Statement of the problem. The article aims to investigate the semantics of the vocal-instrumental cycle “Songs on Saint Léger Léger’s poems” by Louis Edmond Durey (1888–1979), one of the representatives of the French “Group of Six”. This composition, which also has another name – “Images à Crusoé”, written in 1918, belongs to the period of formation of French modernism. The primary literary source, the poem of the same name by Alexis Saint Léger Léger, better known under the pseudonym Saint John Perce, has certain features of surrealistic aesthetics, which also influenced the musical dramaturgy of the cycle. Objectives, methods, and novelty of the research. Until today, this composition by Louis Durey has not been considered in domestic musicology, therefore, the task of the study is to describe the figurative sphere of the work, to identify its main intonation-semantic constructions and, ultimately, a more thorough explore of the individual style of the composer. The research was carried out using historical-contextual, comparative, and systemanalytical methods. Results and conclusion. According to his results, it was established that Louis Durey embodied not so much the content of Saint John Perce’s poetic stanzas as his personal attitude to his poetic images and metaphors. The composer operates with a whole semantic system of leit-intonemas and through- genre models (polka, lullaby, chorale, hymn) and builds semantic arches between numbers of the cycle. Cross-cutting musical and semantic elements also become components of arch dramaturgy: intonations of circles, “spindles”, bells, sighs, and the instrumental texture of all numbers of the cycle contains quarto-quint steps. Pentatonic, whole-tone and natural scales contribute to the reproduction of the atmosphere of the exotic nature of the deserted island, as well as the sound imaging techniques used by Durey. The dramaturgy of the cycle is built according to the montage principle, which is mostly subordinated to the type of verse and the semantic content of Saint John Perce’s poetry. Division of the musical form is carried out by changing the size, tempo, genre style. Thus, each number of the cycle consists of short sections connected to each other thanks to the collage technique. The rhythmic and thematic variety in the collage of episodes“frames” indicates the presence of game logic in L. Durey’s cycle. Certain influences on the music of the cycle of illustrations for Daniel Defoe’s novel “Robinson Crusoe”, created in the second half of the 19th century by Carl Offendinger, in perspective, allow us to consider the work in the context of the problem of the synthesis of arts as of a component of modernistic aesthetics.
{"title":"Semantics of Louis Durey’s vocal-instrumental cycle “Songs on Saint Léger Léger’s poems” (“Images à Crusoé”)","authors":"Kateryna Krasnoshchok","doi":"10.34064/khnum2-32.05","DOIUrl":"https://doi.org/10.34064/khnum2-32.05","url":null,"abstract":"Statement of the problem. The article aims to investigate the semantics of the vocal-instrumental cycle “Songs on Saint Léger Léger’s poems” by Louis Edmond Durey (1888–1979), one of the representatives of the French “Group of Six”. This composition, which also has another name – “Images à Crusoé”, written in 1918, belongs to the period of formation of French modernism. The primary literary source, the poem of the same name by Alexis Saint Léger Léger, better known under the pseudonym Saint John Perce, has certain features of surrealistic aesthetics, which also influenced the musical dramaturgy of the cycle. Objectives, methods, and novelty of the research. Until today, this composition by Louis Durey has not been considered in domestic musicology, therefore, the task of the study is to describe the figurative sphere of the work, to identify its main intonation-semantic constructions and, ultimately, a more thorough explore of the individual style of the composer. The research was carried out using historical-contextual, comparative, and systemanalytical methods. Results and conclusion. According to his results, it was established that Louis Durey embodied not so much the content of Saint John Perce’s poetic stanzas as his personal attitude to his poetic images and metaphors. The composer operates with a whole semantic system of leit-intonemas and through- genre models (polka, lullaby, chorale, hymn) and builds semantic arches between numbers of the cycle. Cross-cutting musical and semantic elements also become components of arch dramaturgy: intonations of circles, “spindles”, bells, sighs, and the instrumental texture of all numbers of the cycle contains quarto-quint steps. Pentatonic, whole-tone and natural scales contribute to the reproduction of the atmosphere of the exotic nature of the deserted island, as well as the sound imaging techniques used by Durey. The dramaturgy of the cycle is built according to the montage principle, which is mostly subordinated to the type of verse and the semantic content of Saint John Perce’s poetry. Division of the musical form is carried out by changing the size, tempo, genre style. Thus, each number of the cycle consists of short sections connected to each other thanks to the collage technique. The rhythmic and thematic variety in the collage of episodes“frames” indicates the presence of game logic in L. Durey’s cycle. Certain influences on the music of the cycle of illustrations for Daniel Defoe’s novel “Robinson Crusoe”, created in the second half of the 19th century by Carl Offendinger, in perspective, allow us to consider the work in the context of the problem of the synthesis of arts as of a component of modernistic aesthetics.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"107 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139274845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. The genre-style richness of S. Bortkiewicz’s legacy does not except the dominance of piano music in it, which is explained by the composer’s piano education, the experience of his public performances and teaching activities. The 21st century became a time of revival of the composer’s name in the modern culture, but the specifics of his piano style remain outside the scope of special studies. Recent research and publications shows the great interest in the artist’s figure. Scientists focus on the performance of S. Bortkiewicz himself (Levkulych, 2021), highlight his violin compositions (Yakubov, 2021), develop the theme of dance and dance quality in his music (Kościelak-Nadolska, 2016), examine the composer’s life and creative legacy (Ishioka, 2016), stylistic influences on his thinking (Johnson, 2016). Objectives, methods and novelty of the research. The purpose of the study is to reveal the features of S. Bortkiewicz’s piano style based on observations of leading solo genres (sonatas, preludes, etudes). The scientific novelty of the article is determined by the original thesis about participation in the realization of the artistic idea of a complex of certain pianistic techniques, which are perceived as carriers of emotional content. The presented study is based on the principle of historicism and a comprehensive scientific approach involving various methods of analysis. Research results. In S. Bortkiewicz’s legacy, the piano sonata is represented by two compositions: op. 9, B major, and op. 60, C sharp minor. The purely piano techniques, the totality of which indicates virtuosity as a means of realizing the art design, have the great importance in these works (large-scale technique, bright jumps, rapid octave passages on f, a wide dynamic palette from pp to fff). The combined technique, the use of rubato play become the typical features of his piano style. Preludes op. 13, op. 33, op. 40, and op. 66 are distinguished by the dominance of a single image, embodied by the laconic pianistic means. The image and genre spectrum of prelude cycles is diverse and reflects almost the entire experience of a romantic miniature. The composer finds his own ways to reveal individuality and to manifest the modern thinking, the essence of which is in the use of combinatorial methods in the field of both language means of expression and purely pianistic techniques. The etude genre can be classified as one of the most popular in S. Bortkiewicz’s creativity. Ten Etudes op. 15 and Twelve Etudes-novels op. 29 are a true anthology of the concert etude, which combines the effectiveness of style brilliant and al fresco with spiritual imagery, playing allusions, ironic approach to typical formulas, nostalgia for lost ideals. Conclusion. S. Bortkiewicz demonstrates his own attitude to the classical-romantic tradition, which reveals an individual author position. Relying on typical pianistic techniques, the composer combines a concert virtuoso sty
问题陈述。S. Bortkiewicz 的遗产体裁丰富，但钢琴音乐在其中占主导地位，这可以从作曲家的钢琴教育、他的公开演出经验和教学活动中得到解释。21 世纪是这位作曲家的名字在现代文化中复兴的时代，但他的钢琴风格的具体细节仍未纳入专门研究的范围。最近的研究和出版物显示了人们对这位艺术家的极大兴趣。科学家们关注 S. Bortkiewicz 本人的演奏（Levkulych，2021 年），强调他的小提琴作品（Yakubov，2021 年），发展他音乐中的舞蹈主题和舞蹈品质（Kościelak-Nadolska，2016 年），研究作曲家的生平和创作遗产（Ishioka，2016 年），以及对他思想的风格影响（Johnson，2016 年）。研究的目的、方法和新颖性。研究目的是根据对主要独奏体裁（奏鸣曲、前奏曲、练习曲）的观察，揭示 S. Bortkiewicz 钢琴风格的特点。文章的科学新颖性取决于其原创性论点，即在实现艺术构思的过程中参与某些钢琴技巧的综合运用，这些技巧被视为情感内容的载体。本研究以历史主义原则和涉及各种分析方法的综合科学方法为基础。研究成果。在 S. Bortkiewicz 的遗产中，钢琴奏鸣曲的代表作有两首：Op.9, B大调和作品60，升 C 小调。在这些作品中，纯粹的钢琴技巧非常重要（大型技巧、明亮的跳跃、f 调上快速的八度段落、从 pp 到 fff 的宽广动态调色板），这些技巧的整体性表明，演奏技巧是实现艺术设计的一种手段。综合技巧、揉弦的运用成为他钢琴风格的典型特征。前奏曲作品 13、作品 33、作品 40 和作品 66 的显著特点是在钢琴演奏中使用了大量的颤音。前奏曲作品 13、作品 33、作品 40 和作品 66 的显著特点是以简洁的钢琴手段体现出单一的形象。前奏曲的形象和体裁多种多样，几乎反映了浪漫主义微型作品的全部经验。作曲家以自己的方式彰显个性，体现现代思维，其精髓在于在语言表达手段和纯粹的钢琴技巧领域使用组合方法。在 S. Bortkiewicz 的创作中，练习曲体裁可谓最受欢迎的体裁之一。作品 15 中的《十首练习曲》和作品 29 中的《十二首练习曲-小说》是真正的音乐会练习曲选集，它将辉煌和壁画风格的效果与精神意象、演奏典故、对典型公式的反讽、对失去的理想的怀念结合在一起。结论S. Bortkiewicz 展示了自己对古典浪漫主义传统的态度，揭示了作者的个人立场。作曲家依靠典型的钢琴技巧，将音乐会的演奏风格与灵感的忏悔表达相结合，偏爱抒情和回旋曲的意象，通常通过广泛使用多节奏分层来实现，将每种演奏技巧与特定的艺术理念紧密联系在一起，因此总能感受到作者自己的 "话语"。
{"title":"S. Bortkiewicz’s piano style","authors":"Olga Cherednychenko","doi":"10.34064/khnum2-32.01","DOIUrl":"https://doi.org/10.34064/khnum2-32.01","url":null,"abstract":"Statement of the problem. The genre-style richness of S. Bortkiewicz’s legacy does not except the dominance of piano music in it, which is explained by the composer’s piano education, the experience of his public performances and teaching activities. The 21st century became a time of revival of the composer’s name in the modern culture, but the specifics of his piano style remain outside the scope of special studies. Recent research and publications shows the great interest in the artist’s figure. Scientists focus on the performance of S. Bortkiewicz himself (Levkulych, 2021), highlight his violin compositions (Yakubov, 2021), develop the theme of dance and dance quality in his music (Kościelak-Nadolska, 2016), examine the composer’s life and creative legacy (Ishioka, 2016), stylistic influences on his thinking (Johnson, 2016). Objectives, methods and novelty of the research. The purpose of the study is to reveal the features of S. Bortkiewicz’s piano style based on observations of leading solo genres (sonatas, preludes, etudes). The scientific novelty of the article is determined by the original thesis about participation in the realization of the artistic idea of a complex of certain pianistic techniques, which are perceived as carriers of emotional content. The presented study is based on the principle of historicism and a comprehensive scientific approach involving various methods of analysis. Research results. In S. Bortkiewicz’s legacy, the piano sonata is represented by two compositions: op. 9, B major, and op. 60, C sharp minor. The purely piano techniques, the totality of which indicates virtuosity as a means of realizing the art design, have the great importance in these works (large-scale technique, bright jumps, rapid octave passages on f, a wide dynamic palette from pp to fff). The combined technique, the use of rubato play become the typical features of his piano style. Preludes op. 13, op. 33, op. 40, and op. 66 are distinguished by the dominance of a single image, embodied by the laconic pianistic means. The image and genre spectrum of prelude cycles is diverse and reflects almost the entire experience of a romantic miniature. The composer finds his own ways to reveal individuality and to manifest the modern thinking, the essence of which is in the use of combinatorial methods in the field of both language means of expression and purely pianistic techniques. The etude genre can be classified as one of the most popular in S. Bortkiewicz’s creativity. Ten Etudes op. 15 and Twelve Etudes-novels op. 29 are a true anthology of the concert etude, which combines the effectiveness of style brilliant and al fresco with spiritual imagery, playing allusions, ironic approach to typical formulas, nostalgia for lost ideals. Conclusion. S. Bortkiewicz demonstrates his own attitude to the classical-romantic tradition, which reveals an individual author position. Relying on typical pianistic techniques, the composer combines a concert virtuoso sty","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"27 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139275512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. Recent research and publications. The absence of works by European and Ukrainian scholars devoted to the study of style peculiarities of the opera «The Tempest» written by F. Martin, an outstanding Swiss composer of the 20th century, actualizes the need for its comprehensive research. Foreign musicology already has some experience in analyzing F. Martin’s works. In the studies of Ch. W. King (1990), S. Bruhn (2011), A. Corbellari (2021) we can find a biography of the composer and generalizations about his musical thinking. The memoirs of M. Martin (2009), the composer’s widow, explain some specific features of his creative process. R. Glasmann’s research (1987) reveals the essence of the Martins’ principle of “gliding tonality”. The author of this paper was the first in the national musicology to research F. Martin’s vocal and choral pieces in terms of their stylistic features and comparative interpretation (Kozyk, 2022 a, b). Objectives, methods, and novelty of the research. The purpose of the article is to define the phenomenon of F. Martin’s late style through a holistic analysis of interpretation of W. Shakespeare’s play in the opera “The Tempest” and the peculiarities of vocal and scenic embodiment of its characters. In the concept of the study, the analysis of the opera is offered as the embodiment of the best qualities of F. Martin’s late style. In Ukrainian musicology, this is the first experience of a holistic analysis of F. Martin’s opera. As research methods the principles of holistic analysis of the artistic content of the work (when studying its score) and comparative analysis (when determining the features of F. Martin’s vocal-scenic interpretation of W. Shakespeare’s characters) were used. Results and conclusion. “The Tempest” is one of F. Martin’s most inventive opuses, which synthesizes all the composer’s previous experience. All groups of characters have a clearly defined musical characteristic that helps to identify them even beyond their scenic embodiment. Thus, a group of noble Italians is characterized by various stylistic references that evoke associations with a certain historical era; comic characters are embodied through reliance on conversational dialogues and awkward songs; for lyrical characters, the composer chooses the sphere of lyric utterances. To characterize Caliban, the composer chooses a dodecaphonic series and the saxophone timbre, while for his opposite Ariel he introduces a dance with choral lines and a separate hidden orchestra, thus creating a sense of elusiveness and weightlessness of the air spirit. The composer uses the widest range of expressive means in the musical characterization of Prospero: there is off-pitch recitation, expressive melodic declaration, and extended ariosos. Such a multifaceted style of the opera is due to the multidimensionality of Shakespeare’s play. F. Martin managed to achieve the unity of stage and musical action, the equivalence of orchestral and vo
问题陈述。最近的研究和出版物。欧洲和乌克兰的学者没有专门研究 20 世纪瑞士杰出作曲家 F. Martin 创作的歌剧《暴风雨》风格特点的著作，因此有必要对其进行全面研究。国外音乐学界对 F. Martin 作品的分析已有一定的经验。在 Ch. W. King（1990 年）、S. Bruhn（2011 年）、A. Corbellari（2021 年）的研究中，我们可以看到作曲家的传记及其音乐思想的概括。作曲家遗孀 M. Martin（2009 年）的回忆录解释了其创作过程的一些具体特点。格拉斯曼（R. Glasmann）的研究（1987 年）揭示了马丁家族 "滑行调性 "原则的精髓。本文作者是国内音乐学界第一位对 F. 马丁的声乐和合唱作品进行风格特征和比较诠释研究的人 (Kozyk, 2022 a, b)。研究的目的、方法和新颖性。文章的目的是通过对歌剧《暴风雨》中莎士比亚戏剧的诠释及其人物声乐和场景体现的特殊性进行整体分析，界定 F. 马丁的晚期风格现象。在研究概念中，对歌剧的分析体现了弗-马丁晚期风格的最佳品质。在乌克兰音乐学界，这是对弗-马丁歌剧进行整体分析的首次尝试。研究方法采用了作品艺术内容整体分析原则（在研究乐谱时）和比较分析原则（在确定 F. Martin 对 W. Shakespeare 的人物进行声乐场景演绎的特点时）。结果和结论"暴风雨》是 F. 马丁最具创造性的作品之一，它综合了作曲家以往的所有经验。所有人物群像都有明确的音乐特征，这有助于识别他们，甚至超越他们的场景体现。因此，一群高贵的意大利人的特征是通过各种风格的引用来唤起人们对特定历史时代的联想；喜剧人物则通过对话和笨拙的歌曲来体现；对于抒情人物，作曲家选择了抒情话语的领域。为了塑造卡利班的形象，作曲家选择了十二音阶和萨克斯管的音色，而对于他的对立面阿里尔，作曲家则引入了带有合唱线条的舞蹈和单独的隐藏管弦乐队，从而营造出一种空气精灵的飘渺感和失重感。在塑造普洛斯彼罗的音乐形象时，作曲家使用了最广泛的表现手法：有偏离音高的朗诵，有富有表现力的旋律宣言，还有延长的咏叹调。歌剧之所以具有如此多元的风格，是因为莎士比亚戏剧的多面性。F. Martin 成功地实现了舞台与音乐动作的统一，管弦乐与声乐部分的对等。尽管《暴风雨》的风格结合了各种技巧（十二重音、序列结构、引用不同时代的多风格），但音乐并不是折衷主义的。作曲家个人的写作方法（"滑行调性"）将所有音乐特征组合在一起，使 F. Martin 的抒情表达更加丰富。因此，F.马丁歌剧的体裁和风格综合体代表了晚期风格的现象，是作曲家思想演变的顶峰。
{"title":"Opera “The Tempest” as a phenomenon of the late style of Frank Martin’s works","authors":"Daria Kozyk","doi":"10.34064/khnum2-32.07","DOIUrl":"https://doi.org/10.34064/khnum2-32.07","url":null,"abstract":"Statement of the problem. Recent research and publications. The absence of works by European and Ukrainian scholars devoted to the study of style peculiarities of the opera «The Tempest» written by F. Martin, an outstanding Swiss composer of the 20th century, actualizes the need for its comprehensive research. Foreign musicology already has some experience in analyzing F. Martin’s works. In the studies of Ch. W. King (1990), S. Bruhn (2011), A. Corbellari (2021) we can find a biography of the composer and generalizations about his musical thinking. The memoirs of M. Martin (2009), the composer’s widow, explain some specific features of his creative process. R. Glasmann’s research (1987) reveals the essence of the Martins’ principle of “gliding tonality”. The author of this paper was the first in the national musicology to research F. Martin’s vocal and choral pieces in terms of their stylistic features and comparative interpretation (Kozyk, 2022 a, b). Objectives, methods, and novelty of the research. The purpose of the article is to define the phenomenon of F. Martin’s late style through a holistic analysis of interpretation of W. Shakespeare’s play in the opera “The Tempest” and the peculiarities of vocal and scenic embodiment of its characters. In the concept of the study, the analysis of the opera is offered as the embodiment of the best qualities of F. Martin’s late style. In Ukrainian musicology, this is the first experience of a holistic analysis of F. Martin’s opera. As research methods the principles of holistic analysis of the artistic content of the work (when studying its score) and comparative analysis (when determining the features of F. Martin’s vocal-scenic interpretation of W. Shakespeare’s characters) were used. Results and conclusion. “The Tempest” is one of F. Martin’s most inventive opuses, which synthesizes all the composer’s previous experience. All groups of characters have a clearly defined musical characteristic that helps to identify them even beyond their scenic embodiment. Thus, a group of noble Italians is characterized by various stylistic references that evoke associations with a certain historical era; comic characters are embodied through reliance on conversational dialogues and awkward songs; for lyrical characters, the composer chooses the sphere of lyric utterances. To characterize Caliban, the composer chooses a dodecaphonic series and the saxophone timbre, while for his opposite Ariel he introduces a dance with choral lines and a separate hidden orchestra, thus creating a sense of elusiveness and weightlessness of the air spirit. The composer uses the widest range of expressive means in the musical characterization of Prospero: there is off-pitch recitation, expressive melodic declaration, and extended ariosos. Such a multifaceted style of the opera is due to the multidimensionality of Shakespeare’s play. F. Martin managed to achieve the unity of stage and musical action, the equivalence of orchestral and vo","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"43 2-3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. The creative activity by Florent Schmitt (1870–1958) took place in the late nineteenth and early twentieth centuries, when such stars of French music as C. Debussy, M. Ravel, and later the composers of the French “Six” group shone brightly. Therefore, Schmitt’s work remained in their shadow – among the performers of his piano works you will not find “big” names like V. Horowitz or G. Gould; nevertheless, in the last decade, the composer’s opuses have been increasingly included in the repertoire of foreign pianists. For example, Vincent Larderet (France), Ivo Kalchev (Bulgaria), Biljana Urban (Netherlands), and Edward Rushton (UK/Switzerland) are among them. The challenges of today are best suited to expanding the usual established horizons of Ukrainian performers, actualizing the need to pay attention to the work of lesser-known but no less interesting artists, among whom Florent Schmitt takes a worthy place. Objectives, methods, and novelty of the research. For a long time, anyone interested in the work by F. Schmitt faced a lack of resources. The scarcity of written materials about the composer is as surprising as it is disappointing. Moreover, almost all existing studies are published only in French, which makes research difficult for those who do not speak the language. In the first half of the twentieth century, a number of significant books were published, fully or partially devoted to the work of F. Schmitt (Ferroud, 1928; Aubert, Barraud, Pignari-Salles, 1937; Coeuroy, 1922; Dumesnil, 1946), most of which have long been out of reprint. Changes in the cultural context, traditions, perception and understanding of music, scientific approaches, and research quality requirements do not allow a modern scholar to rely exclusively on old publications. Besides, the composer’s piano music is not considered in detail, but is only included in a panoramic overview of his heritage. The absence of domestic research prompted the author of the article to delve into the French master’s heritage. The purpose of the article is to expand the horizons in the study of F. Schmitt’s piano works, to reveal the prerequisites and analyze the facets of his introspective expression on the example of the first book of the cycle “Musiques intimes” (“Intimate Music”) op. 16. The cultural-historical, structural-functional and comparative methods of analysis were used. Research results and conclusion. The program names of the pieces, landscape sketches, rich coloristic harmony, use of ostinato techniques, shimmering arpeggiated figures in the texture, etc., indicate the considerable influence of F. Schmitt’s compatriots music – C. Debussy and M. Ravel. The presence of sincere emotionality and poetry of expression, improvisation, and “through” dramaturgy resemble the ways of thinking of F. Chopin and R. Schumann. Nevertheless, a detailed analysis of the first book of “Musiques intimes” makes it easy to notice the characteristic features that will b
问题陈述弗洛朗-施米特（1870-1958 年）的创作活动发生在十九世纪末二十世纪初，当时法国音乐界的明星如德彪西、拉威尔以及后来的法国 "六人团 "作曲家们光芒四射。因此，施米特的作品一直处于他们的阴影之下--在演奏他的钢琴作品的演奏家中，你找不到像 V. Horowitz 或 G. Gould 这样的 "大牌"；然而，在过去的十年中，这位作曲家的作品被越来越多的外国钢琴家列入演奏曲目。例如，文森特-拉德雷特（Vincent Larderet，法国）、伊沃-卡尔切夫（Ivo Kalchev，保加利亚）、比莉亚娜-乌尔班（Biljana Urban，荷兰）和爱德华-拉什顿（Edward Rushton，英国/瑞士）。当今的挑战最适合扩大乌克兰表演艺术家的常规既定视野，实现关注那些鲜为人知但同样有趣的艺术家作品的需要，弗洛伦特-施米特就是其中的一位。研究的目标、方法和新颖性。长期以来，任何对弗洛伦特-施米特作品感兴趣的人都面临着资源匮乏的问题。有关这位作曲家的书面材料之少令人惊讶和失望。此外，几乎所有现有的研究报告都仅以法文出版，这给不懂法语的研究人员带来了困难。二十世纪上半叶，出版了许多重要书籍，全部或部分介绍 F. 施米特的作品（Ferroud，1928 年；Aubert、Barraud、Pignari-Salles，1937 年；Coeuroy，1922 年；Dumesnil，1946 年），其中大部分早已绝版。由于文化背景、传统、对音乐的认识和理解、科学方法和研究质量要求的变化，现代学者无法完全依赖旧出版物。此外，作曲家的钢琴音乐没有被详细研究，只是被纳入其遗产的全景式概览中。国内研究的缺失促使本文作者深入研究这位法国大师的遗产。文章的目的在于拓展 F. 施米特钢琴作品研究的视野，以作品集《亲密音乐》第一册为例，揭示其内省表达的前提条件并分析其内省表达的方方面面。16.采用了文化历史分析法、结构功能分析法和比较分析法。研究成果和结论。从乐曲的曲目名称、风景素描、丰富的色彩和谐、使用的旋律技巧、纹理中闪烁的琶音数字等方面来看，F. Schmitt 的音乐受到了他的同胞 C. Debussy 和 M. Ravel 的巨大影响。真挚的情感和诗意的表达、即兴演奏和 "穿越 "戏剧性的存在，都与 F. 肖邦和 R. 舒曼的思维方式相似。然而，通过对第一册 "Musiques intimes "的详细分析，我们不难发现其中的一些特征，它们将成为一种 "成语 "式的纹理、复杂的节奏模式和 "管弦乐 "式的演奏方法，其目的并不在于外在的煽情，而是让人有一种身临其境的感觉，在作曲家的印象和情感世界中进行一次秘密的旅行。法国艺术家通过对大自然的描绘，促进个人与个人之间的交流，将听众引入个人空间，打开个人界限，在这种情况下，这可以被视为邀请听众与弗洛伦特-施密特大师共度私人的亲密晚会。
{"title":"Soirée for one person: а microcosm of Florent Schmitt’s “Musiques intimes”","authors":"O. Mykhailova","doi":"10.34064/khnum2-32.04","DOIUrl":"https://doi.org/10.34064/khnum2-32.04","url":null,"abstract":"Statement of the problem. The creative activity by Florent Schmitt (1870–1958) took place in the late nineteenth and early twentieth centuries, when such stars of French music as C. Debussy, M. Ravel, and later the composers of the French “Six” group shone brightly. Therefore, Schmitt’s work remained in their shadow – among the performers of his piano works you will not find “big” names like V. Horowitz or G. Gould; nevertheless, in the last decade, the composer’s opuses have been increasingly included in the repertoire of foreign pianists. For example, Vincent Larderet (France), Ivo Kalchev (Bulgaria), Biljana Urban (Netherlands), and Edward Rushton (UK/Switzerland) are among them. The challenges of today are best suited to expanding the usual established horizons of Ukrainian performers, actualizing the need to pay attention to the work of lesser-known but no less interesting artists, among whom Florent Schmitt takes a worthy place. Objectives, methods, and novelty of the research. For a long time, anyone interested in the work by F. Schmitt faced a lack of resources. The scarcity of written materials about the composer is as surprising as it is disappointing. Moreover, almost all existing studies are published only in French, which makes research difficult for those who do not speak the language. In the first half of the twentieth century, a number of significant books were published, fully or partially devoted to the work of F. Schmitt (Ferroud, 1928; Aubert, Barraud, Pignari-Salles, 1937; Coeuroy, 1922; Dumesnil, 1946), most of which have long been out of reprint. Changes in the cultural context, traditions, perception and understanding of music, scientific approaches, and research quality requirements do not allow a modern scholar to rely exclusively on old publications. Besides, the composer’s piano music is not considered in detail, but is only included in a panoramic overview of his heritage. The absence of domestic research prompted the author of the article to delve into the French master’s heritage. The purpose of the article is to expand the horizons in the study of F. Schmitt’s piano works, to reveal the prerequisites and analyze the facets of his introspective expression on the example of the first book of the cycle “Musiques intimes” (“Intimate Music”) op. 16. The cultural-historical, structural-functional and comparative methods of analysis were used. Research results and conclusion. The program names of the pieces, landscape sketches, rich coloristic harmony, use of ostinato techniques, shimmering arpeggiated figures in the texture, etc., indicate the considerable influence of F. Schmitt’s compatriots music – C. Debussy and M. Ravel. The presence of sincere emotionality and poetry of expression, improvisation, and “through” dramaturgy resemble the ways of thinking of F. Chopin and R. Schumann. Nevertheless, a detailed analysis of the first book of “Musiques intimes” makes it easy to notice the characteristic features that will b","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"147 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139274959","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. The article considers the issues of transformation of the sound image of the piano, which is extremely relevant for the last generations of pianists-performers, which in the modern era acquires new features or develops certain qualities of its own. On the example of the American composer George Crumb’s famous meta-cycle “Makrokosmos” for solo “amplified” piano, we can clearly observe an ability of the solo instrument to creation of a virtual symbolic ensemble, the participants of which very diversity new and traditional piano timbres become. Objectives, methods, and novelty of the research. Despite the attention of musicologists to the figure of G. Crumb, his chamber music as a leading genre of creativity, in particular the image of the piano as the most used instrument by the composer, in all its diversity and novelty, is not analyzed in detail. The ensemble qualities of the piano in its expanded composer’s vision, as well as the principles of pianistic performance of modern music on the new “a-classical” instrument with its enriched sonorous and spatial possibilities, remain overlooked. The purpose of this article is to use the example of the first volume of G. Crumb’s meta-cycle “Makrokosmos” to reveal in the multidimensionality of the “roles” of the solo piano a new quality of “symbolic ensemble” in the context of genre typologies of music of the XX–XXI centuries, in particular based on the idea of Professor I. Polska regarding solo performance as micro-ensemble forms. A comprehensive approach to the disclosure of the stated topic is applied, combining source studies, comparative, comparative-analytical, cultural and philological research methods. Research results and conclusion. Using the example of the analysis of “Makrokosmos I” it is demonstrated that G. Crumb is far from unification in his interpretation of the piano. His “expanded piano” emphatically appeals to timbre and figurative polyphony, i.e. a multidimensional ensemble, the participants of which, in addition to the pianist himself who involves different “territories” of the piano in the musical performance (beside a keyboard, also the open strings, pedals, and corpus), are his voice, variously organized verbal replicas and whistling. Thus, in the collection of symbolic images that appear in various combinations and sequences in the 12 pieces of “Makrokosmos I”, we count up to a dozen symbolic roles-characters that build a fantastic picture where temporal and spatial dimensions intersect and interact. The rendition of such music, in addition to the performer’s mastering of its purely “technical” novelty, requires the transformation not only of the pianist’s consciousness and skills, but also of established theoretical views in the paradigm of modern genre typologies.
问题陈述。本文探讨了钢琴声音形象的转变问题，这与上一代钢琴家-演奏家极为相关，因为钢琴在现代获得了新的特征或发展了自身的某些特质。以美国作曲家乔治-克鲁姆（George Crumb）为 "扩音 "钢琴独奏创作的著名元周期作品《Makrokosmos》为例，我们可以清楚地看到独奏乐器创造虚拟象征性合奏的能力，其中的参与者将新的和传统的钢琴音色变得非常多样化。研究的目标、方法和新颖性。尽管音乐学家们都很关注 G. 克鲁姆这个人物，但他的室内乐作为一种主要的创作体裁，特别是钢琴作为作曲家最常用乐器的形象，其多样性和新颖性却没有得到详细分析。在作曲家扩展的视野中，钢琴的合奏特质以及现代音乐在 "非古典 "新乐器上的钢琴演奏原则及其丰富的音质和空间可能性仍被忽视。本文旨在以克鲁姆（G. Crumb）的元周期 "Makrokosmos "第一卷为例，揭示钢琴独奏 "角色 "的多维性，以及在二十至二十一世纪音乐体裁类型学背景下 "象征性合奏 "的新特质，特别是基于波尔斯卡（I. Polska）教授关于独奏表演作为微型合奏形式的观点。本研究采用综合方法，结合资料研究、比较、比较分析、文化和语言学研究方法，揭示所述主题。研究成果和结论。通过对 "Makrokosmos I "的分析，证明了 G. 克鲁姆对钢琴的诠释远未达到统一。他的 "扩展钢琴 "强调音色和具象复调，即多维合奏，其中的参与者除了钢琴家本人之外，还包括他的声音、不同组织的语言复制品和口哨。因此，在 "Makrokosmos I "的 12 首乐曲中以不同组合和顺序出现的象征性形象集合中，我们可以数出多达十几个象征性角色--这些角色构建了一幅时空交错、相互作用的奇妙画面。演绎这样的音乐，除了要求演奏者掌握其纯粹的 "技术 "新颖性之外，还要求钢琴家不仅要转变意识和技巧，还要转变在现代流派类型学范式中的既有理论观点。
{"title":"Multidimensional piano in George Crumb’s chamber music (on the example of “Makrokosmos I”)","authors":"Liudmyla Zyma","doi":"10.34064/khnum2-32.09","DOIUrl":"https://doi.org/10.34064/khnum2-32.09","url":null,"abstract":"Statement of the problem. The article considers the issues of transformation of the sound image of the piano, which is extremely relevant for the last generations of pianists-performers, which in the modern era acquires new features or develops certain qualities of its own. On the example of the American composer George Crumb’s famous meta-cycle “Makrokosmos” for solo “amplified” piano, we can clearly observe an ability of the solo instrument to creation of a virtual symbolic ensemble, the participants of which very diversity new and traditional piano timbres become. Objectives, methods, and novelty of the research. Despite the attention of musicologists to the figure of G. Crumb, his chamber music as a leading genre of creativity, in particular the image of the piano as the most used instrument by the composer, in all its diversity and novelty, is not analyzed in detail. The ensemble qualities of the piano in its expanded composer’s vision, as well as the principles of pianistic performance of modern music on the new “a-classical” instrument with its enriched sonorous and spatial possibilities, remain overlooked. The purpose of this article is to use the example of the first volume of G. Crumb’s meta-cycle “Makrokosmos” to reveal in the multidimensionality of the “roles” of the solo piano a new quality of “symbolic ensemble” in the context of genre typologies of music of the XX–XXI centuries, in particular based on the idea of Professor I. Polska regarding solo performance as micro-ensemble forms. A comprehensive approach to the disclosure of the stated topic is applied, combining source studies, comparative, comparative-analytical, cultural and philological research methods. Research results and conclusion. Using the example of the analysis of “Makrokosmos I” it is demonstrated that G. Crumb is far from unification in his interpretation of the piano. His “expanded piano” emphatically appeals to timbre and figurative polyphony, i.e. a multidimensional ensemble, the participants of which, in addition to the pianist himself who involves different “territories” of the piano in the musical performance (beside a keyboard, also the open strings, pedals, and corpus), are his voice, variously organized verbal replicas and whistling. Thus, in the collection of symbolic images that appear in various combinations and sequences in the 12 pieces of “Makrokosmos I”, we count up to a dozen symbolic roles-characters that build a fantastic picture where temporal and spatial dimensions intersect and interact. The rendition of such music, in addition to the performer’s mastering of its purely “technical” novelty, requires the transformation not only of the pianist’s consciousness and skills, but also of established theoretical views in the paradigm of modern genre typologies.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"4 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139272509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. Ukraine’s gaining of independence was an extremely important event for the country’s artistic life. Hundreds of artists who did not have the opportunity to freely express their own opinion gained the opportunity to work in any musical styles and genres. Th e independent status of the country made it possible to find and bring back to life a whole layer of various works of art, which has both significant artistic and historical value. This statement also applies to music. An important part of the mentioned cu ltural layer is the work of Yuliy Meitus. In particular, we are talking about the composer’s chamber vocal work, which is a significant part of his creative heritage distinguished by its volume and genre diversity. And although during the time of independe nt Ukraine, the artist’s work is gaining more and more relevance in performing and musicological circles, currently this process cannot be called complete. The importance of the revival of Meitus’s creative output also lies in the fact that the artist was a representative of the Kharkiv school of composers, which makes it possible to more fully illuminate its history and development milestones. Objectives, methods and novelty of the research. The purpose of the study is to determine the genre, style and performance features of Yu. Meytus’ solo vocal lyrics. The insufficient study of the composer’s chamber vocal work determines the scientific novelty of the r esearch. The article presents a musicological, comparative, image semantic analysis of selected sam ples of Yu. Meitus’ solo sings, namely, the composer’s works based on verses by poets of various styles and historical periods (“Green wind, grass smells...” to the text of V. Sosiura, “Little Ballad” to the poem by R. Burns, “Seven strings I touch” to the words of Lesia Ukrainka). Conclusion The conclusion refers to the formation of features of a new stage of the evolution of Ukrainian chamber vocal art in Yu. Meitus’ solo songs, which organically combines the genre stylistic signs of the classical romantic and modern musical art. In particular, we are talking about the harmonic component of musical works, in which the elements of the classical romantic major minor system are organically combined with the heritage of music of the 20 th centu ry, for example, with chains of fourth chords or various polytonal complexes. Creating thematic material, the composer, however, relies on the intonation dictionary of Romantic art, which gives his style even greater originality.
问题陈述。乌克兰获得独立对该国的艺术生活来说是一个极其重要的事件。数以百计的艺术家原本没有机会自由表达自己的观点，现在却有机会从事任何音乐风格和流派的创作。国家的独立地位使人们有可能发现并重现一整套具有重要艺术和历史价值的各种艺术作品。这句话同样适用于音乐。尤利-梅图斯的作品是上述音乐层的重要组成部分。尤其是作曲家的室内声乐作品，这是他创作遗产的重要组成部分，以其数量和体裁的多样性而著称。尽管在乌克兰独立时期，这位艺术家的作品在表演界和音乐学界越来越受到重视，但目前这一过程还不能称之为完整。恢复梅图斯创作成果的重要性还在于，该艺术家是哈尔科夫作曲家流派的代表人物，这使得我们有可能更全面地了解其历史和发展里程碑。研究的目的、方法和新颖性。研究的目的是确定尤．梅图斯的独唱歌词。对作曲家室内声乐作品的研究不足决定了研究的科学新颖性。文章从音乐学、比较、图像语义学等方面对余.Meitus 的独唱，即作曲家根据不同风格和历史时期诗人的诗句创作的作品（根据 V. Sosiura 的诗句创作的 "绿色的风，青草的味道......"，根据 R. Burns 的诗句创作的 "小谣"，根据 Lesia Ukrainka 的诗句创作的 "我触摸的七根弦"）。结语 结语是指在尤-梅图斯的独唱歌曲中形成了乌克兰室内乐声乐艺术发展新阶段的特征。梅图斯的独唱歌曲有机地结合了古典浪漫主义和现代音乐艺术的体裁风格标志。特别是在音乐作品的和声部分，古典浪漫主义大调小调体系的元素与 20 世纪音乐遗产有机结合，例如四度和弦链或各种多调性复调。然而，作曲家在创作主题素材时，却依赖于浪漫主义艺术的音调词典，这使其风格更具独创性。
{"title":"Chamber and vocal work by Yuliy Meitus: genre-style and performance aspects","authors":"D. Makliuk","doi":"10.34064/khnum2-32.02","DOIUrl":"https://doi.org/10.34064/khnum2-32.02","url":null,"abstract":"Statement of the problem. Ukraine’s gaining of independence was an extremely important event for the country’s artistic life. Hundreds of artists who did not have the opportunity to freely express their own opinion gained the opportunity to work in any musical styles and genres. Th e independent status of the country made it possible to find and bring back to life a whole layer of various works of art, which has both significant artistic and historical value. This statement also applies to music. An important part of the mentioned cu ltural layer is the work of Yuliy Meitus. In particular, we are talking about the composer’s chamber vocal work, which is a significant part of his creative heritage distinguished by its volume and genre diversity. And although during the time of independe nt Ukraine, the artist’s work is gaining more and more relevance in performing and musicological circles, currently this process cannot be called complete. The importance of the revival of Meitus’s creative output also lies in the fact that the artist was a representative of the Kharkiv school of composers, which makes it possible to more fully illuminate its history and development milestones. Objectives, methods and novelty of the research. The purpose of the study is to determine the genre, style and performance features of Yu. Meytus’ solo vocal lyrics. The insufficient study of the composer’s chamber vocal work determines the scientific novelty of the r esearch. The article presents a musicological, comparative, image semantic analysis of selected sam ples of Yu. Meitus’ solo sings, namely, the composer’s works based on verses by poets of various styles and historical periods (“Green wind, grass smells...” to the text of V. Sosiura, “Little Ballad” to the poem by R. Burns, “Seven strings I touch” to the words of Lesia Ukrainka). Conclusion The conclusion refers to the formation of features of a new stage of the evolution of Ukrainian chamber vocal art in Yu. Meitus’ solo songs, which organically combines the genre stylistic signs of the classical romantic and modern musical art. In particular, we are talking about the harmonic component of musical works, in which the elements of the classical romantic major minor system are organically combined with the heritage of music of the 20 th centu ry, for example, with chains of fourth chords or various polytonal complexes. Creating thematic material, the composer, however, relies on the intonation dictionary of Romantic art, which gives his style even greater originality.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"12 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. Due to the natural tendency to constant renewal, the phenomena that arise in the field of jazz music-making, cause special scientific interest. The jazz art of the second half of the 20th century is represented by numerous names of bright musicians who formed the latest approaches to improvisational art in their creativity. One of such musicians was an unique pianist of Italian-French origin – Michel Petrucciani (1962–1999). The study of his heritage provides opportunities to reveal some aspects of modern jazz art, which are genetically related to the embodiment of the traditions of Western European music-making in piano jazz, and also to mark the vectors of its further evolution. Nevertheless, M. Petrucciani’s solo piano creativity is not studied for a present time. Some English-, French- and German-language articles, films and interviews with the musician are represented, mainly in online-resources. These works have mostly biographical direction and contain brief information about pianist’s aesthetic views and preferences, his creative achievements, and the state of his health, since the artist suffered from a rare congenital disease all his life. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the structural and compositional logic of jazz improvisation on the popular theme of T. Monk’s “’Round Midnight” interpreted by M. Petrucciani, in the context of solo piano creativity of the latter. The solo piano work of M. Petrucciani, who without exaggeration can be called one of the outstanding musicians of the last century, has not yet been subject to scientific analysis in domestic musicology, which determines the innovative focus of this study. A set of research approaches – historical-genetic, comparative, hermeneutic, traditional methods of musicological analysis – contributed to the disclosure of the chosen topic. Research results and conclusion. In the course of the research, genetic, genre, structural, intonation, rhythmic, textural and other features inherent in the theme “’Round Midnight” were revealed in the context of compositional and piano-improvisational style of T. Monk – a progressive musician-innovator, one of the inspirations of the bebop style, as well as a conclusion about the features of individual interpreting the theme by M. Petrucciani was justified. M. Petrucciani in the improvisation on T. Monk’s “’Round Midnight” theme demonstrates self-own unique bright improvisational style, talentedly combining virtuosity with intonation meaningfulness and accuracy of phrases, with expressiveness of a musical statement that has a philosophical undertone, and the academic traditions of music-making, learned during his studies, with American and Western European jazz ones. The variety of methods of melodic-harmonic, textural, dynamic development used by the pianist testify not only to the musician’s desire to demonstrate virtuoso mastery of the instrument,
问题陈述。由于不断更新的自然趋势，爵士乐创作领域出现的现象引起了科学界的特别关注。在 20 世纪下半叶的爵士乐艺术中，有许多杰出音乐家的名字，他们在创作中形成了即兴艺术的最新方法。米歇尔-佩特鲁贾尼（1962-1999 年）是一位独特的意大利裔法国钢琴家。对他的遗产的研究为揭示现代爵士乐艺术的某些方面提供了机会，这些方面与西欧音乐创作传统在钢琴爵士乐中的体现有着基因上的联系，同时也标志着其进一步演变的载体。然而，M. Petrucciani 的钢琴独奏创作目前尚未得到研究。一些英文、法文和德文的文章、电影和对该音乐家的访谈都有涉及，主要是在网络资源中。这些作品大多以传记为主，简要介绍了钢琴家的审美观点和偏好、创作成就以及健康状况，因为这位艺术家一生都患有罕见的先天性疾病。研究的目的、方法和新颖性。本研究的目的是在 M. Petrucciani 钢琴独奏创作的背景下，揭示 M. Petrucciani 对 T. Monk 的"'Round Midnight'"这一流行主题进行爵士乐即兴创作的结构和作曲逻辑的具体情况。M. Petrucciani 可毫不夸张地称为上世纪杰出的音乐家之一，但其钢琴独奏作品在国内音乐学界尚未得到科学分析，这决定了本研究的创新重点。一系列研究方法--历史遗传学、比较法、诠释学、传统音乐学分析方法--有助于揭示所选主题。研究成果和结论。在研究过程中，根据贝波普风格的启蒙者之一、进步音乐家、创新者 T. Monk 的作曲和钢琴演奏风格，揭示了 "午夜时分 "主题在遗传、体裁、结构、音调、节奏、纹理和其他方面的固有特征。佩特鲁齐亚尼在蒙克的 "午夜时分 "主题即兴演奏中展现了自己独特而鲜明的即兴风格，天才地将精湛的技艺、音调的准确性和乐句的精确性、带有哲学意味的音乐陈述的表现力、他在学习期间学到的音乐创作的学术传统以及美国和西欧爵士乐传统结合在一起。钢琴家所使用的各种旋律-和声、纹理、动态发展方法，不仅证明了音乐家希望展示精湛的乐器技艺，也有助于实现作品的独特理念。
{"title":"The logic of forming a musical text in a solo piano-jazz improvisation by M. Petrucciani on the theme of T. Monk’s “’Round Midnight”","authors":"Olena Voropaieva","doi":"10.34064/khnum2-32.08","DOIUrl":"https://doi.org/10.34064/khnum2-32.08","url":null,"abstract":"Statement of the problem. Due to the natural tendency to constant renewal, the phenomena that arise in the field of jazz music-making, cause special scientific interest. The jazz art of the second half of the 20th century is represented by numerous names of bright musicians who formed the latest approaches to improvisational art in their creativity. One of such musicians was an unique pianist of Italian-French origin – Michel Petrucciani (1962–1999). The study of his heritage provides opportunities to reveal some aspects of modern jazz art, which are genetically related to the embodiment of the traditions of Western European music-making in piano jazz, and also to mark the vectors of its further evolution. Nevertheless, M. Petrucciani’s solo piano creativity is not studied for a present time. Some English-, French- and German-language articles, films and interviews with the musician are represented, mainly in online-resources. These works have mostly biographical direction and contain brief information about pianist’s aesthetic views and preferences, his creative achievements, and the state of his health, since the artist suffered from a rare congenital disease all his life. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the structural and compositional logic of jazz improvisation on the popular theme of T. Monk’s “’Round Midnight” interpreted by M. Petrucciani, in the context of solo piano creativity of the latter. The solo piano work of M. Petrucciani, who without exaggeration can be called one of the outstanding musicians of the last century, has not yet been subject to scientific analysis in domestic musicology, which determines the innovative focus of this study. A set of research approaches – historical-genetic, comparative, hermeneutic, traditional methods of musicological analysis – contributed to the disclosure of the chosen topic. Research results and conclusion. In the course of the research, genetic, genre, structural, intonation, rhythmic, textural and other features inherent in the theme “’Round Midnight” were revealed in the context of compositional and piano-improvisational style of T. Monk – a progressive musician-innovator, one of the inspirations of the bebop style, as well as a conclusion about the features of individual interpreting the theme by M. Petrucciani was justified. M. Petrucciani in the improvisation on T. Monk’s “’Round Midnight” theme demonstrates self-own unique bright improvisational style, talentedly combining virtuosity with intonation meaningfulness and accuracy of phrases, with expressiveness of a musical statement that has a philosophical undertone, and the academic traditions of music-making, learned during his studies, with American and Western European jazz ones. The variety of methods of melodic-harmonic, textural, dynamic development used by the pianist testify not only to the musician’s desire to demonstrate virtuoso mastery of the instrument, ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"51 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. Creativity of many composers includes the works proving crucial for understanding evolution of the artist’s individual style. Usually, the scholars’ attention is drawn to the works that become a result of stylistic evolution and that become popularity amongst the audience and the performers. At the same time, it is of no less importance to study the works that became milestones on a path to upcoming achievements, especially if there are heritage lines leading to them from the previous works. This is a situation with E. Elgar’s concert ouverture “In the South (Alassio)”: on the one hand, it summarizes composer’s achievements in this genre, on the other, it is the last composer’s step before creating his First Symphony. Apart from this ambivalence of the status, the work demonstrates the process of mediation of extremities, that can be traced on the levels of genre, structure, harmonic means and approach to extramusical. Objectives, methods, and novelty of the research. In the studies devoted to E. Elgar’s creativity as a whole or his symphonic compositions, the role of the Ouverture in the indicated evolutionary aspect is not considered, which determines the scientific novelty and relevance of the presented research. The purpose of the study is to reveal intersection points between concert ouverture “In the South (Alassio)” with the composer’s past and future creative achievements. Based on a historical-biographical approach, the history of the Ouverture’s origin is highlighted in view of its place in the artist’s creative evolution; a comparative method was used to juxtapose “Alassio” with other works of the composer; structural-compositional, genre and stylistic, intonation types of analysis were applied to examine the sheet music text of E. Elgar’s composition in detail. Results and conclusion. The study concludes that this concert ouverture is tightly integrated both in the context of development of E. Elgar’s symphonic style and into late-Romantic symphonysm as such. This work becomes the last composer’s preparatory step prior to his First Symphony as it contains germs of its multiple innovations: in harmony, structure and orchestration. Connection between “In the South” and general symphonic context is seen at multiple levels: genre attribution (the work defined by the author as “concert ouverture” has the features of symphonic poem, genre much more relevant for that time); harmonic language (freedom of tonal structure and modulations, juxtaposition of far chords; passages whose key cannot be defined etc.); specifics of themes and thematic development (multi-thematicism, inclusion of “picturesque” episode, intonation links between the themes). But originality of “Alassio” does not allow to regard is as an epigone imitation of late-Romantic symphonic style, but makes us understand it as a new step of this instrumental tradition. At the same time, it is possible to define more traditional traits at each of these level
{"title":"Concert ouverture “In the South (Alassio)” by Edward Elgar: summation of own experience and foreshadowing of upcoming innovations","authors":"Oleksandr Lysychka","doi":"10.34064/khnum2-32.06","DOIUrl":"https://doi.org/10.34064/khnum2-32.06","url":null,"abstract":"Statement of the problem. Creativity of many composers includes the works proving crucial for understanding evolution of the artist’s individual style. Usually, the scholars’ attention is drawn to the works that become a result of stylistic evolution and that become popularity amongst the audience and the performers. At the same time, it is of no less importance to study the works that became milestones on a path to upcoming achievements, especially if there are heritage lines leading to them from the previous works. This is a situation with E. Elgar’s concert ouverture “In the South (Alassio)”: on the one hand, it summarizes composer’s achievements in this genre, on the other, it is the last composer’s step before creating his First Symphony. Apart from this ambivalence of the status, the work demonstrates the process of mediation of extremities, that can be traced on the levels of genre, structure, harmonic means and approach to extramusical. Objectives, methods, and novelty of the research. In the studies devoted to E. Elgar’s creativity as a whole or his symphonic compositions, the role of the Ouverture in the indicated evolutionary aspect is not considered, which determines the scientific novelty and relevance of the presented research. The purpose of the study is to reveal intersection points between concert ouverture “In the South (Alassio)” with the composer’s past and future creative achievements. Based on a historical-biographical approach, the history of the Ouverture’s origin is highlighted in view of its place in the artist’s creative evolution; a comparative method was used to juxtapose “Alassio” with other works of the composer; structural-compositional, genre and stylistic, intonation types of analysis were applied to examine the sheet music text of E. Elgar’s composition in detail. Results and conclusion. The study concludes that this concert ouverture is tightly integrated both in the context of development of E. Elgar’s symphonic style and into late-Romantic symphonysm as such. This work becomes the last composer’s preparatory step prior to his First Symphony as it contains germs of its multiple innovations: in harmony, structure and orchestration. Connection between “In the South” and general symphonic context is seen at multiple levels: genre attribution (the work defined by the author as “concert ouverture” has the features of symphonic poem, genre much more relevant for that time); harmonic language (freedom of tonal structure and modulations, juxtaposition of far chords; passages whose key cannot be defined etc.); specifics of themes and thematic development (multi-thematicism, inclusion of “picturesque” episode, intonation links between the themes). But originality of “Alassio” does not allow to regard is as an epigone imitation of late-Romantic symphonic style, but makes us understand it as a new step of this instrumental tradition. At the same time, it is possible to define more traditional traits at each of these level","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"21 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139275691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. Objectives, methods, and novelty of the research. Taking into account the problem of the original repertoire existing in the performance practice of domra players, the genre and stylistic analysis of I. Kovach’s two compositions is proposed: “Concertino” for the domra with orchestra and “Mazurka” from the opera “Blue Islands” for duet of domras and piano. These works became iconic for the formation of the basic repertoire for the four-string domra. However, the general assessment of the compositions remains an “open” issue of musicology. Hence, turning to the pieces by the famous Ukrainian composer in order to determine their historical role in the domra performance is an urgent research task. The purpose of the research is to determine the role of I. Kovach’s creative heritage in contemporary domra performance in terms of traditions and innovations. The historical and typological, genre and style, and performanceinterpretative methods are used in the study. The study is based on the materials dedicated to I. Kovach’s creativity (Tyshko, 1980; Roschenko-Averianova, 2007; Hrytsun, 2015; Kostenko, 2009), the genre of the domra concerto (Slipchenko, 2021), the creative connections between a composer and a performer (MaidenbergTodorova, 2020), the specificity of the instrumental genres (Nikolaievska et al., 2020), which allow to reveal the modern potential of little-studied examples of creativity in the history of the domra. This aspect is not presented in any of the named sources. The research results. I. Kovach’s music for the domra is bright and positive, filled with light, joy, and goodness. The “Concertino” (1960) is melodious and easy to remember. The composer presented the domra as an academic solo instrument, preserving the principle of competition between the soloist and the orchestra (soli–tutti). A rather complex domra part still forces the performers to “strain” even today, despite the fact that the overall level of performing skills of the domra players at the beginning of the 21st century has grown “many times”. Dmytro Klebanov (1951) wrote the first composition in the genre of a concerto for the domra accompanied by a symphonic orchestra. I. Kovach creates an original composition for the domra, which cemented the tendency to conceptualize the instrument as a virtuoso one. The first performance of the “Concertino” with an orchestra of folk instruments took place in the hall of the Kharkiv Conservatory (the soloist – B. Mikhieiev, the conductor – Ye. Bortnyk). Against the background of the dominance of ideologically engaged “pseudo-folk” compositions, the sound of the domra was unusually modern. Today, this piece is considered a classic of the 20th century domra repertoire. All the themes of the “Concertino” are original, which was innovative at that time. The composition is built on the principle of contrast. The main dance-scherzo theme and the cantilena secondary theme together create a dynamic combination of
{"title":"Ihor Kovach’s concert works for the four-string domra in the modern performance practice","authors":"Nataliia Kostenko","doi":"10.34064/khnum2-32.03","DOIUrl":"https://doi.org/10.34064/khnum2-32.03","url":null,"abstract":"Statement of the problem. Objectives, methods, and novelty of the research. Taking into account the problem of the original repertoire existing in the performance practice of domra players, the genre and stylistic analysis of I. Kovach’s two compositions is proposed: “Concertino” for the domra with orchestra and “Mazurka” from the opera “Blue Islands” for duet of domras and piano. These works became iconic for the formation of the basic repertoire for the four-string domra. However, the general assessment of the compositions remains an “open” issue of musicology. Hence, turning to the pieces by the famous Ukrainian composer in order to determine their historical role in the domra performance is an urgent research task. The purpose of the research is to determine the role of I. Kovach’s creative heritage in contemporary domra performance in terms of traditions and innovations. The historical and typological, genre and style, and performanceinterpretative methods are used in the study. The study is based on the materials dedicated to I. Kovach’s creativity (Tyshko, 1980; Roschenko-Averianova, 2007; Hrytsun, 2015; Kostenko, 2009), the genre of the domra concerto (Slipchenko, 2021), the creative connections between a composer and a performer (MaidenbergTodorova, 2020), the specificity of the instrumental genres (Nikolaievska et al., 2020), which allow to reveal the modern potential of little-studied examples of creativity in the history of the domra. This aspect is not presented in any of the named sources. The research results. I. Kovach’s music for the domra is bright and positive, filled with light, joy, and goodness. The “Concertino” (1960) is melodious and easy to remember. The composer presented the domra as an academic solo instrument, preserving the principle of competition between the soloist and the orchestra (soli–tutti). A rather complex domra part still forces the performers to “strain” even today, despite the fact that the overall level of performing skills of the domra players at the beginning of the 21st century has grown “many times”. Dmytro Klebanov (1951) wrote the first composition in the genre of a concerto for the domra accompanied by a symphonic orchestra. I. Kovach creates an original composition for the domra, which cemented the tendency to conceptualize the instrument as a virtuoso one. The first performance of the “Concertino” with an orchestra of folk instruments took place in the hall of the Kharkiv Conservatory (the soloist – B. Mikhieiev, the conductor – Ye. Bortnyk). Against the background of the dominance of ideologically engaged “pseudo-folk” compositions, the sound of the domra was unusually modern. Today, this piece is considered a classic of the 20th century domra repertoire. All the themes of the “Concertino” are original, which was innovative at that time. The composition is built on the principle of contrast. The main dance-scherzo theme and the cantilena secondary theme together create a dynamic combination of","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139272579","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. In the conditions of globalization, art becomes the result of the interaction of many factors, artistic cooperation and competition within the framework of the formation and functioning of artistic communities. The world of traditional Chinese music provides an excellent opportunity to study how members of the artistic community respond to the differences brought about by the processes of globalization. Therefore, consideration of the aesthetic conflict in traditional Chinese music, which arises in the context of globalizing world processes, appears as a topical issue and determines the content of this article. The theoretical basis of this article refers to works devoted to the study of the concept of globalization in art and culture. The analysis of publications on the topic show that the issue of globalization as a dynamic factor of the Chinese musical culture has not been extensively studied, while it is acknowledged that the influence of European music on Chinese one has always contributed to the formation of a certain aesthetic conflict. Objectives, methods, and novelty of the research. The purpose of the study is to highlight the specifics of the development of Chinese traditional musical culture in the context of the conflict of acceptance/rejection of the globalization influences of Western culture. For the first time, the concept of aesthetic conflict as a means of dynamic progressing Chinese musical art in the context of the globalization of the cultural space is considered. As research instruments, historical and comparative, hermeneutic, interpretive, and dialectical methods are used. Research results. The article highlights three forms of changes that cultural globalization can introduce to the world of art: – creation of conditions for the transnational circulation of works and forms of art for the construction of completely new artistic concepts; – the accumulation of modern trends, namely new techniques and approaches to artistic production, in the concrete artistic world; – cases of global aesthetic influences, where ideologies and values can guide the creation of an artistic object and form criterions for defining what can be considered authentic and appropriate for a certain culture. Regular influences from the West contributed to the fact that Chinese traditional music culture began to develop from the positions of either adapting to these influences or resisting new trends in the interpretation of musical culture. From this follows the conclusion that cultural globalization is not only a process brought from outside, but also a reality that is actively created by the subjects who are involved in it. Among the transformations of Chinese musical art in the process of globalization, the ways of formation of “Chinese traditional music” are considered as a response to the integration of Western influences. Conclusion. In the course of the research, it was found that the aesthetic conflict in Chinese musi
{"title":"Aesthetic conflict in Chinese traditional music in the aspect of the contemporary globalization processes","authors":"Junyi Liu","doi":"10.34064/khnum2-32.10","DOIUrl":"https://doi.org/10.34064/khnum2-32.10","url":null,"abstract":"Statement of the problem. In the conditions of globalization, art becomes the result of the interaction of many factors, artistic cooperation and competition within the framework of the formation and functioning of artistic communities. The world of traditional Chinese music provides an excellent opportunity to study how members of the artistic community respond to the differences brought about by the processes of globalization. Therefore, consideration of the aesthetic conflict in traditional Chinese music, which arises in the context of globalizing world processes, appears as a topical issue and determines the content of this article. The theoretical basis of this article refers to works devoted to the study of the concept of globalization in art and culture. The analysis of publications on the topic show that the issue of globalization as a dynamic factor of the Chinese musical culture has not been extensively studied, while it is acknowledged that the influence of European music on Chinese one has always contributed to the formation of a certain aesthetic conflict. Objectives, methods, and novelty of the research. The purpose of the study is to highlight the specifics of the development of Chinese traditional musical culture in the context of the conflict of acceptance/rejection of the globalization influences of Western culture. For the first time, the concept of aesthetic conflict as a means of dynamic progressing Chinese musical art in the context of the globalization of the cultural space is considered. As research instruments, historical and comparative, hermeneutic, interpretive, and dialectical methods are used. Research results. The article highlights three forms of changes that cultural globalization can introduce to the world of art: – creation of conditions for the transnational circulation of works and forms of art for the construction of completely new artistic concepts; – the accumulation of modern trends, namely new techniques and approaches to artistic production, in the concrete artistic world; – cases of global aesthetic influences, where ideologies and values can guide the creation of an artistic object and form criterions for defining what can be considered authentic and appropriate for a certain culture. Regular influences from the West contributed to the fact that Chinese traditional music culture began to develop from the positions of either adapting to these influences or resisting new trends in the interpretation of musical culture. From this follows the conclusion that cultural globalization is not only a process brought from outside, but also a reality that is actively created by the subjects who are involved in it. Among the transformations of Chinese musical art in the process of globalization, the ways of formation of “Chinese traditional music” are considered as a response to the integration of Western influences. Conclusion. In the course of the research, it was found that the aesthetic conflict in Chinese musi","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"2 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139273100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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