Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.03
Yu. Voskoboinikova
The relevance of the article. “Psalms of David” in the poetic adaptation of Taras Shevchenko have long been a part of the choral culture of Ukraine. More than 20 composers have created musical versions of these texts, using separate verses or the entire work.
The latest version of the Psalter is the choral cycle of the Ukrainian conductor, singer, composer and teacher Ruben Tolmachov.
The first nights of the work took place under his leadership in May 2023 and had great success and public resonance. That is why the introduction of this work to scientific discourse is relevant.
The purpose of the article is to reveal the specificity of musical shaping in R. Tolmachov’s “Psalms of David” choral cycle in its relationship with textual semantics.
The methodology. With the help of textual analysis, the semantic types of psalms (didactic, pleading, laudatory, accusatory) and the peculiarities of their musical structure were determined. By the means of structural, musicological and intonation analysis, the implementation regularities of the semantics of the psalms into specific musical forms have been established.
The results. The musical structure of all psalms was analyzed, the patterns of musical shaping were revealed, and the specifics of the relationship between the musical form and the content of the poetic text were described.
The scientific novelty. For the first time, the analysis of the structure of Ruben Tolmachov’s choral cycle based on Taras Shevchenko’s poem was introduced into scientific discourse.
The practical significance. The results of the research have practical value for performers of works by R. Tolmachov, as well as composers and researchers of choral music.
Conclusions. In R. Tolmachov’s “Psalms of David” cycle the principle of strophic composition of parts prevails.
In general, four main types of musical shaping can be highlighted, which are partially correlated with the thematic focus of the psalms.
Didactic (enlightening) psalms, which depict the pious life of the community, have more “stable” forms (two-part, three-part).
Psalm 12 and Psalm 149 have signs of a thorough development based on monothematism.
The accusatory psalms, dedicated to the future Judgment Day (52, 93, 81), are made up using strophic forms with elements of reprise. At the same time, the 81st psalm is characterized by a less active dramatic development and contains a solo episode of a cathartic nature, which is designed to emphasize one of the central ideas of the cycle about the mortality of a person, regardless of his/her status, about higher moral and spiritual values.
It is also worth noting that the architectonics of R. Tolmachov’s psalms is mostly characterized by the final position of the climaxes.
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 The latest version of the Psalter is the choral cycle of the Ukrainian conductor, singer, composer and teacher Ruben Tolmachov.
 The first nights of the work took place under his leadership in May 2023 and had great success and public resonance. That is why the introduction of this work to scientific discourse is relevant.
 The purpose of the article is to reveal the specificity of musical shaping in R. Tolmachov’s “Psalms of David” choral cycle in its relationship with textual semantics.
 The methodology. With the help of textual analysis, the semantic types of psalms (didactic, pleading, laudatory, accusatory) and the peculiarities of their musical structure were determined. By the means of structural, musicological and intonation analysis, the implementation regularities of the semantics of the psalms into specific musical forms have been established.
 The results. The musical structure of all psalms was analyzed, the patterns of musical shaping were revealed, and the specifics of the relationship between the musical form and the content of the poetic text were described.
 The scientific novelty. For the first time, the analysis of the structure of Ruben Tolmachov’s choral cycle based on Taras Shevchenko’s poem was introduced into scientific discourse.
 The practical significance. The results of the research have practical value for performers of works by R. Tolmachov, as well as composers and researchers of choral music.
 Conclusions. In R. Tolmachov’s “Psalms of David” cycle the principle of strophic composition of parts prevails.
 In general, four main types of musical shaping can be highlighted, which are partially correlated with the thematic focus of the psalms.
 Didactic (enlightening) psalms, which depict the pious life of the community, have more “stable” forms (two-part, three-part).
 Psalm 12 and Psalm 149 have signs of a thorough development based on monothematism.
 The accusatory psalms, dedicated to the future Judgment Day (52, 93, 81), are made up using strophic forms with elements of reprise. At the same time, the 81st psalm is characterized by a less active dramatic development and contains a solo episode of a cathartic nature, which is designed to emphasize one of the central ideas of the cycle about the mortality of a person, regardless of his/her status, about higher moral and spiritual values.
 It is also worth noting that the architectonics of R. Tolmachov’s psalms is mostly characterized by the final position of the climaxes.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238850","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}
Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.11
Peng Liu
The purpose of the publication is to determine the specifics of vocal training in S. Yu. Motte’s singing class at Kharkiv Music School as a functional structure of the Kharkiv branch of the Russian Musical Society (RMS) during 1885–1901.
The methodology. Since the specifics of the functioning of vocal art at Kharkiv Music School during 1885–1901 is examined in the scientific discourse for the first time, the methodological basis of the article is the method of comparative analysis, the application of which made it possible to reveal the peculiarities of professional training and further professional self-realization of pupils of S. Motte’s singing class. The determination of S. Motte’s approaches as a vocalist-pedagogue to the development of the voice was carried out on the basis of the analysis of the performing practice of her students within the framework of the application of systematicity principle.
The results. On the basis of analysis of music reviews in the Kharkiv press during 1877–1901 and reports of the Kharkiv branch of the RMS, both the level of S. Motte’s vocal mastery, which became the foundation for understanding the methodology of working with a voice and the teacher’s professional approaches to vocal training of the students of Kharkiv Music School, are investigated. The basis of the generalizations was the analysis of the repertoire performed by S. Motte and her students Y. Reider, M. Mykhailova, M. Poliakova, L. Kurochkyna, and others at public events as the material that was used to study the singing voice. The article highlights the role of S. Motte in understanding the professional requirements for a vocalist graduating from Kharkiv Music School; she formalised the content of the vocal qualification exam.
The scientific novelty. It is proved that during her teaching activities at Kharkiv Music School, S. Motte showed her pedagogical talent, educating specialists capable of successfully conducting vocal performance and pedagogical functions at a sufficiently professional level within a certain period and the regulated educational process. Such a level of education was ensured by studying the voice on musical material, which consisted of instructional texts and chamber repertoire popular on the concert stage, which provided the technology of vocal training and mastering the culture of singing, and European opera music as a criterion of vocal mastery.
The practical significance. Clarifying the logic of the formation and functioning of certain signs of professional voice reproduction of a musical text within certain chronological and cultural boundaries will contribute to the improvement of the process of understanding the phenomena of the musical culture of Kharkiv on the one hand, and of the vocal art of Ukraine on the other hand.
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 The methodology. Since the specifics of the functioning of vocal art at Kharkiv Music School during 1885–1901 is examined in the scientific discourse for the first time, the methodological basis of the article is the method of comparative analysis, the application of which made it possible to reveal the peculiarities of professional training and further professional self-realization of pupils of S. Motte’s singing class. The determination of S. Motte’s approaches as a vocalist-pedagogue to the development of the voice was carried out on the basis of the analysis of the performing practice of her students within the framework of the application of systematicity principle.
 The results. On the basis of analysis of music reviews in the Kharkiv press during 1877–1901 and reports of the Kharkiv branch of the RMS, both the level of S. Motte’s vocal mastery, which became the foundation for understanding the methodology of working with a voice and the teacher’s professional approaches to vocal training of the students of Kharkiv Music School, are investigated. The basis of the generalizations was the analysis of the repertoire performed by S. Motte and her students Y. Reider, M. Mykhailova, M. Poliakova, L. Kurochkyna, and others at public events as the material that was used to study the singing voice. The article highlights the role of S. Motte in understanding the professional requirements for a vocalist graduating from Kharkiv Music School; she formalised the content of the vocal qualification exam.
 The scientific novelty. It is proved that during her teaching activities at Kharkiv Music School, S. Motte showed her pedagogical talent, educating specialists capable of successfully conducting vocal performance and pedagogical functions at a sufficiently professional level within a certain period and the regulated educational process. Such a level of education was ensured by studying the voice on musical material, which consisted of instructional texts and chamber repertoire popular on the concert stage, which provided the technology of vocal training and mastering the culture of singing, and European opera music as a criterion of vocal mastery.
 The practical significance. Clarifying the logic of the formation and functioning of certain signs of professional voice reproduction of a musical text within certain chronological and cultural boundaries will contribute to the improvement of the process of understanding the phenomena of the musical culture of Kharkiv on the one hand, and of the vocal art of Ukraine on the other hand.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238690","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}
Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.01
A. Avershyna
The relevance of the article lies in the analysis of the transformation of the image of a mother woman in the visual culture of independent Ukraine. The patriarchal stereotypical perception of femininity is being transformed in Ukrainian visual culture. Since Ukraine has gained its independence, the perception of the traditional role of women in society began to change under the influence of socio-cultural processes.
The purpose of the article is to carry out a cultural reception of the image of a mother woman in visual culture as a reflection of socio-cultural dynamics in independent Ukraine. To define the peculiarities of female images in interpretive models of visual studios, to investigate the dynamics of the image of a mother woman during the years of independence, as well as to explain the culturally significant meanings of the variable spectrum of the image of a mother woman in the visual space of independent Ukraine.
The methodology of scientific research is determined by the use of methods of cultural studies, history and sociology. The method of culturology allows us to reveal the specifics of the representation of female images in visual culture. The sociocultural method involves the analysis of the visual component of the Ukrainian Internet environment, as well as establishing the interdependence of visual culture and social changes. Historical method allows to trace the context of visual transformations.
The results. It was proved that the image of a mother woman, peculiar to the traditional Ukrainian culture, during the first years of independence was transformed into the mythologem of Berehynia and personified the national idea. Throughout the 1990s, the image embodied the idea of state sovereignty. The period of the 2000s for mass culture was characterized by the depiction of gender-stereotypical images of motherhood and women in the role of a housewife with the emergence of the domestic violence problem. The Revolution of Dignity conditioned the narrative of struggle, which filled the image of a woman-mother with the concept of militancy. As a result of the political and historical processes taking place until today, the concept of motherhood was filled with motives of protection of one’s own land, sacrifice for the protection of one’s own child.
The scientific novelty of the research. For the first time, the transformation of the image of a mother woman, represented in the visual culture of Ukraine during the period of independence, is considered.
The practical significance. The results of the research can be used to study the modern visual culture of Ukraine, in further investigations of mass media and research of feminine images represented in the visual culture of Ukraine.
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 The purpose of the article is to carry out a cultural reception of the image of a mother woman in visual culture as a reflection of socio-cultural dynamics in independent Ukraine. To define the peculiarities of female images in interpretive models of visual studios, to investigate the dynamics of the image of a mother woman during the years of independence, as well as to explain the culturally significant meanings of the variable spectrum of the image of a mother woman in the visual space of independent Ukraine.
 The methodology of scientific research is determined by the use of methods of cultural studies, history and sociology. The method of culturology allows us to reveal the specifics of the representation of female images in visual culture. The sociocultural method involves the analysis of the visual component of the Ukrainian Internet environment, as well as establishing the interdependence of visual culture and social changes. Historical method allows to trace the context of visual transformations.
 The results. It was proved that the image of a mother woman, peculiar to the traditional Ukrainian culture, during the first years of independence was transformed into the mythologem of Berehynia and personified the national idea. Throughout the 1990s, the image embodied the idea of state sovereignty. The period of the 2000s for mass culture was characterized by the depiction of gender-stereotypical images of motherhood and women in the role of a housewife with the emergence of the domestic violence problem. The Revolution of Dignity conditioned the narrative of struggle, which filled the image of a woman-mother with the concept of militancy. As a result of the political and historical processes taking place until today, the concept of motherhood was filled with motives of protection of one’s own land, sacrifice for the protection of one’s own child.
 The scientific novelty of the research. For the first time, the transformation of the image of a mother woman, represented in the visual culture of Ukraine during the period of independence, is considered.
 The practical significance. The results of the research can be used to study the modern visual culture of Ukraine, in further investigations of mass media and research of feminine images represented in the visual culture of Ukraine.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238691","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}
Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.10
Xinbin Fu
The relevance of the article. The relevance of the research topic is determined by the extraordinary popularity of the remote form of joint choral performance in contemporary musical culture. The virtual choir is a fairly new, but already very widespread form of music-making, which is gradually acquiring new characteristics and functions compared to those that were inherent in its early days.
The main factors of the development of the virtual choir phenomenon can be divided into “evolutionary” (the digitalization of art; the interest of performers in new forms of music making; active development of art therapy and inclusive art practices) and “revolutionary” (the COVID-19 pandemic and the Russian-Ukrainian war, which, although more localized than the pandemic, involves a very large number of choirs that have been unable to work as usual).
The latter two factors have led to a quantitative explosion of virtual projects, as well as significant changes in their focus, structure, functions, and composition of performers, etc. that require appropriate scientific understanding.
The purpose of the research is to analyze and systematize existing studies of the virtual choir and to make up a strategy for its comprehensive research.
The methodology. The study of the available scientific literature on the phenomenon of the virtual choir was carried out using the tools of systematic, textual comparative and comprehensive analysis.
The results. The main scientific works on the virtual choir are systematized in four main areas: socio-psychological, technical, didactic and historical. It was found that musicology, choral studies and interpretation aspects have been studied very briefly. Most of the works reveal certain inaccuracies in the presentation of the history of virtual choral performance (except for Сayari), as well as some contradictions in the results of previous studies. In addition, the article raises the question of the conformity of the studied phenomenon with the concept of “virtual choir”.
The scientific novelty. For the first time, the research provides a systematic review of scientific papers about the virtual choir, revealing the current trend towards the study of non-musical aspects.
The practical significance. The materials of the article can be used in practical activities of conductors and choristers, as well as in the educational process of training conductors, choirmasters and vocalists in conditions of remote work.
Conclusions. Scientific comprehension of the phenomenon of the virtual choir is active, but rather limited. Most often, it acts as a certain aesthetic phenomenon that should replace (mostly temporarily) the work of “live” choirs during social cataclysms that limit the possibility of creative communication between people. That is why the most relevant areas of research are socio-psychological and technical. At the same time, many works raise the question of the legality of using
{"title":"Virtual choir: between technical and aesthetical","authors":"Xinbin Fu","doi":"10.31516/2410-5325.081.10","DOIUrl":"https://doi.org/10.31516/2410-5325.081.10","url":null,"abstract":"The relevance of the article. The relevance of the research topic is determined by the extraordinary popularity of the remote form of joint choral performance in contemporary musical culture. The virtual choir is a fairly new, but already very widespread form of music-making, which is gradually acquiring new characteristics and functions compared to those that were inherent in its early days.
 The main factors of the development of the virtual choir phenomenon can be divided into “evolutionary” (the digitalization of art; the interest of performers in new forms of music making; active development of art therapy and inclusive art practices) and “revolutionary” (the COVID-19 pandemic and the Russian-Ukrainian war, which, although more localized than the pandemic, involves a very large number of choirs that have been unable to work as usual).
 The latter two factors have led to a quantitative explosion of virtual projects, as well as significant changes in their focus, structure, functions, and composition of performers, etc. that require appropriate scientific understanding.
 The purpose of the research is to analyze and systematize existing studies of the virtual choir and to make up a strategy for its comprehensive research.
 The methodology. The study of the available scientific literature on the phenomenon of the virtual choir was carried out using the tools of systematic, textual comparative and comprehensive analysis.
 The results. The main scientific works on the virtual choir are systematized in four main areas: socio-psychological, technical, didactic and historical. It was found that musicology, choral studies and interpretation aspects have been studied very briefly. Most of the works reveal certain inaccuracies in the presentation of the history of virtual choral performance (except for Сayari), as well as some contradictions in the results of previous studies. In addition, the article raises the question of the conformity of the studied phenomenon with the concept of “virtual choir”.
 The scientific novelty. For the first time, the research provides a systematic review of scientific papers about the virtual choir, revealing the current trend towards the study of non-musical aspects.
 The practical significance. The materials of the article can be used in practical activities of conductors and choristers, as well as in the educational process of training conductors, choirmasters and vocalists in conditions of remote work.
 Conclusions. Scientific comprehension of the phenomenon of the virtual choir is active, but rather limited. Most often, it acts as a certain aesthetic phenomenon that should replace (mostly temporarily) the work of “live” choirs during social cataclysms that limit the possibility of creative communication between people. That is why the most relevant areas of research are socio-psychological and technical. At the same time, many works raise the question of the legality of using ","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238693","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}
Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.12
V. Myslavskyi
Book review: Anthology of Ukrainian film criticism of the 1920s / edited by: S. Menzelevskyi, O. Teliuk; foreword by S. Menzelevskyi. Oleksandr Dovzhenko National Center, 2019–2021. Vol. 1 — 176 p.; Vol. 2 — 128 p.; Vol. 3 — 200 p.; Vol. 4 — 200 p.
书评：上世纪二十年代乌克兰电影评论选集 / 编者：S. Menzelevskyi, O. Teliuk; 前言：S. Menzelevskyi：S. Menzelevskyi, O. Teliuk; foreword by S. Menzelevskyi.Oleksandr Dovzhenko National Center, 2019-2021.第1卷-176页；第2卷-128页；第3卷-200页；第4卷-200页。
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Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.02
I. Pecheranskyi
The purpose of the article is to reveal and analyze the technical peculiarities of the narrative action games of the 1990s – 2010s as a factor of their development in the context of digital art.
The methodology of the research is accordingly conditioned by the interdisciplinary and techno-cultural nature of the subject of study that has an influence on the choice of toolkit among the components of which are: firstly, reductionist theory and the principle of technological determinism, which help to reveal the role of computer technology in improving game mechanics and shaping the an artistic-expressive means inherent in action games; secondly, narrative analysis that helps to understand the connection of the aesthetic effect with the unique narrative form of video games, which makes it possible to synergize the interactive and artistic-staging parts; and, thirdly, philosophical approach in its connection with the art historical analysis, thanks to the cooperation of which it becomes possible to apply game and phenomenological principles as elements of the above analysis to reveal the specifics of the artistic-virtual space of action games, which is close to interactive fiction and animated films in its aesthetic characteristics.
The results. It was pointed out that in the 1990s – 2010s narrative video games thanks to technical progress made a “breakthrough” in the development of an artistic-expressive system. On the examples of “Wolfenstein 3D”, “Quake”, “Half-life”, “Half-Life 2”, “Doom 3”, “Fahrenheit”, “Crysis” and “Heavy Rain” it was proved that the development of action video games in the pointed period was supposed to solve the problem of conventionality (“animation”) of the image through technological innovations that reduced unrealism and increased its expressiveness. The key role in this played such an aesthetic constant as Narrative Space. It was found out that the technological evolution of action games as a genre of digital art was accompanied by the emergence of non-linear artistic and ontological patterns and the acceleration of the dynamics of the development of the game space.
The scientific novelty. For the first time in the article an attempt was made to analyze the technical peculiarities of the action games of the 1990s – 2010s as a factor in their development in the context of digital art and interactive non-linear narrative.
The practical significance. The obtained results can be applied in the modernization of programs for the professional training of multimedia directors, sound directors, animators, and other specialties in higher education institutions. The materials of the work are of the practical value for researchers in the field of theory and history of art, modern screen culture and audio-visual synthesis, and can be used in the development of educational and methodological manuals and lecture courses devoted to computer games and interactive programs.
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 The methodology of the research is accordingly conditioned by the interdisciplinary and techno-cultural nature of the subject of study that has an influence on the choice of toolkit among the components of which are: firstly, reductionist theory and the principle of technological determinism, which help to reveal the role of computer technology in improving game mechanics and shaping the an artistic-expressive means inherent in action games; secondly, narrative analysis that helps to understand the connection of the aesthetic effect with the unique narrative form of video games, which makes it possible to synergize the interactive and artistic-staging parts; and, thirdly, philosophical approach in its connection with the art historical analysis, thanks to the cooperation of which it becomes possible to apply game and phenomenological principles as elements of the above analysis to reveal the specifics of the artistic-virtual space of action games, which is close to interactive fiction and animated films in its aesthetic characteristics.
 The results. It was pointed out that in the 1990s – 2010s narrative video games thanks to technical progress made a “breakthrough” in the development of an artistic-expressive system. On the examples of “Wolfenstein 3D”, “Quake”, “Half-life”, “Half-Life 2”, “Doom 3”, “Fahrenheit”, “Crysis” and “Heavy Rain” it was proved that the development of action video games in the pointed period was supposed to solve the problem of conventionality (“animation”) of the image through technological innovations that reduced unrealism and increased its expressiveness. The key role in this played such an aesthetic constant as Narrative Space. It was found out that the technological evolution of action games as a genre of digital art was accompanied by the emergence of non-linear artistic and ontological patterns and the acceleration of the dynamics of the development of the game space.
 The scientific novelty. For the first time in the article an attempt was made to analyze the technical peculiarities of the action games of the 1990s – 2010s as a factor in their development in the context of digital art and interactive non-linear narrative.
 The practical significance. The obtained results can be applied in the modernization of programs for the professional training of multimedia directors, sound directors, animators, and other specialties in higher education institutions. The materials of the work are of the practical value for researchers in the field of theory and history of art, modern screen culture and audio-visual synthesis, and can be used in the development of educational and methodological manuals and lecture courses devoted to computer games and interactive programs.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238694","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}
Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.06
T. Kliuka
The relevance of the research. The musical work of the well-known Ukrainian composer, a bright representative of the Kharkiv school of composers — Yurii Alzhniev — is widely known and respected in the modern musical culture of Ukraine. The artist is the author of a large number of large-scale and small-scale works for symphony and chamber orchestras, orchestra and ensemble of folk instruments, a significant number of choral, vocal, vocal-symphonic works, theatre music, separate compositions for various instruments and instrumental ensembles, etc. Today, the most significant samples of Yurii Alzhniev’s works are deservedly within the scope of scientific and research attention of domestic musicologists. After all, these works are now increasingly being performed by leading Ukrainian groups and soloists, on concert stages in various regions of Ukraine and abroad. At the same time, many bright musical compositions of the artist, which were created by him in recent years and represent a high artistic value, remain out of research attention. One of such opuses in Yurii Alzhniev’s creative portfolio is the choral concert “The sound of the Master’s soul...” for a mixed unaccompanied choir, in which national features of Ukrainian traditional choral singing and original author’s decisions regarding the organization of the compositional structure and stylistic filling of the work are skilfully and highly artistically interwoven.
The purpose of this article is to identify the compositional and genre-stylistic features of Yuri Alzhnev’s choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through a musico-logical analysis of this work.
At the heart of the methodology of the work are the methods and techniques of musicological analysis used in theoretical musicology. In particular, this is a method of complex analysis, which is used in the implementation of a holistic analysis of a selected piece of music, as well as separate theoretical methods: genre and style analysis, analysis of musical form, intonation analysis, analysis of elements of musical language. In addition, systematic and system-forming methods, the method of comparative analysis, methods of systematization, synthesis, and generalization are involved in the work methodology.
The results obtained in the course of achieving the goals in this article are focused on revealing the compositional and genre-stylistic features of the choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through the musicological analysis of this work.
The novelty of the work lies in the fact that the choral work of the famous Ukrainian composer Yuriy Alzhnev in recent years has found its musicological interpretation for the first time in the form of his choral concert “The soul calls for an owner...” The genre-stylistic and compositional specifics of this work are defined, the authorial approaches to the realization of this composition in the ou
{"title":"Choral concert “The soul calls for an owner...” by Yurii Alzhniev: genrestylistic and compositional features","authors":"T. Kliuka","doi":"10.31516/2410-5325.081.06","DOIUrl":"https://doi.org/10.31516/2410-5325.081.06","url":null,"abstract":"The relevance of the research. The musical work of the well-known Ukrainian composer, a bright representative of the Kharkiv school of composers — Yurii Alzhniev — is widely known and respected in the modern musical culture of Ukraine. The artist is the author of a large number of large-scale and small-scale works for symphony and chamber orchestras, orchestra and ensemble of folk instruments, a significant number of choral, vocal, vocal-symphonic works, theatre music, separate compositions for various instruments and instrumental ensembles, etc. Today, the most significant samples of Yurii Alzhniev’s works are deservedly within the scope of scientific and research attention of domestic musicologists. After all, these works are now increasingly being performed by leading Ukrainian groups and soloists, on concert stages in various regions of Ukraine and abroad. At the same time, many bright musical compositions of the artist, which were created by him in recent years and represent a high artistic value, remain out of research attention. One of such opuses in Yurii Alzhniev’s creative portfolio is the choral concert “The sound of the Master’s soul...” for a mixed unaccompanied choir, in which national features of Ukrainian traditional choral singing and original author’s decisions regarding the organization of the compositional structure and stylistic filling of the work are skilfully and highly artistically interwoven.
 The purpose of this article is to identify the compositional and genre-stylistic features of Yuri Alzhnev’s choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through a musico-logical analysis of this work.
 At the heart of the methodology of the work are the methods and techniques of musicological analysis used in theoretical musicology. In particular, this is a method of complex analysis, which is used in the implementation of a holistic analysis of a selected piece of music, as well as separate theoretical methods: genre and style analysis, analysis of musical form, intonation analysis, analysis of elements of musical language. In addition, systematic and system-forming methods, the method of comparative analysis, methods of systematization, synthesis, and generalization are involved in the work methodology.
 The results obtained in the course of achieving the goals in this article are focused on revealing the compositional and genre-stylistic features of the choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through the musicological analysis of this work.
 The novelty of the work lies in the fact that the choral work of the famous Ukrainian composer Yuriy Alzhnev in recent years has found its musicological interpretation for the first time in the form of his choral concert “The soul calls for an owner...” The genre-stylistic and compositional specifics of this work are defined, the authorial approaches to the realization of this composition in the ou","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238851","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}
Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.05
Ye. Arefieva
The importance of determining the systemic determinants of cultural genesis of performing art in the context of the ecosystem approach to the interpretation of musical art is emphasized.
The purpose of the article is to determine the system-making directions of the transformation of performing activity in music, in particular, in Kyiv vocal school as a phenomenon of sociocultural explanations of the leading determinants of musical synthesis — anthropological, semiological and visual turns.
The methodology is determined by comparative and systemic approaches, which make it possible to conduct a comparative analysis of musical systems of performing arts; phenomenological and dialectical methods that help to determine the figurative transformations of musical culture as the integrity of performing strategies — skills, abilities, creativity.
The scientific novelty. The theory of systemogenesis and the ecosystem approach to the analysis of large sociocultural systems of reflection provide an opportunity to understand the musical space as a unity of systemogenesis and culturegenesis. Mimetic, logistic and reflexive approaches to the formation of a musician’s performance skill are characterized using the example of vocal and instrumental components of a modern art work. Modern performance skills are technological and specified within the framework of anthropic, media-textual and visual patterns that make an impact on performance. The dichotomy of performance as a division into verbal and instrumental is to a certain extent overcome when all the latest theses, which include information transformation mechanisms on the screen, give a synthetic image. All this, in one way or another, determines the latest genre configurations that often change the trajectory of the development of the systemogenesis of music. Performance in art could not develop without those experiments when vocals enter the symphony, in particular, by A. Schoenberg in “Moon Piero” and others. It could not have developed without those broad creative intentions, which appeared with development of music.
The results. More creative, broader and more global systems are emerging that apply the achievements of the virtual, iconic, visual turn, include screen communications, the modern theater scene, which is becoming more radicalized, different than it was before. The ecological instruction as an appeal to metaphysical origins to a certain extent emphasizes the diversity of systemogenesis in performing culture. On the one hand, it is a metaphysical way of shifting all boundaries, on the other hand, it is a local fragmentation and an appeal to the origins of one’s own performing experience in art. All syntheses, which are carried out on the basis of a musical element, musical text, metatext of musical discourse, require adequate performance skills, abilities and creativity. The more different types of arts are involved here, the more they are needed in order to show a musi
{"title":"Systemogenesis of performing activity in the music of the XX century","authors":"Ye. Arefieva","doi":"10.31516/2410-5325.081.05","DOIUrl":"https://doi.org/10.31516/2410-5325.081.05","url":null,"abstract":"The importance of determining the systemic determinants of cultural genesis of performing art in the context of the ecosystem approach to the interpretation of musical art is emphasized.
 The purpose of the article is to determine the system-making directions of the transformation of performing activity in music, in particular, in Kyiv vocal school as a phenomenon of sociocultural explanations of the leading determinants of musical synthesis — anthropological, semiological and visual turns.
 The methodology is determined by comparative and systemic approaches, which make it possible to conduct a comparative analysis of musical systems of performing arts; phenomenological and dialectical methods that help to determine the figurative transformations of musical culture as the integrity of performing strategies — skills, abilities, creativity.
 The scientific novelty. The theory of systemogenesis and the ecosystem approach to the analysis of large sociocultural systems of reflection provide an opportunity to understand the musical space as a unity of systemogenesis and culturegenesis. Mimetic, logistic and reflexive approaches to the formation of a musician’s performance skill are characterized using the example of vocal and instrumental components of a modern art work. Modern performance skills are technological and specified within the framework of anthropic, media-textual and visual patterns that make an impact on performance. The dichotomy of performance as a division into verbal and instrumental is to a certain extent overcome when all the latest theses, which include information transformation mechanisms on the screen, give a synthetic image. All this, in one way or another, determines the latest genre configurations that often change the trajectory of the development of the systemogenesis of music. Performance in art could not develop without those experiments when vocals enter the symphony, in particular, by A. Schoenberg in “Moon Piero” and others. It could not have developed without those broad creative intentions, which appeared with development of music.
 The results. More creative, broader and more global systems are emerging that apply the achievements of the virtual, iconic, visual turn, include screen communications, the modern theater scene, which is becoming more radicalized, different than it was before. The ecological instruction as an appeal to metaphysical origins to a certain extent emphasizes the diversity of systemogenesis in performing culture. On the one hand, it is a metaphysical way of shifting all boundaries, on the other hand, it is a local fragmentation and an appeal to the origins of one’s own performing experience in art. All syntheses, which are carried out on the basis of a musical element, musical text, metatext of musical discourse, require adequate performance skills, abilities and creativity. The more different types of arts are involved here, the more they are needed in order to show a musi","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238852","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}
Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.08
K. Shkuryeyev
The purpose of the study is to identify and systematize the features of modern sports ballroom dance, which should be the basis for the development of higher professional education in this field and its further specialization. The following tasks have been set: to determine the specifics of sports ballroom dance as a type of choreography, sport, and socio-cultural phenomenon.
The methodology is based on a system-synergistic approach. The article is an analysis of the author’s own many years’ experience — sports, coaching, organization and teaching — by generalizing and systematizing observations.
The results. New circumstances force further institutionalization of sports ballroom dancing, namely the definition and consolidation of social norms, rules, statuses and roles in this area, bringing them into a functioning system capable of self-development and self-reproduction. Sports ballroom dance has not lost its relevance even in the regions of Ukraine most affected by the armed aggression, proving once again its right to develop in the national cultural space. Its mass appeal, its reliance on fundamental ideas and images of life, and its potentially wide target audience of students will contribute to the resumption of competitions and the growing need for higher professional education. The profession of dance teachers is a promising area of work for universities. At the same time, the training of specialists in this field requires further specialization and institutionalization. It should be accepted as a fact that the career of ballroom dancing specialists will be in club and competition activities, and the educational process should be organized accordingly.
The scientific novelty of the article is to clarify the peculiarities of the concept of sports ballroom dance in the system of choreographic art, its socio-cultural role, as well as to analyze dance competitions as the main sphere of their modern existence.
The practical significance. Some provisions of the article can be used in education and special courses in ballroom choreography, theory and methods of dance sports and ballroom dance practices.
{"title":"Problems of institutionalization of higher professional education in sports ballroom dancing in Ukraine","authors":"K. Shkuryeyev","doi":"10.31516/2410-5325.081.08","DOIUrl":"https://doi.org/10.31516/2410-5325.081.08","url":null,"abstract":"The purpose of the study is to identify and systematize the features of modern sports ballroom dance, which should be the basis for the development of higher professional education in this field and its further specialization. The following tasks have been set: to determine the specifics of sports ballroom dance as a type of choreography, sport, and socio-cultural phenomenon.
 The methodology is based on a system-synergistic approach. The article is an analysis of the author’s own many years’ experience — sports, coaching, organization and teaching — by generalizing and systematizing observations.
 The results. New circumstances force further institutionalization of sports ballroom dancing, namely the definition and consolidation of social norms, rules, statuses and roles in this area, bringing them into a functioning system capable of self-development and self-reproduction. Sports ballroom dance has not lost its relevance even in the regions of Ukraine most affected by the armed aggression, proving once again its right to develop in the national cultural space. Its mass appeal, its reliance on fundamental ideas and images of life, and its potentially wide target audience of students will contribute to the resumption of competitions and the growing need for higher professional education. The profession of dance teachers is a promising area of work for universities. At the same time, the training of specialists in this field requires further specialization and institutionalization. It should be accepted as a fact that the career of ballroom dancing specialists will be in club and competition activities, and the educational process should be organized accordingly.
 The scientific novelty of the article is to clarify the peculiarities of the concept of sports ballroom dance in the system of choreographic art, its socio-cultural role, as well as to analyze dance competitions as the main sphere of their modern existence.
 The practical significance. Some provisions of the article can be used in education and special courses in ballroom choreography, theory and methods of dance sports and ballroom dance practices.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238853","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}
Pub Date : 2023-09-21DOI: 10.31516/2410-5325.081.07
R. Nikolenko
The relevance of the article. The works of George Gershwin always attract the attention of the modern academic music community. Well-known performers include the artist’s opuses in their repertoire and release albums with his music. Also, the organization of the George Gershwin International Music Competition, which has been held in New York since 2013, can serve as evidence of significant interest in the music of G. Gershwin.
The purpose of the article is to determine the main trends in the interpretation of G. Gershwin’s Songbook, which have developed in the modern academic performance discourse.
The methodology is based on an integrative app-roach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods.
The results. There are many ways of interpreting G. Gershwin’s piano transcriptions have been formed in the contemporary performance discourse. Working with the composer’s musical text, each pianist reveals various figurative and substantive facets in the Songbook. However, in this variety of performing approaches, some constant aspects of interpretation are still traced, thanks to which it is possible to single out certain trends that have developed in modern performing practice.
Conclusions. Based on the analysis of the interpretive versions, the main trends in the interpretation of transcriptions that have developed in the modern performance discourse have been determined. The first trend involves a creative reinterpretation of the Gershwin’s originality, by making significant changes to it, thanks to which the performer becomes a conditional co-author. The second trend consists in the exact transfer of the composer’s intention, recorded in the musical text.
The practical significance. The material of the article can be used in the further study of the specifics of the performance interpretation of G. Gershwin’s music, as well as in the study of the artist’s work in a special piano class, courses of the music history and the analysis of musical forms.
{"title":"Piano transcriptions of G. Gershwin’s songs in the context of contemporary performance discourse","authors":"R. Nikolenko","doi":"10.31516/2410-5325.081.07","DOIUrl":"https://doi.org/10.31516/2410-5325.081.07","url":null,"abstract":"The relevance of the article. The works of George Gershwin always attract the attention of the modern academic music community. Well-known performers include the artist’s opuses in their repertoire and release albums with his music. Also, the organization of the George Gershwin International Music Competition, which has been held in New York since 2013, can serve as evidence of significant interest in the music of G. Gershwin.
 The purpose of the article is to determine the main trends in the interpretation of G. Gershwin’s Songbook, which have developed in the modern academic performance discourse.
 The methodology is based on an integrative app-roach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods.
 The results. There are many ways of interpreting G. Gershwin’s piano transcriptions have been formed in the contemporary performance discourse. Working with the composer’s musical text, each pianist reveals various figurative and substantive facets in the Songbook. However, in this variety of performing approaches, some constant aspects of interpretation are still traced, thanks to which it is possible to single out certain trends that have developed in modern performing practice.
 Conclusions. Based on the analysis of the interpretive versions, the main trends in the interpretation of transcriptions that have developed in the modern performance discourse have been determined. The first trend involves a creative reinterpretation of the Gershwin’s originality, by making significant changes to it, thanks to which the performer becomes a conditional co-author. The second trend consists in the exact transfer of the composer’s intention, recorded in the musical text.
 The practical significance. The material of the article can be used in the further study of the specifics of the performance interpretation of G. Gershwin’s music, as well as in the study of the artist’s work in a special piano class, courses of the music history and the analysis of musical forms.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136238692","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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