Articoli di riviste sul tema "College-Conservatory of Music of Cincinnati"

Pamela Ryan is an associate professor of viola at Florida State University in Tallahassee and in May becomes president of ASTA's Florida state unit. Previously, she taught at Bowling Green State University, Cincinnati College-Conservatory, Brooklyn College, and Aspen Music School. A graduate of the North Carolina School of the Arts, she received her B.M. from the University of Maryland, an M.A. in performance from the Conservatory of Music of Brooklyn College, and a D.M.A. from the Cincinnati College-Conservatory. She was a winning soloist of the Aspen Concerto Competition and has performed with the Bowling Green String Quartet at Carnegie Hall and in Mexico City. Recently, she has performed on chamber music radio broadcasts in New Orleans and with the Louisiana Philharmonic. She now serves as principal violist of the Tallahassee Symphony Orchestra.

Barry Green has been Principal Bassist with the Cincinnati Symphony since 1967, and is Adjunct Professor of Double Bass at the University of Cincinnati, College-Conservatory of Music. Known for his books on bass pedagogy, his solo albums and premiers of new music for bass, he also presents unique ‘Inner Game’ lectures and entertaining bass recitals throughout the U. S., and in Europe, Asia and Mainland China. Mr. Green's new book, The Inner Game of Music (with Timothy Gallwey), about overcoming the mental obstacles to learning and playing music, has just been published by Doubleday/Anchor Press.

OBJECTIVES/SPECIFIC AIMS: As the issues facing our global society become more complex, university faculty are called upon to address these contemporary problems using interdisciplinary approaches. But do reappointment, promotion, and tenure (RPT) guidelines reflect and reward this fundamental change in the nature of higher education and scholarly inquiry? After collecting all of the RPT guidelines across the university, our research team at the University of Cincinnati (UC) conducted a content analysis of these documents to determine how collaborative work is defined, interpreted, and supported. In addition, we also sought to identify differences in how collaborative work is valued across disciplines and how that value has changed over time. METHODS/STUDY POPULATION: An initial database was assembled that included two distinct data samples: historical and current. Both included RPT criteria for over 100 disciplinary units at the university. Working with the initial comprehensive database, the team narrowed content by selecting all language related to collaborative work using several relevant keywords or keyword fragments (team, collaborat[*], disciplin[*], and interprofessional). This process resulted in a subset of data reflecting the area of interest that could then be coded. Three investigators independently coded common portions of the data for categories. The investigators met regularly to compare the results of their coding, and discrepancies between the investigators’ coding schemes were resolved through discussion. The final, common coding scheme will used to code the remainder of the data by each independent investigator. The team meets weekly to discuss significant passages and assign codes, and then reach consensus related to important themes that are identified. Specifically, we will examine the frequency with which collaborative activities are included, the value and emphasis given to them, and the differences across units. Having a historical sample and a current sample also allows us to analyze trends over time and further compare disciplinary differences. RESULTS/ANTICIPATED RESULTS: UC is a diverse institution that includes world-renowned creative schools (the College Conservatory of Music and the College of Design, Architecture, Art, and Planning), as well as traditional colleges of medicine, nursing, pharmacy, allied health, engineering, business, arts and sciences, etc. UC also includes two branch campuses that specialize in associate’s degree level education. Given the diversity in educational and research missions across these areas, we anticipate discovering several themes within the RPT guidelines, primarily centered around the traditional foundations of faculty work such as service, research, and teaching. We anticipate strong differences by college and disciplinary focus, with emphasis on collaborative work and engagement increasing as RPT guidelines become more current. DISCUSSION/SIGNIFICANCE OF IMPACT: Our experience is that faculty members want to engage in collaborative work when possible and appropriate, but their perception is that independent contributions to their field are more highly valued than interdisciplinary work. As universities rush to endorse and promote interdisciplinary, team-oriented research and teaching, this study will afford a better understanding of the types of activities valued at one large and diverse urban institution, grounded in the actual language of RPT criteria.

Margaret Pressley is well known in the Pacific Northwest as a teacher of gifted pre-college violinists and as an enabler of conservatory-level music education in Seattle. Attending the University of Washington, with a major in violin performance, she chose a career in violin pedagogy, which has spanned 30 years. Pressley has built a highly successful class of continuously prize-winning students, who are eagerly sought by conservatories. She is the founder and director of the Pressley Conservatory of Music in Seattle. Pressley is a lecturer at Western Washington University and is also on the faculty of the Indiana University Summer String Academy, a member of the advisory board of the Seattle Young Artist Music Festival and the National Music Teachers Association Competition String Repertoire Committee, and string chair for the Washington State Music Teachers Association. She was named ASTA's 1994 Washington State Studio Teacher of the Year.

The educational activities of the Imperial Russian Musical Society (IRMS) were of indelible significance in the formation of the Russian musical enlightening and educational system. The Moscow Conservatory became one of the greatest achievements of the IRMS, since it concentrated in its image — its spiritual and artistic orientations, administrative and tutorial structure, and pedagogical — the characteristic particularities the development of which subsequently consolidated and elevated its significance in music history. The article examines the questions of the establishment of the tutorial-pedagogical work of the Moscow Conservatory during the prerevolutionary period: the formation of the managerial apparatus, its evolution (depending on the quantity of students), a perception is provided about the makeup of the pedagogical faculty. The peculiarities of the pre-revolutionary organization of tutorial courses of the Conservatory are briefly illuminated as being accessible (for involvement in it at any stage) and as being compound, comprised of several interconnected steps: from the elementary to the artisanal-professional and to the advanced level. The latter also provided the possibilities to acquire indispensable knowledge in the humanitarian sphere for those to wished it. On the example of the Moscow Conservatory the achievements of the educational achievements of the IRMS are demonstrated, which during the Soviet period led to the threelevel system of national musical education in Russia (school — college — higher educational institution), which exists up to the present day.

The article illustrates the life and creative activity of German pianist and pedagogue Karl Eduard Weber in Russia. Weber received his education at the Leipzig Conservatory. In 1854 he went to Russia, where musicians of high professional level were on demand, and taught for over 20 years at the Tambov Music College. However, having engaged in pedagogical activity in various Russian cities, Weber frequently experienced discontent. Having observed the unsatisfactory level of musical education, he began creating methodological works. Among them, those which became famous and were disseminated were “Rukovodstvo k sistematicheskomu obucheniyu igre na fortepiano” [“A Manual for the Systematic Instruction of Playing the Piano”] (1866), and “Putevoditel' pri obuchenii igre na fortepiano” [“A Guide to Instruction of Piano Playing”] (1876). In 1881 Karl Eduard Weber received the position of an instructor at the Tambov Alexandrinsky Institute for Noble Girls. In 1889 he switched to working at the Tambov Musical Classes (since 1900 — the Tambov Music College), where he worked until the end of his life (1913).Weber brought up the talented student Anna Gravert-Lavdovskaya (1881 – 1888). She provided initial instruction to the future outstanding pianist Victor Merzhanov. Therein, undoubtedly, lies a great merit of the Weber school. Many of the foundational traits of piano pedagogy of Karl Eduard Weber are inherent to the pedagogy of Victor K. Merzhanov.

This article is devoted to the relevant issue of correlation between the style of parenting and the prerequisites of professional difficulties that music students may have. The research of professional and personal problems of musicians, its causes and effects as well as prevention opportunities is relevant to consistently actual issues of musical education psychology. Wide public debate about authoritarianism problems and violence signs in musical pedagogy indicate importance and depth of the problem of choosing an optimal educational style, that is proved by the results of many current domestic psychological research as well. The analysis of experimental data available allows to suggest there is an ambivalence of parenting and teaching style effect on emotional wellbeing and professional success of young musicians. This article shows the generalized theoretical view on the nature of irrational setting and neurotic perfectionism of young musicians as well as peculiarity of forming self­identity in conditions of different parenting styles. The results of empiric research of parenting styles and their relation to scenic stress suggest the correlation between parental authoritarianism and scenic stress level. The research has been conducted in 2019 among students of Academic music college at Tchaikovsky Moscow state conservatory and the students of world music culture faculty of Maimonides Academy.

The journal Problemy muzykal'noi nauki / Music Scholarship would like to present its readers with an interview with Nina Siniakova, a composer and pianist of a diverse cultural background and broad interests. Her music explores the eternal subjects of beauty, love, life, and death. Her colleagues describe her style as “unique and refined,” (Mark Hagerty, composer, USA) and that in their opinion makes Nina Siniakova “one of the most interesting composers of her generation.” (Krzysztof Meyer, Professor Emeritus, Cologne Hochschule für Musik) Her interests in musical genres span from music written in the contemporary classical style to minimalism, jazz, easy listening, and music for children. Nina Siniakova is active as a composer, pianist, educator, and a sales representative at Cunningham Piano Company in Philadelphia. A Doctor of Musical Arts, she was born in Minsk, the capital of Belarus, received her education at the Minsk Glinka Music College, the St. Petersburg State Rimsky-Korsakov Conservatory and the Musikhochschule in Cologne. Besides having developed her activities in music she has also studied theatrical acting professionally. Siniakova is a recipient of numerous awards, including the First Prize and the People’s Choice Award at the XII Open Competition of Composers named after Andrei Petrov in St. Petersburg, Russia (in the nomination “symphonic music” for her Concerto for Two Violins and Orchestra), a stipend from the DAAD (the German Students’ Exchange Service), a stipend of Exploring the Metropolis program NYC and many others. As a pianist and a composer, she has appeared at the Carnegie Weill Recital Hall, Symphony Space in New York, Harvard University, the Beethoven House in Bonn, the Academy of Music in Philadelphia, the St. Petersburg Philharmonic and the Zink jazz Bar in New York. With such an assortment of diverse accomplishments in music, Nina Siniakova appeared to be the perfect musician to take an interview from which the readers of the journal would find of great substance.

The author attended Ginasiano Dance School in Porto, Portugal where she studied contemporary and classical Dance , and ESAP (College of Arts, Porto) where she graduated in Architecture. Seeking to congregate her experiences in architecture and dance, she developed her graduation thesis on Notation: Architecture and Dance. After graduation, she was invited to join two art research centers, Centro de Estudos Arnaldo Araújo and Instituto de História da Arte, as a researcher. As an architect, she worked in two offices of architecture - Noventa Graus and Off 4- for two years, on a project for the Center for Performing Arts in Portalegre, and on a contest for the Music Conservatory in Coimbra, among other projects. Simultaneously, she has worked with Kale Dance Company and Círculo Portuense de Opera, in several dance and opera performances, either as a dancer or a stage assistant director. For three years now, she has also taught young children at Ginasiano Dance School developing Expressões, a project that aims to develop the individual through Art in an altogether involvement with movement expression, visual arts, music and drama. The text that follows is a slightly revised and edited version of a paper presented at the international symposion on "Globalization and Local Identity," organized jointly by the World Society for Ekistics and the University of Shiga Prefecture in Hikone, Japan, 19-24 September, 2005.

Among the modern composers of Tuva, the personality and work of Ayana Oyun are covered little of musicology. The main stages of the composer’s creative biography are noted related to studying at Republican School of Arts and Kyzyl College of Arts, receiving a specialized education at Krasnoyarsk State Academy of Music and Theater, Mikhail Glinka Novosibirsk State Conservatory, as well as additional education at St. Petersburg Theatre Arts Academy. The composer’s creative portfolio is surveyed, providing an analysis of one of the illustrative works — the Piano Quintet. The periodization of creativity works correlates with her education in different universities in Russia and with a change in genre preferences. Thus, during the years of study at Krasnoyarsk Academy of Music and Theater (2001–2007), works of chamber genres were predominated, including the being analyzed Piano Quintet. The return to her native Tyva is marked by the formation of an original author’s style. During these years, interest in theatrical music was shown, and a number of performances with music by Ayana Oyun were staged. During the years of study in St. Petersburg (2013–2018), several musical fairy tales were created and staged: Don’t Fly Away!, Mary Poppins and Her Friends, Khorloo (Wheel). Music appeared for a number of performances at the National Theatre as well. The composer’s contribution to the development of musical theater in Tuva and the revival of the first national opera, Chechen and Belekmaa, by Rostislav Kendenbil are noted. Ayana Oyun is a rare case of a successful combination of a composer and a theater director in one person; her personality is distinguished by deep reverence and adherence to the traditions and practices of Buddhist teaching, striving for constant self-improvement, expansion of professional and spiritual horizons.

The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.

On the basis of the documents preserved at the Russian State Archive for Literature and Art, the author of the article illuminates the historical context of the inauguration in 1944 of a musical institution of higher education of a scholarly-methodological profle, and also provides her evaluation of the frst decade of its functioning. As a characteristic feature, the absence of a strongly pronounced “formative period” is noted, since the activities of the Gnesins’ State Musical-Pedagogical Institute relied on the half-a-century old experience of the functioning of the other educational institutions founded by the Gnesins’. The article examines questions of the active development of the music theory education of a three-level system (from the school to the college, and then to the higher educational institution), of the formation of the genres of musicological literature, the collaboration of the faculty of the new musical education with the Moscow Conservatory, etc. The author of the article emphasizes that the constructive scholarly-methodological work under the guidance of Elena Fabianovna Gnesina was of an expedient character. During the course of a decade the tutorial-methodological basis of the professional musical education of the whole country was formed. During the course of a short period of time, the activities of the institute acquired a national scale, thereby, the Gnesins’ State Musical-Pedagogical Institutes became an outstanding project of time.

Music Production of De La Salle – College of Saint Benilde is a program first of its kind in the Philippines. Oriented to trail-blaze for 21st century Filipino musicians, the Music Production program is to be found not in a conservatory, but in a School of Design and Arts. As such, the program ensures responsiveness to the needs of the Creative Industries. With the government’s Long-term Development Plan, wherein culture and the arts are seen as key social and economic capitals, something is to look forward for people who innately possess a certain degree of musicality whether in traditional, folk, popular, indie or in other formats. The program, to a certain extent, makes its own contribution in realizing this governmental thrust. Situated in an amalgamation of cultural expressions as a result of historical determinations, sound and music culture in the Philippines feature a fusion of genres which also naturally results to distinct forms in the fusion and weaving processes. Recognizing this rich context, the program offers a wide variety of training to its students, and sensitive to the needs of the industry, outputs are always made relevant to the demands of the market and the society at large. The capstone projects of the students as well as their other outputs from immersions and on-the-job trainings are in need of safeguarding and proper documentation. In the program’s over two decades of existence, there is no good reason to wait for these outputs to become archaic in the future, acquiring the status of becoming objects or pieces of curiosities. The archival initiative is premised on the idea that these productivities entail a wealth of contemporary musical expressions nurtured in an emerging field of formal learning and mentoring. Offhand, there is a felt necessity of tracing the development of works. At the same time, as prompted by trends, the question to be asked now: What direction must the program take in order to be truly responsive to the industry as well as to actively engage in cultivating contemporary practices of music in the Philippines and in the world? Lastly, the archive is also a soundscape. Akin to the recording of varied sounds simultaneously present in an environment, the archive becomes an instrument of digitizing culture and pedagogy – of recording thought and learning processes of young people as well as educational approaches and methodologies in the part of the program. The initiative seeks to explore the charting of pedagogical outputs – its domiciliation and consignation, and processes involved in its retrieval and dissemination.

Latgalian culture of the 60s and 70s of the 20th century is still insufficiently studied and evaluated. Although this time in Latvia is marked by the dominance of the Soviet ideology in all spheres of social life, russification, and ban of Latgalian print, there were people who managed to develop Latgalian identity and culture. Terēze Broka (1925) and Stanislavs Broks (1926–1977), the two outstanding choir conductors, are among such people. After graduation from Latvia State Conservatory they were appointed to work in Daugavpils. In this city, characterized by Russian spirit and with no choirs, the two conductors within a short period of time managed to establish musical collectives and develop repertoires where along with the obligatory Soviet songs Latgalian folk songs were included. In autumn 1954, Terēze Broka established a women’s vocal ensemble „Daina” and a group of kokle (a Latvian national musical instrument) players, and looked for more unknown Latgalian songs at the Academy of Sciences of the Latvian SSR. The folk songs were arranged by her husband, conductor and director of Daugavpils Music College Stanislavs Broks who in 1956 established a mixed choir, later called „Daugava”. Due to their persevering work in a short period of time both Daugavpils musical collectives gained brilliant success and were nominated to the VI World Youth and Students Festival in Moscow in summer 1957 where they were awarded the silver prize. This success is followed by the bright parade of Latgalian performance, the week of Latgalian culture in Riga in December 1958, where the two Daugavpils collectives were at the centre of all events. It is noteworthy that the two collectives mainly consisted of Latvians, Russians and Poles who did not know the Latgalian language, but were diligent and motivated to learn to be able to sing in Broks’ collectives. In 1961 the Latvian Music Department in Minneapolis (USA) released the first disc of the Latgalian folk songs “Latgalian (Latvian) Folk songs“ compiled by Mikelis Bukšs. The disc contains 15 music pieces from the repertoire of Daugavpils mixed choir „Daugava” (conducted by S. Broks) and the women’s vocal ensemble „Daina” (led by T. Broka). „Aiz azara bolti bārzi”, „Aiz azara augsti kolni...”, „Siermi zyrgi, jauni puiši...”, „Audzit muni gari lyni”, „Es sovai māmeņai...” and other Latgalian folk songs arrangements served as a specific brand of Daugavpils, which strengthened the self-confidence of Latgalians of that time.

Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art, which can be considered the key basis of all his theoretical, historical and musical-critical generalizations and conclusions, as well as practical activities as a performer, teacher and composer. The education received by R. Genika in the class of N. Rubinstein at the Moscow Conservatory prompted the Kharkov musician to pay tribute to piano performance in the early stages of his career. The information about the pianist R. Genika, which came to us from publications in the press and the memoirs of his colleagues, gives an opportunity to reconstruct, although not in full, the style of his piano playing as a soloist, ensemble performer and accompanist. All this together constituted the subject of a comprehensive review and the relevance of this article. The research material includes reviews of R. Genika’s concerts and an example of his composer’s heritage in the field of piano music – a transcription “Concert Paraphrase” to the motive “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. The purpose of the paper is to reveal the universalism of the composer’s talent, the scale of his work, which was mainly focused on piano performance, through the analysis of various aspects of Rostislav Genika’s creative work. It would be wrong to call R. Genika a concert pianist in the traditional sense of the word. He had few solo concerts in his practice and they refer to the very beginning of his work career in Kharkov. As a concertist, he mostly performed works mastered in the class of N. Rubinstein, as well as piano parts in various ensembles, learnt by him when playing with “K. Gorsky Quartet” and other ensemble performers. The piano repertoire of R. Genika included pieces by I. S. Bach, G. Handel, D. Scarlatti, L. van Beethoven, K. M. Weber, F. Liszt, F. Chopin, R. Schumann, M. Mussorgsky, P. Tchaikovsky and others. Raised on the best examples of piano music, R. Genika appreciated such an interpretation that would meet not only the criteria of "accuracy", but would also be spiritually filled, sublimely emotional, and not outwardly ostentatious. Since the first days of working in Kharkov R. Genika, was able to combine lecturing, performing and correspondent activities with piano pedagogy. The sphere of pedagogy was one of the prevailing and time-consuming in his life. There is quite little information about R. Genika as a teacher and it can be found mainly in the reviews of his students’ concerts, in the notes of the local press as well as in the reports on academic concerts and exams at Kharkov Music College and Conservatory. The personal pianistic experience of R. Genika and the pedagogical style of his teacher N. Rubinshtein affected the choice of virtuoso programs and concert programs for his students. R. Genika’s composing experiments are closely related to his concert-pianistic and pedagogical work, as well as to the study of piano music history. The circle of his genre interests in this area was quite symptomatic. As an ardent supporter of concert pianism traditions R. Genika considered the genre of transcriptions and arangementds in the Liszt-Talberg spirit to be a new wave in piano literature of that time, a promising direction. This is how his transcriptions to the motives from “Parsifal” by R. Wagner, a piano arrangement of the “Arabic Dance” from the “Nutcracker” by P. Tchaikovsky, a fantasy “Abyss” to the motive of E. Grieg appeared. R. Genika also wrote short pieces intended for his concerts, as well as for educational practice. Unfortunately, the score of these works are still either not found or not preserved. An exception is the “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “Snow Maiden” by A. Ostrovsky (author’s handwritten text dedicated to the pianist V. Timanova). Being a pianist was very important for R. Genika. Understanding pianism as a musical aesthetic phenomenon resulted in a multifaceted and deep understanding of the essence of musical art, which was characteristic of R. Genika as a music educator. The musician thought of himself precisely as a “generalist” who could handle any music profession – a performer’s, teacher’s, or researcher’s one. Hence, further study of the creative and critical heritage of R. Genika will invariably affect the spheres of other areas of musical art (opera, chamber, etc.). Such universal personalities as R. Genika have always been an engine for the musical-historical process, idea generator of the era. Nowadays such universal musicians, who would be a kind of "litmus test" of their time and faithfully served the art, are still in need. One of such outstanding figures in Ukraine, a universal personality was Valerii Oleksandrovych Bohdanov (07/13/1939 㶹– 10/10/2017) – performer, teacher, scientific researcher, composer. His multifaceted activities encompassed a wide range of musical art and were reflected in many years of pedagogical work, a large number of research works, transcriptions, and composer’s experiments. We would like to hope that this anniversary collection dedicated to V. Bogdanov will serve as a prelude to a deep and comprehensive study of the life and work of this bright and extraordinary musician.

Background. The performance practice of recent decades demonstrates an obvious tendency to expand and update the repertoire due to the use of the works of those composers whose pieces had “lost” over time against to the pieces of their more famous contemporaries. At the same time, in sociology, psychology, culturology, gender issues are largely relevant. Musicology does not stand aside, applying the achievements of gender psychology in the study of composer creativity and musical performing (Tsurkanenko, I., 2011; Gigolaeva-Yurchenko, V., 2012, 2015; Fan, Liu, 2017). In general, the issue of gender equality is quite acute in contemporary public discourse. The indicated tendencies determine the interest of many musicians and listeners in the work of women-composers (for example, recently, the creativity by Clara Schumann attracts the attention of performers all over the world, in particular, in Ukraine the International Music Festival “Kharkiv Assemblies” – 2018 was dedicated to her works). The theme of the proposed work is also a response to the noted trends in performing practice and musicology discourse. For the first time in domestic musicology an attempt is made to give a brief overview of the life and career of another talented woman, whose name is little known in the post-Soviet space. This is a Swedish violinist, composer and pianist Amanda Röntgen-Maier (1853–1894), a graduate of the Stockholm Royal College of Music and the Leipzig Conservatory, a contemporary of Clara Schumann, J. Brahms, E. Grieg, with whom she and her husband – composer, pianist, conductor Julius Röntgen – were associated for enough long time by creative and friendly relationships. In the post-Soviet space, not a single work has been published that would be dedicated to the works of A. Maier. In European and American musicology, the composer’s personality and creative heritage is also not widely studied. Her name is only occasionally mentioned in works examining the musical culture and, in particular, the performing arts of Sweden at that time (Jönsson, Å., 1995, 151–156; Karlsson, Å., 1994, 38–43; Lundholm, L., 1992, 14–15; Löndahl, T., 1994; Öhrström, E., 1987, 1995). The aim of the proposed study is to characterize Amanda Meier’s creative heritage in the context of European romanticism. Research results. Based on the available sources, we summarized the basic information about the life and career of A. Maier. Carolina Amanda Erica Maier (married Röntgen-Maier ) was born on February 20, 1853 in Landskrona. She received the first music lessons from his father, Karl Edward Mayer, a native of Germany (from Württemberg), who worked as a confectioner in Landskrona, but also studied music, in particular, in 1852 he received a diploma of “music director” in Stockholm and had regular contracts. In 1869, Amanda entered to the Kungliga Musikaliska akademien (Royal College of Music) in Stockholm. There she learns to play several instruments at once: the violin, cello, piano, organ, and also studies history, music theory and musical aesthetics. A. Maier graduated from Royal College successfully and became the first woman who received the title of “Musik Direktor”. The final concert, which took place in April 1873, included the performance of the program on the violin and on the organ and also A. Maier’s own work – the Romance for Violin. In the spring of 1874, Amanda received the grant from the Royal College for further studies at the Leipzig Conservatory. Here, Engelbert Röntgen, the accompanist of the glorious orchestra Gewandhaus, becomes her teacher on the violin, and she studies harmony and composition under the guidance of Karl Heinrich Karsten Reinecke and Ernst Friedrich Richter. Education in Leipzig lasts from 1874 to 1876. In the summer and autumn of 1875, A. Maier returns to Landskron, where she writes the first major work – the Concerto for violin and orchestra in one-movement, D minor, which was performed twice: in December 1875 in Halle and in February 1876 with the Gewandhaus Orchestra under the direction of K. Reinecke. The further career of A. Maier, both performing and composing, developed very successfully. She made several major concert trips between 1876 and 1880: to Sweden and Norway, to Finland and St. Petersburg; she also played to the Swedish king Oscar II (1876); concerts were held with constant success. While studying in Leipzig, A. Maier met her future husband (the son of her violin teacher) Julius Röntgen, composer and conductor. They married 1880 in Landskrona. Their personal relationships included active creative communication, both playing music together, and exchanging musical ideas, getting to know each other’s works. Part of his chamber opuses, for example, the cycle of Swedish folk dances, A. Maier created in collaboration with her husband. An analogy with life of Robert and Clara Schumann may take place here, although the Röntgen spouses did not have to endure such dramatic collisions that fell to the lot of the first. After the wedding, Röntgen family moved to Amsterdam, where Julius Röntgen soon occupies senior positions in several music organizations. On the contrary, the concert and composing activities of A. Maier go to the decline. This was due both, to the birth of two sons, and to a significant deterioration in her health. Nevertheless, she maintains her violin skills at the proper level and actively participates in performances in music salons, which the family arranges at home. The guests of these meetings were, in particular, J. Brahms, K. Schumann, E. Grieg with his wife and A. Rubinstein. The last years of A. Maier’s life were connected with Nice, Davos and Norway. In the fall of 1888 she was in Nice with the goal of treating the lungs, communicating there with her friends Heinrich and Elizabeth Herzogenberg. With the latter, they played Brahms violin sonatas, and the next (1889) year A. Maier played the same pieces with Clara Schumann. Amanda Maier spent the autumn of 1889 under the supervision of doctors in Davos, and the winter – in Nice. In 1890, she returned to Amsterdam. His last major work dates back to 1891 – the Piano Quartet in D minor. During the last three years of her life, she visited Denmark, Sweden and Norway, where she performed, among other, her husband’s works, for example, the suite “From Jotunheim”. In the summer of 1889, A. Maier took part in concerts at the Nirgaard Castle in Denmark. In 1894, she returned to Amsterdam again. Her health seems stable, a few hours before her death she was conducting classes with her sons. A. Maier died July 15, 1894. The works of A. Maier, published during the life of the composer, include the following: Sonata in H minor (1878); 6 Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891). Still unprinted are the following works: Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. The composer style of A. Mayer incorporates the characteristic features of the Romantic era, in particular, the Leipzig school. Lyric elements prevail in her works, although the composer is not alien to dramatic, heroic, epic images (the Piano Quartet E minor, some pieces from the Six Songs for Violin and Piano series). In the embodiment of such a circle of images, parallels with the musical style of the works of J. Brahms are quite clearly traced. In constructing thematic structures, A. Maier relies on the melody of the Schubert-Mendelssohn type. The compositional solutions are defined mainly by the classical principles of forming, which resembles the works of F. Mendelssohn, the late chamber compositions of R. Schumann, where the lyrical expression gets a clear, complete form. The harmonic language of the works of A. Maier gravitates toward classical functionality rather than the uncertainty, instability and colorfulness inherent in the harmony of F. Liszt, R. Wagner and their followers. The main instrument, for which most of the opuses by A. Maier was created, the violin, is interpreted in various ways: it appears both, in the lyrical and the virtuoso roles. The piano texture of chamber compositions by A. Maier is quite developed and rich; the composer clearly gravitates towards the equality of all parties in an ensemble. At the same time, piano techniques are reminiscent of texture formulas by F. Mendelssohn and J. Brahms. Finally, in A. Mayer’s works manifest themself such characteristic of European romanticism, as attraction to folklore, a reliance on folk song sources. Conclusions. Periods in the history of music seemed already well studied, hide many more composer names and works, which are worthy of the attention of performers, musicologists and listeners. A. Mayer’s creativity, despite the lack of pronounced innovation, has an independent artistic value and, at the same time, is one of such musical phenomena that help to compile a more complete picture of the development of musical art in the XIX century and gain a deeper understanding of the musical culture of this period. The prospect of further development of the topic of this essay should be a more detailed study of the creative heritage of A. Maier in the context of European musical Romanticism.

Background. The name of Amanda Maier (married – Röntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter, at least in domestic musicology, has significantly intensified in recent decades, which is due in part to the advancement in the second half of the XX and early XXI centuries of a constellation of the talanted women-composers in Ukraine – L. Dychko, H. Havrylets, A. Zagaikevych, I. Aleksiichuk, formerly – G. Ustvolska, S. Gubaydulina in Russia, etc. Today, it is obvious that the development of the world art is associated not only with the activities of male artists, but also with the creative achievements of women: writers, artists, musicians. During her life, A. Maier was the well-known artist in Europe and in the world and the same participant in the musical-historical process as more famous today the musicians of the Romantic era. Objectives and methodology. The proposed study should complement the idea of the work of women-composers of the 19th century and fill in one of the gap on the music map of Europe at that time. The purpose of this article is to characterize the genre-stylistic and compositional-dramaturgical features of selected chamber music works by A. Röntgen-Maier. In this research are used historical-stylistic, structural and functional, analytical, comparative, genre methods. Research results. Carolina Amanda Erika Maier-Röntgen was born in Landskrona, Sweden, where she received her first music lessons from her father. Then she studied at the Royal College of Music in Stockholm, where she mastered playing on the several instruments at once – violin, cello, piano, organ, as well as studied the music theory. She became the first woman received the title of “Musik Direktor” after successfully graduating from college. She continued her studies at the Leipzig Conservatory – in the composition under Carl Reineke and Ernst Friedrich Richter direction, in the violin – with Engelbert Röntgen (concertmaster of the Gewandhaus Orchestra, the father of her future husband J. Röntgen). She toured Europe a lot, firstly as a violinist, performing her own works and her husband’s works, alongside with world classics. After the birth of her two sons, she withdrew from active concert activities due to the deterioration of her health, but often participated in music salons, which she and her husband organized at home, and whose guests were J. Brahms, C. Schumann, E. Grieg with his wife, and A. Rubinstein. It is known that Amanda Maier performed violin sonatas by J. Brahms together with Clara Schumann. The main part of the composer’s creative work consists of chamber and instrumental works. She wrote the Sonata in B minor (1878); Six Pieces for violin and piano (1879); “Dialogues” – 10 small pieces for piano, some of which were created by Julius Röntgen (1883); Swedish songs and dances for violin and piano; Quartet for piano, violin, viola and cello E minor (1891), Romance for violin and piano; Trio for violin, cello and piano (1874); Concert for violin and orchestra (1875); Quartet for piano, violin, viola and clarinet E minor; “Nordiska Tonbilder” for violin and piano (1876); Intermezzo for piano; Two string quartets; March for piano, violin, viola and cello; Romances on the texts of David Wiersen; Trio for piano and two violins; 25 Preludes for piano. Sizable part of the works from this list is still unpublished. Some manuscripts are stored in the archives of the Stockholm State Library, scanned copies of some manuscripts and printed publications are freely available on the Petrucci music library website, but the location of the other musical scores by A. Maier is currently unknown to the author of this material; this is the question that requires a separate study. Due to the limited volume of the article, we will focus in detail on two opuses, which were published during the life of the composer, and which today have gained some popularity among performers around the world. These are the Sonata in B minor for Violin and Piano and the Six Pieces for Violin and Piano. Sonata in B minor is a classical three-part cycle. The first movement – lyricaldramatic sonata allegro (B minor), the second – Andantino – Allegretto, un poco vivace – Tempo I (G major) – combines lyrical and playful semantic functions, the third – Allegro molto vivace (B minor) is an active finale with a classical rondosonata structure. The Six Pieces for Violin and Piano rightly cannot be called the cycle, in the Schumann sense of this word, because there is no common literary program for all plays, intonation-thematic connections between this musical numbers, end-to-end thematic development that would permeate the entire opus. But this opus has the certain signs of cyclization and the common features to all plays, contributing to its unification: tonal plan, construction of the whole on the principle of contrast, genre, song and dance intonation, the leading role of the violin in the presentation of thematic material. Conclusions and research perspectives. Amanda Maier’s chamber work freely synthesizes the classical (Beethoven) and the romantic (Schubert, Mendelssohn, Schumann) traditions, which the composer, undoubtedly, learned through the Leipzig school. From there come the classical harmony, the orderliness of her thinking, clarity, conciseness, harmony of form, skill in ensemble writing, polyphonic ingenuity. There are also parallels with the music of J. Brahms. With the latter, A. Maier’s creativity correlates trough the ability to embody freely and effortlessly the subtle lyrical psychological content, being within the traditional forms, to feel natural within the tradition, without denying it and without trying to break it. The melodic outlines and rhythmic structures of some themes and certain techniques of textured presentation in the piano part also refer us to the works of the German composer. However, this is hardly a conscious reliance on the achievements of J. Brahms, because the creative process of the two musicians took place in parallel, and A. Maier’s Violin Sonata appeared even a little earlier than similar works by J. Brahms in this genre. Prospects for further research in this direction relate to the search for new information about A. Maier’s life and creativity and the detailed examination of her other works.

Statement of the problem. The professional activity and contribution of Professor Yulii Fedorovych Vakhraniov to the development of the Kharkiv piano school, musical pedagogy and domestic art studies has not yet been adequately covered. This challenge served as the main impetus of writing this work, which is a logical continuation of a number of studies devoted to the work of such outstanding piano teachers of Kharkiv National University of Arts as Regina Horovyts (Rudenko, 2001), Maria Yeshchenko (Kononova, 2009), Vsevolod Topilin (Pinchuk, 2012; 2018): Viktor Siryatsky (Sukhlenko, 2012) and others. The purpose of the study is to determine the role of the pedagogical and academic activities of Yu. Vakhraniov in the development of the Kharkiv piano school. The paper provides a brief analysis of the main scholarly studies of Yu. F. Vakharanev; an overview of his general pedagogical methods and principles due to which the article has a certain scientific novelty. Revealing the specifics of Yu. Vakhraniov’s pedagogical activity determined the application of general and special research methods, namely: historical, phenomenological and hermeneutic (interpretive) ones, the method of comparative analysis and systems approach when considering his pedagogical views and principles. Results. For many years of work, Yu. Vakhraniov has trained many professional musicians. He obtained multifaceted higher education: philological and musical, worked at Donetsk Music College, and then at Kharkiv Institute of Arts and Kharkiv Specialized Secondary Music Boarding School, graduated from the postgraduate studies at Kyiv Conservatory majoring in the History and Theory of Pianism (1969), defended his Ph.D. thesis (Vakhraniov, 1971) supervised by A. D. Alekseev. Later Yu. Vakhranev was awarded the academic title of a professor and for ten years he was the Head of the Special Piano Department (1977–1987) at Kharkiv Institute (University) of Arts. Among his fundamental research works, one should mention his reference book “Etudes, Op. 10 by Frederic Chopin” written in co-authorship with G. Sladkovskaya, monograph “V. Kosenko’s Piano Etudes” (1970), articles “National specifics of Igor Shamo’s piano work” (1969) and “Clavier and clavier music of Ukraine from the middle of the XVII – first quarter of the XIX century in historical and literary materials” (1992), monograph “The performance of music (Poetics)” (1994), which was not only a deep research work, but also a philosophical treatise. The work at individual piano lessons was substantiated from the view point of the concept and dramatization of the piece, its interpretative tasks; great attention was paid to the culture of sound, pedalization, development of various types of techniques, the art of mastering the key touch. Intonement inextricably linked with the art of sound production can rightfully be called the hallmark of the pedagogical principles of Yu. Vakhraniov. Each student was assigned individual tasks and he understood well the abilities of each of his students. When choosing a programme, the Professor followed a clear methodologically structured system of pieces, which belonged to different styles and corresponded to a particular epoch. Special attention Yu. Vakhranev paid to the development of industriousness and spirituality in his students. The conclusions emphasise the significant role of Yu. Vakhraniov in the development of the Kharkiv pianistic school. The study of his main works on arts made it possible to identify the range of research issues that Yu. Vakhraniov was engaged in. Among them are studies of both samples of Western art and the work of domestic composers. In this connection, his monograph “The performance of music (Poetics)” deserves special attention. Comparison of pedagogical methods and principles, teaching moments and semantic accents, which were given special attention, as well as the general atmosphere of the lessons that remained in the memory of the students taught by Yu. Vakhraniov, made it possible to conclude that the teacher had a unique pedagogical system based on an intelligent approach to training professional musicians. The study considers the concept of “class” as a multidimensional phenomenon associated with the process of training future professional musicians. Expanded and rethought, it approaches the concept of “professional level”. If the “piano school” is a complex of traditions supported by subsequent generations and characteristic of a specific geographical place or educational institution, then the “class” is a pedagogical system headed by a specific representative of musical art: a teacher and a spiritual leader

The article briefly analyzed the biography of the students of I.P.Lviv, the associate professor of the Chernihiv Pedagogical Institute. The purpose of our article was to show the biography of the students of the lecturer I.P.Lvov, who was known all the world. Our graduates were born and grew up in the Chernihiv region. We briefly wrote about the graduates of I.P.Lvov, and there are P. Tychyna, H. Verevka, F. Los and V. Dyadychenko. All of them grew up and lived in difficult times, when Ukraine was part of the Soviet Union. I. P. Lvov’s students made an outstanding contribution to science, culture of pedagogy in Ukraine. P. Tychyna was a famous Ukrainian poet, interpreter, public activist, academician, and statesman of the Ukrainian Soviet Socialist Republic. He was born in a big family. His father was a village deacon and a teacher in the local grammar school. In 1900, he became a member of an archiary chorus in the Troitsky monastery near Chernihiv. Simultaneously P. Tychyna studied in the Chernihiv theological school. In 1907−1913 P. Tychyna continued his education in the Chernihiv Theological Seminary. In 1913−1917, he was studying at the Economics department of the Kiev Commercial Institute. At the same time, he worked on the editorial boards of the Kiev newspaper Rada and the magazine Svitlo. In the summer, he worked for the Chernihiv statistical bureau. In 1923, he moved to Kharkiv, entering the vibrant world of early post-Revolution Ukrainian literary organizations. Later he started to study Georgian, and Turkic language, and became the activist of the Association of Eastern Studies in Kyiv. P. Tychnya printed many works, but we viewed only Major works Clarinets of the Sun, The Plow, Instead of Sonnets or Octaves, The Wind from Ukraine, Chernihiv and We Are Going into Battle, Funeral of a Friend, To Grow and Act. H. Veryovka was a Ukrainian composer, choir director, and teacher. He is best known for founding a folk choir, and he was director it for many years, gaining international recognition and winning multiple awards. Veryovka was also a professor of conducting at the Kyiv Conservatory, where he worked alongside faculty including B. Yavorsky, M. Leontovych. H. Veryovka was born in town of Berezna. In 1916, he graduated from the Chernihiv Theological Seminary. In 1918−21 H. Veryovka studied at the Lysenko music school studying a musical composition by B. Yavorsky. In 1933, he received an external degree from the institute. Since 1923 Veryovka continued to work at the Lysenko institute and later Kiev Conservatory. In 1943 in Kharkiv, H. Veryovka organized his well-known choir and until his death was its art director and a main conductor. In 1948-52 he headed the National society of composers of Ukraine. F. Los was born in the village of Pivnivchyna. He studied at the Chernihiv Institute of Social Education. He taught at the secondary school of Volochysk then at the Gorodiansky Pedagogical College of the Chernihiv Region. In 1935, he was a post-graduate student to the Institute of History of the All-Ukrainian Association of Marxist-Leninist Institutes. He researched on the rural community of the early twentieth century. F. Los worked in institutes at such departments: the head of the Department of History of the USSR and Ukraine of the Kiev Pedagogical Institute, the lecturer of the Higher Party School by the Central Committee of the Communist Party (Bolshevik), Taras Shevchenko National University of Kyiv, and the professor of the History Department. He published over 200 scientific papers, such as: 15 textbooks on the history of Ukraine co-authored about 20 collective monographs, collections of articles, collections of materials and documents. He buried in Kiev. V. Dyadychenko was a researcher, lecturer and methodologist. He was born in Chernihiv in a family of statistician. He graduated from the Chernihiv Institute of Public Education. Having received a diploma of higher education, he taught at the Mykolaiv Pedagogical Institute. Later V. Dyadychenko moved to Kiev and worked at the Institute of History of Ukraine Academy of Sciences of the Ukrainian SSR. In the Taras Shevchenko National University of Kyiv V. Dyadychenko worked at such chairs: the Department of History of the USSR, the history of the Middle Ages and the ancient history, archeology and museology. Professor V. Dyadychenko collaborate in the writing of school-books on the history of Ukraine for students in grade 7-8. V. Dyadychenko was social and political active worker. In 1973, he died.

Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.

Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.

Introduction. 2020 became an iconic and significantly groundbreaking year for all mankind. Its events made us change our view on many aspects of our life, which from one side has become a generator to search of new ways and solutions and from another one – emphasized once again the importance of events and processes of the past, reminded of the value of existing assets. All that, of course, didn’t pass by the artistic sphere, in which usual events (concerts, performances, exhibitions, conferences, etc) found their new transformation thanks to opportunities of digital technologies and due to quarantine restrictions. It is possible to outline the process of reflection (an artistic one in our case) on a personal example of the authors of the article as direct active participants in the celebration of the 30th anniversary of the cimbalom class of Kharkiv National University of Arts named after I. P. Kotlyarevsky, which took place online. It was almost a 3-month long remote marathon “Cimbalom Slobozhanshchyna”, which consisted of archival and current records of representatives of Kharkiv cimbalom school: from toddlers – students of schools of aesthetic education to already famous Ukrainian musicians – graduates of the cimbalom class of KhNUA. New conditions and ways of realization provided an opportunity to look holistically at the creative potential and powerful development of one performing school. The desire was not just to provide a creative biography of the founder of the cimbalom school of Slobozhanshchyna Olena Opanasivna Kostenko, but to emphasize the versatility of her creative personality and reveal all aspects of her creative work, which from our point of view became the key that opened famous Kharkiv cimbalom school. Objectives. The objectives of this article are to acquaint the world with the creative personality of Olena Kostenko, to single out and highlight the spheres of her creative activity, the set of which became the basis for the formation of a modern Kharkiv cimbalom school. Results and Discussion. Olena Opanasivna Kostenko is an Honored Artist of Ukraine, Associate Professor, Founder, and Leader of the Kharkiv Cimbalom School, a well-known teacher, methodologist, author of many concert arrangements for cimbalom and ensembles with the participation of cimbalom and creative projects. All these aspects of creative activity will be considered in more detail and in the context of the history of the performing school. Founder. Almost in one decade of the XX century, the whole hierarchy of cimbalom education was formed in Kharkiv: school – specialized school – conservatory (primary – secondary – higher art education), at the origins of which stands one person – Olena Kostenko. Lecturer. The synthesis of many aspects, such as many years of fruitful pedagogical work, love for work of life and cimbalom, fidelity to human principles and flexibility to new realities, constant creative search, inexhaustible enthusiasm, and personal qualities of Olena Opanasivna are the “magnet”, in our opinion, that attract like-minded creators, students-followers. Her pupils are numerous winners of international and national competitions. Olena Opanasivna’s graduates successfully work in the teaching field in Kharkiv, Kyiv, and Lutsk, they are soloists of professional groups of Kharkiv. Pedagogical and personal principles of O. Kostenko are: creativity and productivity, freedom and respect, accessibility and peculiarity. Methodist-researcher. O. Kostenko is the author of numerous publications, which can be divided into historical-research and educational-methodical publications. She is a regular speaker of methodological seminars and workshops organized by the Regional Training Center for Cult Education of Kharkiv region and the city of Kharkiv, which addresses problematic and topical issues of primary art education, namely cimbalom. Editor and compiler. Music editions by O. Kostenko became no less valuable, even more significant contribution to the cimbalom art. Olena Opanasivna stimulates active editorial activity among her students, arguing its importance and need for expanding and updating the cymbal repertoire, interest in finding new readings of musical creativity, enriched and diversified concert programs, and more. Social activist. O. Kostenko’s projects of a series of concerts became significant events for the music world of Kharkiv. They were held in the halls of the Kharkiv Philharmonic, Kharkiv National University of Arts named after I. P. Kotlyarevsky and Kharkiv Music College named after B. M. Lyatoshinsky called “Cimbalom from A to Z” (2005), “Evening of Ukrainian folk instruments music” (2007), “The world of cimbalom from A to Z” (2008, 2012), “Festival of ensembles of Ukrainian folk instruments” (2009), “The world of cimbalom” coauthored with M. Kuzhba (2013), “Cimbalom playing” (2013, 2014), “Cimbalom in Slobozhanshchyna” – ensemble music (2015), “The cimbalom constellation of Slobozhanshchyna” (2017), “Let’s interpret Boris Mikheev’s music on cimbalom” (2018), Remote marathon to the 30th anniversary of the cimbalom class of KhNUA “Cimbalom Slobozhanshchyna” (2020–2021). We would like to emphasize the constant participation of Olena Opanasivna in the jury of well-known and professional international, all-Ukrainian and regional competitions. Conclusions. Undoubtedly, all the stated above proves the active process of formation and flourishing of the youngest cimbalom school in Ukraine – Kharkiv one, which has been going on for more than 40 years and is headed by a bright creative personality (with its individual style, personal qualities). We state the fact that due to the versatility of Olena Kostenko’s creative activity (founder, teacher, methodologist-researcher, editor-compiler, public figure) it is impossible to imagine the system of folk instrumental art of Slobozhanshchyna at the present stage without cimbalom and cimbalom performing school. Constant creative activity and openness to new forms of the latter characterize it as productive, modern, and original.

Background. Musical culture of Kharkiv has a rich history associated with the names of prominent musicians such as R. Genika, I. Slatin and others. But the creative work of our senior contemporaries, artists, who created in the second half of the XX and early XXI century, made a great influence on the formation of the modern musical face of Kharkiv, the state of professional music education, too. O. I. Litvinov, a composer, pianist (as well as accordion player, performer on wind instruments), conductor and arranger, is no doubt among those artists. However, the creativity of this outstanding musician, who was actually the founder of professional jazz education in Kharkiv, is not currently the subject of widespread discussion in contemporary Ukrainian musicology. There are few sources that would cover O. I. Litvinov’s life and career. For the first time, he is mentioned as the founder of pops’n jazz performance department in a print publication dedicated to the 85th anniversary of KhNUA named after I. P. Kotlyarevsky. In the same context, O. Litvinov’s name is found in O. Kononova’s essay on the evolution of music education in Kharkiv in the jubilee edition dedicated to the 100th anniversary of the University. There is a biographical article in this very anniversary publication. In the earlier anniversary edition “Pro Domo mea” (on the 90th anniversary of the institution) there is some information about O. Litvinov regarding the history of the jazz department creation. Basic biographical data are briefly presented in the article of I. O. Litvinova in the Encyclopedia of Modern Ukraine. A small booklet dedicated to the major milestones of O. Litvinov’s life and creative work was published in the KhNUA (then KhSUA) named after I. P. Kotliarevskyi to mark the 75th anniversary of the musician. There are also several publications devoted mainly to specific dates in the creative life of the maestro (concerts, anniversaries, etc.): by H. Derev’ianko, L. Lohvynenko, M. Dvirnyi, A. Moshna, I. Polska, and O. Sadovnikova. Among purely research works devoted to this striking personality are the Master’s work by Yu. N. Shikova, which was written under the guidance of І. І. Polska at Kharkiv State Academy of Culture. The purpose of the article is to systematize existing information on the life and creative path of the prominent Kharkiv musician, give a brief description of the main features of his performing and composing style. Methods. The work employs historicobiographical, analytical and comparative methods, as well as a genre-stylistic approach. Results. O. Litvinov was born on November 17, 1927 in Zaporozhye. He received his elementary education at a piano music school. From 1943 to 1951 he was in military service, participated in the World War II. After the war, he continued to study music at Kharkiv Music College named after B. Lyatoshynsky, later at the Composition Faculty of Kharkiv Conservatory. He was expelled from there because of his passion for jazz. From 1951 he continued his musical activity as an artist of the MIA Variety Orchestra (in Dnepropetrovsk), in 1955–1956 he was a soloist of the Sakhalin Oblast Philharmonic and Khabarovsk Regional Philharmonic. In 1956–1958 he was the leader of the variety band of the Palace of Culture for Food–Industry Workers, in 1958–1961 he was the leader of the concert band of the Palace of Culture for Builders. From 1961 to 1973, he was the director of his own collective – Honoured Variety Ensemble “Kharkivyanka” at Kharkiv Electromechanical Plant. In 1965 he received the title of Honored Artist of Ukraine, in 1978 – People’s Artist. From 1973 to 1978 – Artistic Director and Conductor of the “Donbass”, Honored Mining Ensemble in Donetsk; from 1978 to 1980 – assistant at the Department of Cultural Studies, director of the Jazz Orchestra at Kharkiv Institute of Law. Since 1980 he worked permanently at Kharkiv I. P. Kotliarevskyi State Institute of Arts: first as a senior lecturer, later as an associate professor of the Chamber Ensemble Department, then as a professor of the Orchestra Wind Instruments Department. Since 1994 he created and headed the Department of Variety Orchestra Instruments, and at the same time he directed the variety-symphony orchestra of Kharkiv State Academy of Culture, the violin ensemble of the National Academy of Law named after Yaroslav the Wise. Since 1999 O. Litvinov was a full member of the Ukrainian Academy of Sciences of National Progress. In 2001 he became a diploma winner of the regional competition “Higher school of Kharkiv region – the best names” in the nomination “Head of Department”. In 2002 he was awarded the Honorary Medal of the Ministry of Culture and Arts of Ukraine. He died on March 15, 2007. O. Litvinov’s creative personality combines the image of composer, arranger, conductor, performer-multiinstrumentalist (apart from piano O. Litvinov played the accordion, organ, wind instruments, violin). O. Litvinov’s works employ the best achievements of world classics and Ukrainian academic music, in particular, the Kharkiv composition school, and embody the best features of jazz and, more broadly, variety music of the twentieth century. These stylistic origins often coexist organically in one piece by O. Litvinov. The performance style of O. Litvinov as a conductor is characterized by very clear, bright, emotional gestures, especially outstanding sounding of the orchestra, the ability to clearly show every change in the thematic development of the piece. The style of O. Litvinov’s arrangements was significantly influenced by the music of Hollywood films, the art of contemporary Soviet composers – Saulsky, Broslavsky, Pokrass, Dunaevskyi, jazz masters – Tsfasman, Utesov, Bernstein and others. Conclusions. O. Litvinov’s creative life was very bright and rich, and his musical activity was diverse and multifaceted. In the present works, the main focus is made more on the “polyphony” (according to A. Mizitova and A. Sadovnikova (2002, p. 17) of this life, its external events. Characteristics of the composer’s, performing, conducting styles of the artist are “inscribed” in this polyphony only as its “voices”. However, each of these voices needs, in our opinion, more detailed consideration. For example, O. Litvinov’s compositional heritage is very large, but only a few of his compositions are performed today and well known to the public. In fact, only one piece for violin ensemble (or for violin and piano), “Eternal Movement”, received true popularity among the performers and the public. Most other works are not published, and the fate of most scores is unclear. So, the direction of further research can be related to a more detailed study of some particular works of O. Litvinov that have survived as well as to deepening knowledge about his performing and pedagogical activity.

Introduction. The article is devoted to the study of the historical stages of the modern button accordion repertoire formation based on the genre and stylistic analysis of the repertoire models used in the process of teaching the students in the Kharkiv button accordion school. The actualization of the current research topic has set up a need for relying to a greater extent not on the printed sources, but on the reports of the witnesses, the first button accordion students of Kharkiv Conservatory, such as University professors Alexander Ivanovich Nazarenko, Anatoly Pavlovich Haydenko, Igor Ivanovich Kharkiv, as well as college professors Yevhen Leonidovych Vashchenko and Yevhen Heorhiyovych Malykhin, who were the first-hand participants in the process of the regional school formation. Theoretical background. Although the historiography of the Ukrainian button accordion art contains a fairly large amount of scientific and methodological studies (M. Imkhanitsky, V. Semeshko, A. Stashevsky, I. Snedkov, A. Svetov), many problems of the modern academic folk instrumental music remain unresolved. In particular, the concert repertoire formation in terms of a pragmatic dimension of the button accordion teachers approaches study within the Kharkiv school has not been the subject of a special interest of researchers in this area yet. The purpose of the research is to trace the stages of formation of the button accordionists’ modern concert and pedagogical repertoire on the basis of the genre and stylistic models’ analysis used in the process of teaching in the Kharkiv regional button accordion school. The object of the article is historical experience of the Kharkiv button accordion school as a component of academic folk and instrumental performance. Methods of research are conditioned by the material and formulation of the problem itself, in particular, a historical method is used to explain the organic connection of the facts, preconditions and personalities that brings together the historical experience of the Kharkiv button accordion school, a genre and stylistic method provides the embodiment of the performers original creative achievements. Results and Discussion. There are three main factors which have influenced the formation of the concert and pedagogical repertoire of the button accordion students of the Ukrainian Folk Instruments Department in KhNUA: ● the performing school and its genesis represented by particular teachers with their own repertoire preferences; ● improving the design of the instrument itself; ● the volume and quality of the original repertoire, as well as the productivity level and number of the composers working to develop it. Considering the general condition of the Kharkiv regional button accordion school of the 1950s, we can point out the prospects of the core guidelines underlying its basis: the formation of a list of clearly regulated and systematized program requirements; the impossibility of the requirements for the performance of genre forms (the absence of full-fledged imitation polyphony in the pedagogical repertoire) in full compliance with the “classical canons”; the predominance of small forms over large ones, as well as their obvious genre affiliation (songs, dances, marches); a significant shortage of the original works inciting the adaptation skills formation. Since the late 1960s the original pedagogical repertoire has been characterized by a great variety of genre and stylistic forms, such as a concert, a sonata, a suite, a partita, a fantasy, small cycles, a scherzo, a prelude, a concertino, a play, an arrangement of folk songs, arrangements of popular works, a concert etude. The representatives of five generations provide an inheritance of the traditions that represent the Kharkiv button accordion school creative experience and simultaneously transform it in accordance with the modern challenges. Conclusions. The conclusions emphasize the fact that the historically settled genre models of the performing and pedagogical repertoire of accordionists were established in the process of the Kharkiv button accordion school activity. The diversity of the original music for a button accordion is now represented by almost all existing genres and stylistic performance directions. It was the high culture of the Kharkiv musicians’ performance that brought the status of the academic art of playing folk instruments into a scientific level, as a new standard of sound and creative thinking.

Statement of the problem. The article is devoted to the outstanding figure of vocal art of Slobozhanshchyna Mykola Fedorovych Manoilo (1927–1998), the opera singer, who was awarded the title of “People’s Artist of the USSR” (1976) for impeccable performance of baritone parts of the classical repertoire on the stage of Kharkiv Theatre of Opera and Ballet, as well as of the chamber repertoire compiled of Ukrainian folk songs and works by Ukrainian composers. Based on his own experience of studying in the class of solo singing of M. Manoilo (1988), the author of the article offers the experience of scientific and methodological generalization of creative principles of vocal pedagogy of the teacher, while emphasizing the role of Manoilo as a unique singer. The relevance of the topic and its practical significance are stipulated by the urgent need of vocal pedagogy to form a tradition of scientific reflection on the specialization of the vocalist, the representation of classical guidelines and methods in the modern dimension, establishing creative contacts of different generations. The purpose of the article is to reveal the pedagogical principles by M. Manoilo as an outstanding representative of the Kharkiv vocal school, genealogy and dominant features of his performing creative work. Analysis of recent research and publications. The creative figure of M. Manoilo has not yet received serious coverage in the domestic musicology yet. Existing sources are brief biographic descriptions in reference books and encyclopaedias, the anthology “Ukrainian singers in the memoirs of contemporaries, compiler I. Lysenko (2003), or mentions of his name in books on the artistic life of Kharkiv (O. Chepalov, 2012; Tsurkan, 2013). The methodology contains a number of interrelated approaches to the study of the phenomenon of the singer’s artistic personality: historiographical, biographical, performing, and phenomenological. Presentation of basic research material. M. Manoilo inherited the principles of vocal pedagogy from P. Golubev, who taught at the Kharkiv Conservatory (1930–1953) and was the successor of the classical school of Italian bel canto singing, as a student of F. Bugamelli, which was involved by I. Slatin in teaching vocals at the Kharkiv Music College (1901–1918). The creative principles of the artist-interpreter M. Manoilo are a compendium of his mastery: ● orientation on the generally accepted standard of sounding of a voice (bel canto); ● persistent search for individual reading of the role on the path of constant musical and intellectual self-growth; ● word culture; ● unity of sound-forming technology and artistic and aesthetic principles of a musical work, due to its genre and stylistic nature; ● psychological authenticity (own experience of “entering” the image and its “living-through”) and the singer’s ability for self-analysis; ● mental and psychological signs of artistic personality – great persistence and strength of character, the desire to reach the highest point (acme) of creative self-representation. The “denominator” of M. Manoilo’s performing skills is the style – the performer’s orientation for the accuracy of the composer’s text. The results obtained. The principles of M. Manoilo’s vocal pedagogy were based on the basis of generalization of own scenic experience as a system of generally acquired and personality-oriented principles: – sound culture (uniformity of construction of the singing range; flexibility, strength, flight of voice, use of mixed register, rounding, covering); sound word culture; attention to diction; – author-centrism of the singer’s interpretation of the vocal-stage image; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – high artistic taste, which is formed through the education of musicality, diverse repertoire, and a sense of performance drama; – trust in intuition, which the singer should constantly “check” with his/her own intellect according to the composer’s text. Conclusions. As the heir of the Italian tradition of singing, in all genres of performance M. Manoilo represented such qualities as: proper breathing (free passage of all resonator zones), beautifully designed, high-quality singing tone, theatrical voice, which was overlapping the sound of the orchestra, sonority, flight, equality of the whole range. From the domestic singing paradigm one should add to Manoilo’s artistic portfolio the following: ● recitative-speech cut of vocal intonation (melodic nature of singing is enriched by the relief of declamatory vocalization); ● clear diction of the word being sung to reach the minds and hearts of listeners and establish a dialogue with the author; ● cordocentrism – a particularly intense intra-emotional tone of performance as a personification of the Ukrainian “philosophy of the heart” (Н. Skovoroda); ● integrative type of performing thinking – the unity of poetic-intonation and stage-artistic image of the singer. If a super-goal of music is, according to Aristotle, the entelechy, then singing technique is a way to achieve it. Such was the universal basis of M. Manoilo’s requirements of to himself, as well as to the students of his solo singing class

The Swinney Conservatory of Music at Central Methodist University in Fayette, Missouri has a long history with unique beginnings. After the Civil War, Central College (Central Methodist’s original name) grew alongside a “Female Seminary,” Howard-Payne Female College. Through the late 19th and early 20th centuries, the two schools developed their own distinct musical cultures with Howard-Payne faculty developing a music curriculum, and Central students forming their own musical ensembles. When the schools merged in 1923 these two cultures united to create a conservatory of music at a time when many other American conservatories were being established. Just before the merger, Kansas City banker Edward Fletcher Swinney, who had strong family ties to the Fayette area and a history of philanthropy towards causes in Missouri education, donated $35,000 to Howard-Payne College for the construction of the conservatory building that would eventually bear his name. This article focuses on the early history of both Central College and Howard-Payne Female College, the role that music played at both schools (as a curricular and non-curricular activity) and the events leading to the formation of Central College’s music curriculum and construction of the Swinney Conservatory.

The Swinney Conservatory of Music at Central Methodist University in Fayette, Missouri has a long history with unique beginnings. After the Civil War, Central College (Central Methodist’s original name) grew alongside a “Female Seminary,” Howard-Payne Female College. Through the late 19th and early 20th centuries, the two schools developed their own distinct musical cultures with Howard-Payne faculty developing a music curriculum, and Central students forming their own musical ensembles. When the schools merged in 1923 these two cultures united to create a conservatory of music at a time when many other American conservatories were being established. Just before the merger, Kansas City banker Edward Fletcher Swinney, who had strong family ties to the Fayette area and a history of philanthropy towards causes in Missouri education, donated $35,000 to Howard-Payne College for the construction of the conservatory building that would eventually bear his name. This article focuses on the early history of both Central College and Howard-Payne Female College, the role that music played at both schools (as a curricular and non-curricular activity) and the events leading to the formation of Central College’s music curriculum and construction of the Swinney Conservatory.

ABSTRACT Between 1967 and 1973 Cornelius Cardew taught at three different London institutions—a traditional music conservatory (the Royal Academy of Music), an adult education college (Morley College), and a politically radical free school (the Antiuniversity of London). These schools introduced Cardew to a wide range of technical musical abilities and profoundly affected the composer’s works and pedagogy, culminating in a new musical organization: the Scratch Orchestra. This essay details the political implications of Cardew’s teaching philosophy within the Scratch Orchestra and the lessons to be gleaned from the Orchestra’s successes and failures, particularly the fundamental necessity of disagreement in egalitarian musical classrooms and improvisatory collaborations. To amplify these lessons, I analyse how the musical structures of ‘Paragraph 2’ of Cardew’s The Great Learning belie the composer’s own politics by prescribing distinctly hierarchical performance roles.

In the 21st century, the development of the flute follows the steps of modernization closely, and a batch of outstanding works with novel genre and innovative theme appear. This paper will focus on two new national art funded projects in China. One is the large humanity art epic The Ancient Call by Chinese Flute music college professor Zhang Weiliang from China Conservatory of Music, and the other is Tang Junqiao’s Chinese Flute stage play Heavenly Tune of Chinese Flute. This paper aims to explore the motivation that China’s performance composers create and promote the innovation of the traditional music, innovate the artistic features of Chinese Flute works, and analyze the improvement of the Chinese Flute performance art as well as the possibility of future development.

The purpose is to improve the teaching and learning efficiency of college Innovation and Entrepreneurship Education (IEE). Firstly, from the perspective of aesthetic education, this work designs the teacher and student sides of the Computer-aided Instruction (CAI) system. Secondly, the CAI model is implemented based on the weight sharing and local perception of the Convolutional Neural Network (CNN). Finally, the performance of the CNN-based CAI model is tested. Meanwhile, it analyses students’ IEE experience under the proposed CAI model through a case study of Music Majors from Xi’an Conservatory of Music. The experimental data show that the CNN-based CAI model can respond quickly and stably when users access different functional modules, such as webpage browsing. The proposed CAI model increases students’ entrepreneurial interest, skills, and knowledge by 55.62, 57.32, and 72.12%, respectively. Students’ entrepreneurial practice ability has been improved by over 50.00%; such an increase in entrepreneurial practice ability has also shown individual differences. Thus, the proposed Music Majors-oriented IEE-infiltrated CAI model based on CNN improves students’ entrepreneurial practice ability and reflects the positive experience of Music Majors on IEE. The finding provides references for the step-by-step identification of the CNN-based CAI model and has certain guiding significance for analyzing the effect of college IEE.

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В канун 150-летней годовщины со дня рождения великого русского пианиста и композитора С.В. Рахманинова (1873-1943), чьё родословное древо восходит к молдавской княжеской династии Мушатинов, уместно вспомнить о многоаспектных культурных взаимоотношениях двух стран. В статье рассматривается хронология развития совместной социокультурной деятельности Молдовы и России на примере музыкального искусства с конца XVIII века и до окончания советского периода. Тема эта не нова, однако существуют еще лакуны, которые необходимо восполнить. Генезис социокультурной деятельности в сфере музыкального искусства Молдовы складывался на протяжении многих веков в тесной взаимосвязи с культурой соседних славянских и тюркских народов, а также евреев и венгров. Прослеживая этапы социокультурной музыкальной деятельности, автор утверждает, что локальная музыкальная культура выстраивалась в нескольких направлениях: придворная культура, церковная певческая традиция, музыкальные салоны и частное образование, концертное дело и музыкальная торговля, базовое и профильное обучение, трёхэтапное профессиональное образование (школа-училище-консерватория), фестивальное движение, творческие союзы и культурный обмен, культурная жизнь в диаспорах. Резюмируя, автор заключает, что носителями социокультурной деятельности России и Молдовы в любом значении этого слова являются люди: педагоги, исполнители, музыканты. Ключевые слова: социокультурная деятельность, музыкальное искусство, культура, гуманитарное сотрудничество, социокультурные связи, международные контакты, молдавская музыкальная культура, профессиональное образование. The article examines the chronological development of the social and cultural relationship between Moldova and Russia on the example of musical art. The topic is not new, but there are still gaps that need to be filled. The author emphasizes that the genesis of socio-cultural life in the field of musical art of Moldova has evolved over many centuries along with the culture of neighboring Slavic and Turkic peoples, as well as Jews and Hungarians. Tracing the stages of socio-cultural musical development, the author argues that the local musical culture was built in several directions: court culture, church singing tradition, music salons and private education, concerts and music market, basic and specialized education, three-stage professional education (school-college- conservatory), festival movement, art clubs and cultural exchange, cultural life in the diaspora. The author concludes that the representatives of the socio-cultural life of Russia and Moldova are people: teachers, performers, musicians.

Bones are one of the oldest materials used to create musical instruments. Currently, the world’s oldest known instruments are flutes made out of bones (Turk, Turk, and Otte 11). In fact, bones have been used to create or enhance musical instruments in a variety of settings throughout history and in modern day instrument making. Bone bull roarers, jaw bone percussion, clappers, trumpets, drum shells, lyres, or construction parts, such as frets, plectrums, pipes and pipe fittings, embouchure adjustments, or percussive strikes are just a few of the more common uses of bones in musical instrument construction. One man even made a guitar out of the skeleton of his dead uncle to memorialise the person who influenced his musical tastes and career (Bienstock). Bones can therefore be taken as a somewhat common material for making musical instruments. All of these instruments share a common trait, and not just the obvious one that they are all made out of or incorporate bones. None of these instruments are intended to represent something monstrous. Instead, they represent the ephemeral nature of humanity (Cupchik 33), a celebration of lineage or religious beliefs (Davis), or simply are the materials available or suitable to create a sound-making device (Regan). It is not possible to know the full intentions of a maker, in many cases, but a link to monstrosity and a representation of the ‘horrific’ or ‘freakish’ seems missing for the most. There are instruments, however, that do house this sentiment and some that utilise bones in the construction with the purpose of making this connection between the remains and something beast-like. In this article, I argue that the Bone Guitar Thing (BGT) built and played by raxil4 is one of those instruments. Introducing the 'Thing' Raxil4 is the stage name of sonic artist Andrew Page. He has been playing his Bone Guitar Thing for almost twenty years in a variety of settings (Page, email interview, 25 June 2021). The instrument has undergone slight changes during that time, but primarily it has retained its specific visual, timbral, and underlying associative features. The BGT is complex, more so than it may seem at first. By investigating the materials used, the performance techniques employed, and raxil4’s intentions as a musician, instrument maker, and community member within his circles of activity, the monstrous nature of the BGT comes to light. The resultant series of entanglements exhibits and supports a definition of what is a 'monster' that, like several definitions in monster theory discourse (Levina and Bui 6; Cohen 7; Mittman 51), includes challenging that which may be seen as ‘normal’ and thereby may nurture levels of unease or fear. However, in the case of the BGT, that which is monstrous is simultaneously being taken as something positive alongside its beast-like characteristics, and rather than evolving into something that needs to be repressed or eliminated, the ’monster’ here becomes a hero or champion, colleague, or even a friend. The Bone Guitar Thing is not really a guitar. It is a zither with a piece of driftwood for a base, (currently) five strings, and an electric pick-up (see Fig. 1). The bridge for the instrument is two bones, and the pitch and timbre of the strings is sometimes changed with bones used for Cage-like preparation (Cage 7-8; Bunger). Bones are also used to play the instrument, sometimes like a plectrum, others like a hammered dulcimer, or occasionally, simply pounding the string or the soundboard with great force to make a combination of percussive and string sounds. Glissandos are created by using the plectrum bones as a slide, and Page also uses jaw bones to introduce ratchet sounds, string scraping, and precise pitch bending (with the sharper edged part of the bones) (raxil4, “Livestream”). The instrument is electric, so the bones are enhanced with guitar pedals (typically reverb, distortion, and octave-splitter; Page, email interview, 25 June 2021), but the tonal qualities retain a semblance of the bone usage. Fig. 1: raxil4's Bone Guitar Thing. Photograph: Andrew Page. Page often uses the BGT as part of his sonic arsenal to perform dark ambient music, noisescapes, improv music, or live film soundtracks both in live concerts and recording situations. He plays solo as much as with ensembles, and more often improvises his music or parts, but occasionally works with predetermined organisation or scores of some description (although he admits to typically abandoning predetermined passages or scores during live performances; Page, email interview, 14 July 2021). Currently in London, raxil4 presents concerts in a variety of settings, typically well-suited for his brand of sonic art, such as Ryan Jordan’s long-running concert series Noise=Noise (raxil4 feat. King Sara), experimental music shows at the Barbican (raxil4 + King Sara + P23), and dark ambient showcases promoted and arranged by one of his record labels, Sombre Soniks (Wright). Sounds beyond Words: Monstrous Music One series of performances in which raxil4 used the BGT took the form of an immersive theatre show produced by Dread Falls Theatre called Father Dagon, based on the works of horror author H. P. Lovecraft. The performance incorporated a breaking of the ’fourth wall’ in which the audience wanders freely through the performance space, with actor- and sometimes audience-interactive musical performances of partially improvised, partially composed passages by musicians located throughout the set. Director and writer Victoria Snaith considered the use of live, semi-mobile, experimental music dispersed through the audience (mixed with an overall backing soundtrack) as heightening the intensity of the experience by introducing unfamiliar aspects to the setting. She discusses having made this decision based on Lovecraft’s own approach to story-telling that highlights a sense of unfamiliarity and therefore sense of “fear of the unknown”. The usefulness of creating unfamiliarity in this context can serve to support the parts of the narrative that contains supernatural and monstrous aspects. Given that the elements of the supernatural and horrible monsters in Lovecraftian tales are primarily indescribable (both because Lovecraft would recount beasts and fantastic magical happenings in his works as being such, and because in a practical theatrical situation, these things would be impossible to describe, especially without text or specific props or costumes, which the show purposefully uses sparingly, also as a conscious choice to embrace the unknown). Sounds created on instruments that are unique, or generated through unusual performance techniques would lend themselves to being more difficult to describe, and therefore fitting to support a desire to present something regarded as also difficult to describe, that being supernatural happenings or horrific creatures. (Connor 77) Page’s use of the BGT in these performances added directly to this notion both sonically and visually. The homemade nature of his instrument increased the potential that audience members would be less familiar with the source of his sounds, even if they were watching him perform, and the resultant soundscape he provided introduced harsh timbres, undulating pads, and aggressive punctuation of movement. Page sees the BGT as an instrument “reclaimed from the watery depths” (matching the theme of the show’s narrative), therefore as one fitting into the Lovecraft show “quite nicely” (Page, email interview, 25 June 2021). He likens the sounds created by the BGT as presenting “otherworldly melodies” akin to those played by Erich Zann (a character in another Lovecraft story who conjures a gateway to an alternate dimension full of indescribable creatures and nightmares via performing unusual music on his viola de gamba), which Page also sees as fitting (ibid.). His instrument in this setting as a producer and provider of unfamiliarity is supportive of constructing and maintaining a definition of “monstrous” or “terrifying” (Levina and Bui 6). Fig. 2: raxil4 performing in Dread Falls Theatre's Father Dagon, London 2012. Photograph: Pierre Ketteridge. Finding Community in the 'Freakish' Raxil4 also notes that the Bone Guitar Thing is appropriate for creative input within improv music circles (Page, email interview, 25 June 2021). Generally speaking, contemporary improv music (meaning the broad genre) is improvised performance focussing on sonic exploration over melodic, harmonic, or rhythmic content (even though all will be present in most cases; Toop 132-137). In my experience working with improv musicians since 1981, I find that these performers typically attempt to create sounds that are unusual or unexpected. Players often embrace extended techniques, repurposing non-musical items to be sound-making devices, and employ self-built instruments. Improv musicians seek to break free from the constraints of what may be seen as Western standard musical practices (ibid.), but they simultaneously strive to uphold some parallel aspects of artisanship and virtuosity, perhaps as a means to validate their departure from Classical/mainstream music norms. The instruments and approaches can be seen as factors that separate the experimental artists from the conservatory-based performers, yet still affords them the clout of being hard-working, innovative, expressive, and professional. As the name implies, improv music emphasises improvisation. André Hodier (23-36) in his classic book The Worlds of Jazz likens improvising jazz musicians to an alien race who battle each other on a daily basis (via jazz battles) in order to see who resides at the top of the improvisation chain. Improv musicians (some of whom come from a jazz background) tend to engage in this sort of hierarchical status ranking system using a much more ’polite’ and co-supportive mentality (at least in the scenes in which I have been privileged to participate). Improv musicians can occasionally embrace a friendly attitude that one should surpass the experimental nature of other performers, and may do so by presenting a new sound, technique, or instrument. The BGT can serve this function. It can stand out among other improv musicians’ gear, even if a majority of the instruments are self-built, through its use of bones and its intentional evocation of something horrific. Improvised music is sometimes looked down upon by musical communities who value conservatory training, popular music, or more traditional Western classical approaches to music. Referring to avant-garde jazz in the 60s and 70s, Valerie Wilmer (6) recounts that critics and Classical music enthusiasts perceived experimental and improv music as “‘freakish’ and only worthy of passing interest”. The dynamic is different today, but the overall attitude remains, at least in part. The improv music scene is creatively valid, but in comparison to conservative or more mainstream music, incorporates more experimental practices, therefore sometimes musical form, interactions, and preparation is less obvious to audience members outside the experimental music circles. The Bone Guitar Thing also plays into this construction. It is artistically valid, yet perhaps simultaneously challenging to the less-experienced listener. The BGT in this setting is multifunctional. Page (email interview, 25 June 2021) sees the BGT as a means to cut through or rise above other improv musicians, partly by being more recognisable as a “freakish” instrument at performances where the music is already considered freakish by some outsiders. Additionally, the fact that Page has taken the time to make this instrument, and uses notably practiced techniques to create the sounds he introduces, may position him as an innovative professional, rather than a non-trained imposter. The BGT can (at least for raxil4, but for others as well) become a monster among monsters that allows Page to validate his brand of creativity (Ibid). Musical ’freakishness’ appears in other settings as well. An example of this is a performance in which raxil4 took part where an ensemble provided experimental music for a live tattooing event (raxil4, “Listening”). Here, the congruency with being monstrous or freakish is perhaps more overt. Similar to the soundscape being performed, Fenske (6) points out that tattoos may still be seen as unfit or unexpected for certain classes, genders, or education levels, and may even still be associated with illustrated circus performers of the past. Furthermore, Kinzey (32) suggests that avant-garde and counter-culture communities (such as ones where tattooing and live music converge in a single event) often value uniqueness that serves to “erase boundaries between everyday life and art”. The combined performativity of live music and tattoo inking (both the artistic activity and the art itself) associates raxil4 and the BGT with this non-mainstream circle (to some degree), potentially conjuring an identity of something freakish or monstrous to people with different values. Engaging with Expressive Objects The conception and evolution of the Bone Guitar Thing has its roots in personal experience, art experimentation, and material culture related to Page’s life and the musical communities in which he played and plays. In the past, Page endeavored to make small sculptures to be given as Christmas and birthday gifts from materials he found on the shore of the River Thames, many including bones. Page then began to create new musical instruments with what he had available. Page’s brother is a doctor specialising in gunshot wounds and knife trauma, and his apartment was filled with remnants of his brother’s occupation, including a number of crutches. From these, Page crafted his first instruments in this period: crutch harps that utilised the leftover medical devices to build stringed sound generators. He claims the instruments at first were not overly successful, so he began to experiment with his bone sculptures to create more serviceable instruments. An early attempt was a percussion instrument made from various found bones, which Page deemed the “Xylobone” (see Fig. 4). This instrument and advanced crutch harps (6-string tenor (see Fig. 3.) and 2-string bass) became his first arsenal of sound makers, but Page felt the instruments ultimately failed to meet expectations and opted to rethink his approaches and designs. Fig. 3: One of Page's 6-stringed crutch harps. Photograph: Andrew Page. Fig. 4: The Xylobone - raxil4's bone xylophone percussion instrument. Photograph: Andrew Page. The BGT was intended to be more “playable”, “expressive”, and audible to battle louder co-performers. As mentioned, the driftwood base and bones for the instrument originated from the River Thames. The electronics come from a destroyed guitar that was the result of performing in a previous project in which Page was the singer, where the guitarist “had a habit of smashing his guitars on stage, in a sort of expensive tribute to [grunge guitarist] Kurt Cobain" (Page, email interview, 25 June 2021). The BGT started off as a 6-string zither that used guitar-gauge steel strings, but according to Page, given the harsh performance technique of beating or scraping the strings with bones, he was encouraged to switch to using wound, bass-gauge strings, affording him a lower pitch and greater resistance to energetic performance practices. One tuning peg, however, snapped off quite early in its life (as it was in a thinner, more weathered part of the driftwood), leaving the instrument one string shorter. Page says he likes to think that the instrument decided itself that it would be a “5-stringed beast” (ibid.). Conclusion The Bone Guitar Thing is, in fact, beast-like, at least in the settings, sonic attributes, and mindsets of the player and the communities in which the instrument is played, but it may not be the case that this beast-like nature is equal to being monstrous. Cohen (3-25) in his discussion of seven potential monster theories outlines several different notions of what can be considered “monstrous” and relates the monster in each theoretical situation to those fearing the monstrous construct. Most closely related to the situation in which the BGT is observed is a parallel theory based on the concept of “Us versus Them”, meaning “Us” as those who are dealing with the monster in question, and “Them” as being those on the side of the monster or the monster itself (Cohen 19-20). However, with the BGT, the monster is not unanimous with “them”, but rather with “us”. In all the situations outlined here, the instrument takes on the role of a beast, but not a negative role for Page (email interview, 14 July 2021) or fans of raxil4 (Wright). Instead, the beast is more like part of the team of noise makers actively engaged in the community’s activities of creation, entertainment, identity, and validation of values upheld thereof. Each of the performance settings can be argued to exhibit a sense of welcoming outsiders or praising diversity, rather than ostracising it. The Lovecraft performance and story were constructed on the premise of questioning what is a monster and who determines that definition. The Bone Guitar Thing supports and interacts precisely within this parameter to enhance the artistic commentary presented. Within the improv music setting, the instrument assists Page to achieve uniqueness among that which is already unique and highlights the values of community including a show of innovation, exploration, and personal performance technique development. For the live tattooing, the instrument stands out as a unifying sonic flag, connecting other (perhaps less-monstrous) artists into a stronger group of alternative creatives. Effectively, the BGT is a 'freak among freaks', serving to simultaneously fit in and rise above, all while maintaining a sense of “us” within respective circles. The beast-like nature is not entirely an outward force. Page (email interviews, 25 June 2021 and 14 July 2021) is aware that he has received no formal education in music. He admits he is less familiar with music theory, and more familiar with the science and technology behind the music. Page considers himself to be experimental in his approach to sound creation, which he sees as being more unique due to ignoring the “rulebooks” (ibid.). As a result, he feels (at least a slight) pressure of feeling “unprofessional” or “correct” in the eyes of Western conservatory-trained musicians and composers or those with a similar mentality (Page, email interview, 25 June 2021). The BGT was also, to a degree, built to battle being told what was “right”. For Page, his instrument is akin to a beast that helped him break free of the constraints of Western tonal and virtuosic constraints. “I made my own [instrument] so that nobody could tell me I was playing it the wrong way” (ibid.). His “beast” helped him break down barriers and asserted himself as an innovative musician and creative professional. So, then, the Bone Guitar Thing is a monster; sonically, visually, and physically. It represents a monster, it is called “the beast”, and it takes on the role of a terrifying creature raging through (sometimes, extremely quietly – raxil4; raxil 4 feat. King Sara; raxil4 + King Sara + P23) soundscapes, settings, and performances, rallying the like-minded and routing the unsuspecting or “others”. That is an overdramatic take on the situation, perhaps, but the instrument does uphold a series of values and creative aesthetics that fosters positive relationships between the artist, the community, and the sonic and physical qualities of the zither. Rather than being a device that places a horrific barrier to be overcome in an “us versus them” scenario, the monster takes on an alternate role and becomes a source of empowerment for “outsiders” or marginalised groups or people (Mittman 51). Thus the Bone Guitar Thing allows Page to demolish barriers and amalgamate fellow community members into a larger version of “us” to create a space in which the beast is no longer a monster. References Bienstock, Richard. “Man Builds Guitar Out of His Dead Uncle’s Skeleton.” Guitar World 11 Feb. 2021. Web. 13 June 2021 <https://www.guitarworld.com/news/man-builds-guitar-out-of-his-dead-uncles-skeleton-uses-it-to-play-black-metal>. Bunger, Richard. The Well-Prepared Piano. Colorado Springs: Colorado College Music P, 1973. Cage, John. Empty Words: Writings ’73-’78. Middletown, CT: Wesleyan University P, 1981. Cohen, Jeffrey Jerome. “Monster Culture (Seven Theses).” Monster Theory: Reading Culture. Minneapolis: U of Minnesota P, 1996. 3–25. Connor, Will. “Performing the Sounds of Darkness: An Exploratory Discussion of Musical Instruments and the Gothic Aesthetic.” The Dark Arts Journal: Reimaging the Gothic 2.I2 (Autumn 2016). 26 June 2021 <https://thedarkartsjournal.files.wordpress.com/2017/04/the-dark-arts-journal-2-21.pdf>. Cupchik, Jeffrey. “Buddhism as Performing Art: Visualizing Music in the Tibetan Sacred Ritual Music Liturgies.” Yale Journal of Music & Religion 1.1 (2015): 31–62. Davis, Josh. “Some Bronze Age Britons Turned the Bones of Dead Relatives into Musical Instruments.” Natural History Museum. 1 Sep. 2020. 23 June 2021 <https://www.nhm.ac.uk/discover/news/2020/september/bronze-age-britons-turned-the-bones-of-dead-relatives-into-musical-instruments.html>. Fenske, Mindy. Tattoos in American Visual Culture. New York: Palgrave, 2007. Hodier, André. The Worlds of Jazz. New York: Grove P, 1972. Kinzey, Jake. The Sacred and the Profane: An Investigation of Hipsters. Winchester, U.K.: Zero Books, 2012. Levina, Marina, and Diem-My T. Bui. “Introduction: Toward a Comprehensive Monster Theory in the 21st Century.” Monster Culture in the 21st Century: A Reader. Eds. Marina Levina and Diem-My T. Bui. New Delhi: Bloomsbury. 1–14. Mittman, Asa Simon. “Introduction: The Impact of Monsters and Monster Studies.” The Ashgate Research Companion to Monsters and the Monstrous. Eds. Asa Simon Mittman and Peter J. Dendle. London and New York: Routledge, 2013. 44–60. Raxil4. Listening Circuits: 19/06/21 with Live Tattooing from Catmouse. 21 June 2021. 23 June 2021 <https://www.youtube.com/watch?v=VZgUC5TTOxk&list=LL&index=3>. ———. raxil4 – Livestream for Iklecktik: 21/06/20. 22 June 2020. 23 June 2021 <https://www.youtube.com/watch?v=-zW-Mw2jRDQ&list=LL&index=6>. Raxil4 feat: King Sara. raxil4 feat: King Sara – Sawbones 13 – Live @ Noise=Noise (14/01/13). 26 Jan. 2013. 23 June 2021 <https://www.youtube.com/watch?v=fxFMA77yQ_A&list=LL&index=5>. raxil4 + King Sara + P23. raxil4 + King Sara + P23 – Barbican: 15/08/13. 11 Sep. 2018. 23 June 2021 <https://www.youtube.com/watch?v=N619ooZxx-0&list=LL&index=4>. Page, Andrew. Email interview. 25 June 2021. ———. Email interview. 14 July 2021. Regan, Marty. Video interview. 13 July 2021. Snaith, Victoria. Personal interview. 17 April 2016. Toop, David. Ocean of Sound. London: Serpent’s Tail, 2001. Turk, Matija, Ivan Turk, and Marcel Otte. “The Neanderthal Musical Instrument from Divje Babe I Cave (Slovenia): A Critical Review of the Discussion.” Applied Sciences 10-1226.2 (2020): 1–11. Wilmer, Valerie. As Serious as Your Life. London: Serpent’s Tail, 2018. Wright, Kevin. Email interview. 29 June 2021.

At a time when a trip abroad was out of the reach of most women, even if they could not make the journey, Australian women could imagine “abroad” just by reading popular women’s magazines such as Woman (later Woman’s Day and Home then Woman’s Day) and The Australian Women’s Weekly, and journals, such as The Progressive Woman and The Housewife. Increasingly in the post-war period, these magazines and journals contained advertisements for holidaying abroad, recipes for international foods and articles on overseas fashions. It was not unusual for local manufacturers, to use the lure of travel and exotic places as a way of marketing their goods. Healing Bicycles, for example, used the slogan “In Venice men go to work on Gondolas: In Australia it’s a Healing” (“Healing Cycles” 40), and Exotiq cosmetics featured landscapes of countries where Exotiq products had “captured the hearts of women who treasured their loveliness: Cincinnati, Milan, New York, Paris, Geneva and Budapest” (“Exotiq Cosmetics” 36).Unlike Homer’s Penelope, who stayed at home for twenty years waiting for Odysseus to return from the Trojan wars, women have always been on the move to the same extent as men. Their rich travel stories (Riggal, Haysom, Lancaster)—mostly written as letters and diaries—remain largely unpublished and their experiences are not part of the public record to the same extent as the travel stories of men. Ros Pesman argues that the women traveller’s voice was one of privilege and authority full of excitement and disbelief (Pesman 26). She notes that until well into the second part of the twentieth century, “the journey for Australian women to Europe was much more than a return to the sources of family identity and history” (19). It was also:a pilgrimage to the centres and sites of culture, literature and history and an encounter with “the real world.”Europe, and particularly London,was also the place of authority and reference for all those seeking accreditation and recognition, whether as real writers, real ladies or real politicians and statesmen. (19)This article is about two Australian writers; Helen Seager, a journalist employed by The Argus, a daily newspaper in Melbourne Australia, and Gwen Hughes, a graduate of Emily McPherson College of Domestic Economy in Melbourne, working in England as a lecturer, demonstrator and cookbook writer for Parkinsons’ Stove Company. Helen Seager travelled to England on an assignment for The Argus in 1950 and sent articles each day for publication in the women’s section of the newspaper. Gwen Hughes travelled extensively in the Balkans in the 1930s recording her impressions, observations, and recipes for traditional foods whilst working for Parkinsons in England. These women were neither returning to the homeland for an encounter with the real world, nor were they there as cultural tourists in the Cook’s Tour sense of the word. They were professional writers and their observations about the places they visited offer fresh and lively versions of England and Europe, its people, places, and customs.Helen SeagerAustralian Journalist Helen Seager (1901–1981) wrote a daily column, Good Morning Ma’am in the women’s pages of The Argus, from 1947 until shortly after her return from abroad in 1950. Seager wrote human interest stories, often about people of note (Golding), but with a twist; a Baroness who finds knitting exciting (Seager, “Baroness” 9) and ballet dancers backstage (Seager, “Ballet” 10). Much-loved by her mainly female readership, in May 1950 The Argus sent her to England where she would file a daily report of her travels. Whilst now we take travel for granted, Seager was sent abroad with letters of introduction from The Argus, stating that she was travelling on a special editorial assignment which included: a certificate signed by the Lord Mayor of The City of Melbourne, seeking that any courtesies be extended on her trip to England, the Continent, and America; a recommendation from the Consul General of France in Australia; and introductions from the Premier’s Department, the Premier of Victoria, and Austria’s representative in Australia. All noted the nature of her trip, her status as an esteemed reporter for a Melbourne newspaper, and requested that any courtesy possible to be made to her.This assignment was an indication that The Argus valued its women readers. Her expenses, and those of her ten-year-old daughter Harriet, who accompanied her, were covered by the newspaper. Her popularity with her readership is apparent by the enthusiastic tone of the editorial article covering her departure. Accompanied with a photograph of Seager and Harriet boarding the aeroplane, her many women readers were treated to their first ever picture of what she looked like:THOUSANDS of "Argus" readers, particularly those in the country, have wanted to know what Helen Seager looks like. Here she is, waving good-bye as she left on the first stage of a trip to England yesterday. She will be writing her bright “Good Morning, Ma'am” feature as she travels—giving her commentary on life abroad. (The Argus, “Goodbye” 1)Figure 1. Helen Seager and her daughter Harriet board their flight for EnglandThe first article “From Helen in London” read,our Helen Seager, after busy days spent exploring England with her 10-year-old daughter, Harriet, today cabled her first “Good Morning, Ma’am” column from abroad. Each day from now on she will report from London her lively impressions in an old land, which is delightfully new to her. (Seager, “From Helen” 3)Whilst some of her dispatches contain the impressions of the awestruck traveller, for the most they are exquisitely observed stories of the everyday and the ordinary, often about the seemingly most trivial of things, and give a colourful, colonial and egalitarian impression of the places that she visits. A West End hair-do is described, “as I walked into that posh looking establishment, full of Louis XV, gold ornateness to be received with bows from the waist by numerous satellites, my first reaction was to turn and bolt” (Seager, “West End” 3).When she visits Oxford’s literary establishments, she is, for this particular article, the awestruck Australian:In Oxford, you go around saying, soto voce and aloud, “Oh, ye dreaming spires of Oxford.” And Matthew Arnold comes alive again as a close personal friend.In a weekend, Ma’am, I have seen more of Oxford than lots of native Oxonians. I have stood and brooded over the spit in Christ Church College’s underground kitchens on which the oxen for Henry the Eighth were roasted.I have seen the Merton Library, oldest in Oxford, in which the chains that imprisoned the books are still to be seen, and have added by shoe scrape to the stone steps worn down by 500 years of walkers. I have walked the old churches, and I have been lost in wonder at the goodly virtues of the dead. And then, those names of Oxford! Holywell, Tom’s Quad, Friars’ Entry, and Long Wall. The gargoyles at Magdalen and the stones untouched by bombs or war’s destruction. It adds a new importance to human beings to know that once, if only, they too have walked and stood and stared. (Seager, “From Helen” 3)Her sense of wonder whilst in Oxford is, however, moderated by the practicalities of travel incorporated into the article. She continues to describe the warnings she was given, before her departure, of foreign travel that had her alarmed about loss and theft, and the care she took to avoid both. “It would have made you laugh, Ma’am, could you have seen the antics to protect personal property in the countries in transit” (Seager, “From Helen” 3).Her description of a trip to Blenheim Palace shows her sense of fun. She does not attempt to describe the palace or its contents, “Blenheim Palace is too vast and too like a great Government building to arouse much envy,” settling instead on a curiosity should there be a turn of events, “as I surged through its great halls with a good-tempered, jostling mob I couldn’t help wondering what those tired pale-faced guides would do if the mob mood changed and it started on an old-fashioned ransack.” Blenheim palace did not impress her as much as did the Sunday crowd at the palace:The only thing I really took a fancy to were the Venetian cradle, which was used during the infancy of the present Duke and a fine Savvonerie carpet in the same room. What I never wanted to see again was the rubbed-fur collar of the lady in front.Sunday’s crowd was typically English, Good tempered, and full of Cockney wit, and, if you choose to take your pleasures in the mass, it is as good a company as any to be in. (Seager, “We Look” 3)In a description of Dublin and the Dubliners, Seager describes the food-laden shops: “Butchers’ shops leave little room for customers with their great meat carcasses hanging from every hook. … English visitors—and Dublin is awash with them—make an orgy of the cakes that ooze real cream, the pink and juicy hams, and the sweets that demand no points” (Seager, “English” 6). She reports on the humanity of Dublin and Dubliners, “Dublin has a charm that is deep-laid. It springs from the people themselves. Their courtesy is overlaid with a real interest in humanity. They walk and talk, these Dubliners, like Kings” (ibid.).In Paris she melds the ordinary with the noteworthy:I had always imagined that the outside of the Louvre was like and big art gallery. Now that I know it as a series of palaces with courtyards and gardens beyond description in the daytime, and last night, with its cleverly lighted fountains all aplay, its flags and coloured lights, I will never forget it.Just now, down in the street below, somebody is packing the boot of a car to go for, presumably, on a few days’ jaunt. There is one suitcase, maybe with clothes, and on the footpath 47 bottles of the most beautiful wines in the world. (Seager, “When” 3)She writes with a mix of awe and ordinary:My first glimpse of that exciting vista of the Arc de Triomphe in the distance, and the little bistros that I’ve always wanted to see, and all the delights of a new city, […] My first day in Paris, Ma’am, has not taken one whit from the glory that was London. (ibid.) Figure 2: Helen Seager in ParisIt is my belief that Helen Seager intended to do something with her writings abroad. The articles have been cut from The Argus and pasted onto sheets of paper. She has kept copies of the original reports filed whist she was away. The collection shows her insightful egalitarian eye and a sharp humour, a mix of awesome and commonplace.On Bastille Day in 1950, Seager wrote about the celebrations in Paris. Her article is one of exuberant enthusiasm. She writes joyfully about sirens screaming overhead, and people in the street, and looking from windows. Her article, published on 19 July, starts:Paris Ma’am is a magical city. I will never cease to be grateful that I arrived on a day when every thing went wrong, and watched it blossom before my eyes into a gayness that makes our Melbourne Cup gala seem funeral in comparison.Today is July 14.All places of business are closed for five days and only the places of amusement await the world.Parisians are tireless in their celebrations.I went to sleep to the music of bands, dancing feet and singing voices, with the raucous but cheerful toots from motors splitting the night air onto atoms. (Seager, “When” 3)This article resonates uneasiness. How easily could those scenes of celebration on Bastille Day in 1950 be changed into the scenes of carnage on Bastille Day 2016, the cheerful toots of the motors transformed into cries of fear, the sirens in the sky from aeroplanes overhead into the sirens of ambulances and police vehicles, as a Mohamed Lahouaiej Bouhlel, as part of a terror attack drives a truck through crowds of people celebrating in Nice.Gwen HughesGwen Hughes graduated from Emily Macpherson College of Domestic Economy with a Diploma of Domestic Science, before she travelled to England to take up employment as senior lecturer and demonstrator of Parkinson’s England, a company that manufactured electric and gas stoves. Hughes wrote in her unpublished manuscript, Balkan Fever, that it was her idea of making ordinary cooking demonstration lessons dramatic and homelike that landed her the job in England (Hughes, Balkan 25-26).Her cookbook, Perfect Cooking, was produced to encourage housewives to enjoy cooking with their Parkinson’s modern cookers with the new Adjusto temperature control. The message she had to convey for Parkinsons was: “Cooking is a matter of putting the right ingredients together and cooking them at the right temperature to achieve a given result” (Hughes, Perfect 3). In reality, Hughes used this cookbook as a vehicle to share her interest in and love of Continental food, especially food from the Balkans where she travelled extensively in the 1930s.Recipes of Continental foods published in Perfect Cooking sit seamlessly alongside traditional British foods. The section on soup, for example, contains recipes for Borscht, a very good soup cooked by the peasants of Russia; Minestrone, an everyday Italian soup; Escudella, from Spain; and Cream of Spinach Soup from France (Perfect 22-23). Hughes devoted a whole chapter to recipes and descriptions of Continental foods labelled “Fascinating Foods From Far Countries,” showing her love and fascination with food and travel. She started this chapter with the observation:There is nearly as much excitement and romance, and, perhaps fear, about sampling a “foreign dish” for the “home stayer” as there is in actually being there for the more adventurous “home leaver”. Let us have a little have a little cruise safe within the comfort of our British homes. Let us try and taste the good things each country is famed for, all the while picturing the romantic setting of these dishes. (Hughes, Perfect 255)Through her recipes and descriptive passages, Hughes took housewives in England and Australia into the strange and wonderful kitchens of exotic women: Madame Darinka Jocanovic in Belgrade, Miss Anicka Zmelova in Prague, Madame Mrskosova at Benesova. These women taught her to make wonderful-sounding foods such as Apfel Strudel, Knedlikcy, Vanilla Kipfel and Christmas Stars. “Who would not enjoy the famous ‘Goose with Dumplings,’” she declares, “in the company of these gay, brave, thoughtful people with their romantic history, their gorgeously appareled peasants set in their richly picturesque scenery” (Perfect 255).It is Hughes’ unpublished manuscript Balkan Fever, written in Melbourne in 1943, to which I now turn. It is part of the Latrobe Heritage collection at the State Library of Victoria. Her manuscript was based on her extensive travels in the Balkans in the 1930s whilst she lived and worked in England, and it was, I suspect, her intention to seek publication.In her twenties, Hughes describes how she set off to the Balkans after meeting a fellow member of the Associated Country Women of the World (ACWW) at the Royal Yugoslav Legation. He was an expert on village life in the Balkans and advised her, that as a writer she would get more information from the local villagers than she would as a tourist. Hughes, who, before television gave cooking demonstrations on the radio, wrote, “I had been writing down recipes and putting them in books for years and of course the things one talks about over the air have to be written down first—that seemed fair enough” (Hughes, Balkan 25-26). There is nothing of the awestruck traveller in Hughes’ richly detailed observations of the people and the places that she visited. “Travelling in the Balkans is a very different affair from travelling in tourist-conscious countries where you just leave it to Cooks. You must either have unlimited time at your disposal, know the language or else have introductions that will enable the right arrangements to be made for you” (Balkan 2), she wrote. She was the experiential tourist, deeply immersed in her surroundings and recording food culture and society as it was.Hughes acknowledged that she was always drawn away from the cities to seek the real life of the people. “It’s to the country district you must go to find the real flavour of a country and the heart of its people—especially in the Balkans where such a large percentage of the population is agricultural” (Balkan 59). Her descriptions in Balkan Fever are a blend of geography, history, culture, national songs, folklore, national costumes, food, embroidery, and vivid observation of the everyday city life. She made little mention of stately homes or buildings. Her attitude to travel can be summed up in her own words:there are so many things to see and learn in the countries of the old world that, walking with eyes and mind wide open can be an immensely delightful pastime, even with no companion and nowhere to go. An hour or two spent in some unpretentious coffee house can be worth all the dinners at Quaglino’s or at The Ritz, if your companion is a good talker, a specialist in your subject, or knows something of the politics and the inner life of the country you are in. (Balkan 28)Rather than touring the grand cities, she was seduced by the market places with their abundance of food, colour, and action. Describing Sarajevo she wrote:On market day the main square is a blaze of colour and movement, the buyers no less colourful than the peasants who have come in from the farms around with their produce—cream cheese, eggs, chickens, fruit and vegetables. Handmade carpets hung up for sale against walls or from trees add their barbaric colour to the splendor of the scene. (Balkan 75)Markets she visited come to life through her vivid descriptions:Oh those markets, with the gorgeous colours, and heaped untidiness of the fruits and vegetables—paprika, those red and green peppers! Every kind of melon, grape and tomato contributing to the riot of colour. Then there were the fascinating peasant embroideries, laces and rich parts of old costumes brought in from the villages for sale. The lovely gay old embroideries were just laid out on a narrow carpet spread along the pavement or hung from a tree if one happened to be there. (Balkan 11)Perhaps it was her radio cooking shows that gave her the ability to make her descriptions sensorial and pictorial:We tasted luxurious foods, fish, chickens, fruits, wines, and liqueurs. All products of the country. Perfect ambrosial nectar of the gods. I was entirely seduced by the rose petal syrup, fragrant and aromatic, a red drink made from the petals of the darkest red roses. (Balkan 151)Ordinary places and everyday events are beautifully realised:We visited the cheese factory amongst other things. … It was curious to see in that far away spot such a quantity of neatly arranged cheeses in the curing chamber, being prepared for export, and in another room the primitive looking round balls of creamed cheese suspended from rafters. Later we saw trains of pack horses going over the mountains, and these were probably the bearers of these cheeses to Bitolj or Skoplje, whence they would be consigned further for export. (Balkan 182)ConclusionReading Seager and Hughes, one cannot help but be swept along on their travels and take part in their journeys. What is clear, is that they were inspired by their work, which is reflected in the way they wrote about the places they visited. Both sought out people and places that were, as Hughes so vividly puts it, not part of the Cook’s Tour. They travelled with their eyes wide open for experiences that were both new and normal, making their writing relevant even today. Written in Paris on Bastille Day 1950, Seager’s Bastille Day article is poignant when compared to Bastille Day in France in 2016. Hughes’s descriptions of Sarajevo are a far cry from the scenes of destruction in that city between 1992 and 1995. The travel writing of these two women offers us vivid impressions and images of the often unreported events, places, daily lives, and industry of the ordinary and the then every day, and remind us that the more things change, the more they stay the same.Pesman writes, “women have always been on the move and Australian women have been as numerous as passengers on the outbound ships as have men” (20), but the records of their travels seldom appear on the public record. Whilst their work-related writings are part of the public record (see Haysom; Lancaster; Riggal), this body of women’s travel writing has not received the attention it deserves. Hughes’ cookbooks, with their traditional Eastern European recipes and evocative descriptions of people and kitchens, are only there for the researcher who knows that cookbooks are a trove of valuable social and cultural material. Digital copies of Seager’s writing can be accessed on Trove (a digital repository), but there is little else about her or her body of writing on the public record.ReferencesThe Argus. “Goodbye Ma’am.” 26 May 1950: 1. <http://trove.nla.gov.au/newspaper/article/22831285?searchTerm=Goodbye%20Ma%E2%80%99am%E2%80%99&searchLimits=l-title=13|||l-decade=195>.“Exotiq Cosmetics.” Advertisement. Woman 20 Aug. 1945: 36.Golding, Peter. “Just a Chattel of the Sale: A Mostly Light-Hearted Retrospective of a Diverse Life.” In Jim Usher, ed., The Argus: Life & Death of Newspaper. North Melbourne: Australian Scholarly Publishing 2007.Haysom, Ida. Diaries and Photographs of Ida Haysom. <http://search.slv.vic.gov.au/MAIN:Everything:SLV_VOYAGER1637361>.“Healing Cycles.” Advertisement. Woman 27 Aug. 1945: 40. Hughes, Gwen. Balkan Fever. Unpublished Manuscript. State Library of Victoria, MS 12985 Box 3846/4. 1943.———. Perfect Cooking London: Parkinsons, c1940.Lancaster, Rosemary. Je Suis Australienne: Remarkable Women in France 1880-1945. Crawley WA: UWA Press, 2008.Pesman, Ros. “Overseas Travel of Australian Women: Sources in the Australian Manuscripts Collection of the State Library of Victoria.” The Latrobe Journal 58 (Spring 1996): 19-26.Riggal, Louie. (Louise Blanche.) Diary of Italian Tour 1905 February 21 - May 1. <http://search.slv.vic.gov.au/MAIN:Everything:SLV_VOYAGER1635602>.Seager, Helen. “Ballet Dancers Backstage.” The Argus 10 Aug. 1944: 10. <http://trove.nla.gov.au/newspaper/article/11356057?searchTerm=Ballet%20Dancers%20Backstage&searchLimits=l-title=13|||l-decade=194>.———. “The Baroness Who Finds Knitting Exciting.” The Argus 1 Aug. 1944: 9. <http://trove.nla.gov.au/newspaper/article/11354557?searchTerm=Helen%20seager%20Baroness&searchLimits=l-title=13|||l-decade=194>.———. “English Visitors Have a Food Spree in Eire.” The Argus 29 Sep. 1950: 6. <http://trove.nla.gov.au/newspaper/article/22912011?searchTerm=English%20visitors%20have%20a%20spree%20in%20Eire&searchLimits=l-title=13|||l-decade=195>.———. “From Helen in London.” The Argus 20 June 1950: 3. <http://trove.nla.gov.au/newspaper/article/22836738?searchTerm=From%20Helen%20in%20London&searchLimits=l-title=13|||l-decade=195>.———. “Helen Seager Storms Paris—Paris Falls.” The Argus 15 July 1950: 7.<http://trove.nla.gov.au/newspaper/article/22906913?searchTerm=Helen%20Seager%20Storms%20Paris%E2%80%99&searchLimits=l-title=13|||l-decade=195>.———. “We Look over Blenheim Palace.” The Argus 28 Sep. 1950: 3. <http://trove.nla.gov.au/newspaper/article/22902040?searchTerm=Helen%20Seager%20Its%20as%20a%20good%20a%20place%20as%20you%20would%20want%20to%20be&searchLimits=l-title=13|||l-decade=195>.———. “West End Hair-Do Was Fun.” The Argus 3 July 1950: 3. <http://trove.nla.gov.au/newspaper/article/22913940?searchTerm=West%20End%20hair-do%20was%20fun%E2%80%99&searchLimits=l-title=13|||l-decade=195>.———. “When You Are in Paris on July 14.” The Argus 19 July 1950: 3. <http://trove.nla.gov.au/newspaper/article/22906244?searchTerm=When%20you%20are%20in%20Paris%20on%20July%2014&searchLimits=l-title=13|||l-decade=195>.