industry situated in Mumbai. The term also includes its film music and scores. of the choir. With its win in the reality TV Show, India’s Got Talent 3 3 India’s Got Talent is a reality TV series on Colors television network founded by Sakib Zakir Ahmed, part of Global British Got Talent franchise. in 2010, the Shillong Chamber Choir introduced two things to the Indian sound-scape—reproducing and inhabiting the Bollywood sound within a choral structure, and introducing to the Indian audience a medley of songs that could be termed ‘popular’, but which ultimately acquired a more eclectic framework. Medley is explored as a genre. The purpose of this article is to understand how ‘Bollywood Broadway’ is the mode through which choral renditions and more mainstream forms of entertainment are coming together.
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Mikusi, Balazs. "Mendelssohn's "Scottish" Tonality?" 19th-Century Music 29, n.º 3 (2006): 240–60. http://dx.doi.org/10.1525/ncm.2006.29.3.240.
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Several of Mendelssohn's minor-mode songs, duets, and choral songs feature a peculiar tonal move: a sudden shift takes us to the relative major (without a "modulation" proper), but the opening minor key soon returns equally abruptly (via its V). Closer examination of these pieces suggests that the composer used the major-mode excursus as a topos, whose associations include the ideas of farewell, wandering, and distance (the latter both in the geographical and chronological sense, in accordance with the shift's quasi-modal--thus equally exotic and archaic--character). I suggest that this topos may have influenced the tonal structure of at least three large-scale Mendelssohn compositions, all of which are closely related to the same exotic and historical ideas. In the Hebrides Overture the relationship between the primary B minor and the secondary D major is (for a sonata-form movement) exceptionally equal: rather than acting as sharply contrasting tonal areas, they almost appear as two sides of the same key. The first-act finale of the unfinished opera, Die Lorelei, elaborates the original topos in another way: the E-minor-G-major kernel is extended in both directions, resulting in a chain of third-related keys, which eventually takes us back to the opening E level (now turned into major). In the light of this example, the (less complete) third-layered tonal structure of the "Scottish" Symphony may also be understood as growing out from the same miniature song topos.
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Gomeniuk, Svitlana. "Features of Cadences in Vocal and Choral Music of the Seventeenth Century (on the Example of Giovanni Palestrina’s Motets)". Scientific herald of Tchaikovsky National Music Academy of Ukraine, n.º 132 (29 de noviembre de 2021): 182–97. http://dx.doi.org/10.31318/2522-4190.2021.132.250002.
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The relevance of the study. The traditional idea of a cadence as a primarily harmonic phenomenon does not completely correspond to some musical styles, including Renaissance and early Baroque. Revealing the polyphonic essence of cadences in vocal works of the Renaissance, which is the aim of the article, allows deeper understanding peculiarities of musical thinking of that period.
Scientific novelty. The historical approach to the analysis of cadences is quite common in foreign musicological works; this approach is still new for Ukrainian musicology. The research material is also new: the cycle of motets by G. Palestrina on the text of “Song of Songs” was unfairly ignored by Ukrainian and foreign scholars. Thus, the study is relevant both in relation to the method and in relation to the musical material involved in its approbation.
The purpose of the article is to show the specifics of cadences in the style of a strict counterpoint using the motets from the cycle “Canticum Canticorum” by G. Palestrina, to reveal the role of cadences in the modal and compositional processes of a Renaissance work.
Research methods. The study systematizes the data obtained as a result of the analysis of the cadences of G. Palestrina’s motets, thus, the main research method is inductive.
The main results and conclusions of the study. Cadences in vocal polyphony of the Renaissance have a polymelodic nature, which is realized by combining typical melodic turns (clausulae) in different voices. The clausulae order in the voices and their completeness degree are effective criteria for the classification of cadences (e. g. the classification by E. Rotem). Cadences in which the main clausulae are presented in full (i. e. contain ultima and penultima) are strong. Cadences in which one or more clausulae are incomplete are weak. The role of strong and weak cadences in the composition is different: strong cadences are placed at the nodal points of the piece, they have a dividing function; weak cadences are placed in the middle of the text line and they have a connecting function. Strong cadences are the norm, while weak ones violate the norm, revealing the author’s ingenuity. There are a few ways to weaken the cadence: replacing the ultima with a pause or a different sound, distributing the clausula between several voices, extending the melodic line of one of the cadence voices, etc. Weak cadences significantly outnumber strong cadences. In the Dorian motets from the cycle “Song of Songs” by G. Palestrina weak cadences play an important role in the formation of the mode within the sound scale, as well as in revealing the meaning of the verbal text.
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Lister, Rodney. "Bolcom, Gann and other Americans". Tempo 60, n.º 235 (enero de 2006): 37–39. http://dx.doi.org/10.1017/s0040298206260042.
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WILLIAM BOLCOM: Songs of Innocence and of Experience. Christine Brewer, Measha Brueggergosman, Hana Davidson, Linda Hohenfeld, Carmen Pelton (sops), Joan Morris (mezzo-sop), Marietta Simpson (con), Thomas Young (ten), Nmon Ford (bar), Nathan Lee Graham (speaker/vocals), Tommy Morgan (harmonica), Peter ‘Madcat’ Ruth (harmonica and vocals), Jeremy Kittel (fiddle), The University of Michigan Musical Society Choral Union, Chamber Choir, University Choir, Orpheus Singers, Michigan State University Children’s Choir, Contemporary Directions Ensemble, University Symphony Orchestra c. Leonard Slatkin. Naxos 8.559216-18.AARON COPLAND: Inscape. ROGER SESSIONS: Symphony No. 8. GEORGE PERLE: Transcendental Modulations. BERNARD RANDS: …where the murmurs die… . The American Symphony Orchestra c. Leon Botstein. New World 80631-2.KYLE GANN: Nude Rolling Down an Escalator: Studies for Disklavier. New World 80633-2.
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LUPU, Anamaria. "Nun freut euch, lieben Christen g’mein, the first Lutheran choral from the first collection of Protestant hymns – a rhetorical analysis". BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (20 de enero de 2021): 175–82. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.19.
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This material is an extract from a larger research of Lutheran chorals, focusing on the first collection of Protestant hymns, published after the Reformation, Etlich Cristlich lider (Achtliederbuch - The Book of Eight Songs), signed by Martin Luther, Paul Speratus and Justus Jonas. Beyond the general considerations related to the place and year of publication, but also to the inner construction of the collection, the analysis focuses on the first hymn composed by Luther, original both as text and as music. The rhetorical perspective I approached in the study of chorals is not arbitrary, given the impact of Luther's vision of music for that period and the attention he himself paid to classical rhetoric in his sermons, or in the courses he taught at the University of Wittenberg. His chorals are impregnated with explicit messages, both in terms of his Christian creed, but also in terms of elementary principles of Christian living.
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Krivopalova, Veronika y Maria Filyushina. "Valery Kalistratov «The cry of the bride - orphans at the grave of parents» from the cycle "Five wedding songs" for women's choir". Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, n.º 13 (2022): 146–53. http://dx.doi.org/10.17223/26188929/13/16.
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There are periods of special interest in folklore in the history of Russian music. This is the second half of the 19th century - the period of national self-consciousness and the activity of the composers of the Mighty Handful. And the second half of the twentieth century and the "New Folk Wave". If the work of Valery Kalistratov (1942-2020) is not well known, then it is indicative of the artistic world of his era. Therefore, it is interesting to pay attention to his choral work.