Statement of the problem. The modern stage of development of Chinese musical theater is associated with a significant role in creative experiment, the search for new artistic means. These processes have gone down in history as an artistic direction under the name “new wave”. It emerged in 1976 as a confrontation with the aftermath of the cultural revolution. It combines trends in the revival of national Chinese traditions and the introduction of modern compositional writing methods. In the works of representatives of this direction, a deep understanding of the uniqueness of the aesthetics of ancient Chinese music, the originality of its rhythm and timbre richness is restored. These features are vividly embodied in the Opera “Wolf Cub Village” by Guo Wenjing (郭文景, born in 1956). The theme of the transformation of traditional Chinese musical art in modern times under the conditions of Western influences and the formation of new Chinese music raises by Chinese researchers in one way or another. But the issue of national tradition as a factor of innovation is considered tangentially. Thus, the subject of the article, which reveals the features of the implementation of the traditional chamber opera “Wolf Cub Village” by Guo Wenjing, is looking up-to-date. Recent research and publications. An Luxin in the dissertation “Research of Guo Wenjing’s musical creativity” (2012) traces the stylistic features of Guo Wenjing’s work and analyzes many of his works, but the reason of significant amount of material studied, the composer’s opera heritage is highlighted in generalized way. Guo Wenjing’s own article (2016) as well as materials published in his book “Noise” (2009), are a valuable source of information about the composer’s idea of the opera. Objectives, methods, and novelty of the research. The purpose of the article is to identify the mechanisms of innovations in the implementation of the national Chinese tradition in Guo Wenjing’s chamber opera “Wolf Cub Village”. The study used methods developed in modern musicology, in particular, theoretical, historical and cultural analysis, as well as the method of theoretical generalization. For the first time, the embodiment of the national tradition in the opera work by the contemporary Chinese composer is considered as a factor of artistic innovations. Research results and conclusion. Guo Wenjing’s appeal to the national traditions of Chinese music is associated with the two way orientation of the “new wave” flow that emerged in Chinese professional composing music. We are talking about transforming deep Chinese national traditions along with the use of modern compositional techniques. It is proved that in European opera this approach becomes an artistically effective means of updating the modern musical language. As a result of the study, Guo Wenjing’s opera “Wolf Cub Village” revealed a number of innovations, the source of which was the Chinese verbal language and traditional music. These include: a) the inv
{"title":"National tradition as an innovation factor in Guo Wenjing’s chamber opera “Wolf Cub Village”","authors":"Daria Hnatiuk","doi":"10.34064/khnum1-68.08","DOIUrl":"https://doi.org/10.34064/khnum1-68.08","url":null,"abstract":"Statement of the problem. The modern stage of development of Chinese musical theater is associated with a significant role in creative experiment, the search for new artistic means. These processes have gone down in history as an artistic direction under the name “new wave”. It emerged in 1976 as a confrontation with the aftermath of the cultural revolution. It combines trends in the revival of national Chinese traditions and the introduction of modern compositional writing methods. In the works of representatives of this direction, a deep understanding of the uniqueness of the aesthetics of ancient Chinese music, the originality of its rhythm and timbre richness is restored. These features are vividly embodied in the Opera “Wolf Cub Village” by Guo Wenjing (郭文景, born in 1956). The theme of the transformation of traditional Chinese musical art in modern times under the conditions of Western influences and the formation of new Chinese music raises by Chinese researchers in one way or another. But the issue of national tradition as a factor of innovation is considered tangentially. Thus, the subject of the article, which reveals the features of the implementation of the traditional chamber opera “Wolf Cub Village” by Guo Wenjing, is looking up-to-date. Recent research and publications. An Luxin in the dissertation “Research of Guo Wenjing’s musical creativity” (2012) traces the stylistic features of Guo Wenjing’s work and analyzes many of his works, but the reason of significant amount of material studied, the composer’s opera heritage is highlighted in generalized way. Guo Wenjing’s own article (2016) as well as materials published in his book “Noise” (2009), are a valuable source of information about the composer’s idea of the opera. Objectives, methods, and novelty of the research. The purpose of the article is to identify the mechanisms of innovations in the implementation of the national Chinese tradition in Guo Wenjing’s chamber opera “Wolf Cub Village”. The study used methods developed in modern musicology, in particular, theoretical, historical and cultural analysis, as well as the method of theoretical generalization. For the first time, the embodiment of the national tradition in the opera work by the contemporary Chinese composer is considered as a factor of artistic innovations. Research results and conclusion. Guo Wenjing’s appeal to the national traditions of Chinese music is associated with the two way orientation of the “new wave” flow that emerged in Chinese professional composing music. We are talking about transforming deep Chinese national traditions along with the use of modern compositional techniques. It is proved that in European opera this approach becomes an artistically effective means of updating the modern musical language. As a result of the study, Guo Wenjing’s opera “Wolf Cub Village” revealed a number of innovations, the source of which was the Chinese verbal language and traditional music. These include: a) the inv","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"23 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139226980","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 eternal debate, how words and music interact with each other, runs through the history of musical art, covering both vocal works, where the leading role of the verbal base is obvious, and instrumental works, where the influences of verbal genres give rise to new qualities and corresponding expressive complexes. One of these qualities is “narrativity”, i.e. narration based on eventfulness that in music, especially purely instrumental one, has a specific character. The notion of “narrative” has moved far beyond the boundaries of a single discipline and has become the object of active theoretical research in 20th –21st centuries, including the music world. The concept of narrative in music has been considered in a number of studies by foreign scholars (Hatten, 2004; Klein, 2009; Almen, 2003, 2004, 2008; Tarasti, 1994; Grabocz, 2004; Hair, 2004, and others) and Ukrainian researchers (Ivko, 2008; Piaskovsky, 2003; Lysiuk, 2011, and others). Objectives, methods and novelty of the research. The purpose of the study is the meta-analysis of the discourse on music narrative and highlighting some of the fundamental theories and methods of narrative analysis. For the first time, an attempt was made to systematize the narrative concepts of Ukrainian and foreign researchers and to highlight the approaches of foreign scientists to the issues of narrative analysis for their further application and development in Ukrainian musicology. A combination of methods of generalization and systematization, as well as comparative analysis of information, was used as a research tool. Results. The research shows that the theory of musical narrativity in national musicology is currently at the initial stage. I. Piaskovsky studies this issue on the material of polyphonic music only, A. Ivko considers merely such aspect of narrativity as eventfulness in vocal and instrumental works, Liu Xia and S. Lysiuk focus on the performance embodiment of music narrative, and V. Stepurko & Ya. Bardashevska apply a synthetic approach to the analysis of contemporary instrumental works. Foreign musicology, which has already studied the issue of musical narrative in detail, offers the various theories and methods to analyse it. R. Hatten, drawing parallels with a fairy tale and a storyteller, proves the existence of a narrative in “pure” music and creates a theory of expressive genres that are carriers of tragic, pastoral, heroic principles, and whose appearance is associated with change of current music state, which the author calls “shifting to a higher level of discourse” (Hatten, 1991: 76) ( similar to the “narrator’s” comment). B. Almen uses this concept in his research and adapts the theory of narrative archetypes by J. Liszka and N. Frye to musical analysis; M. Klein also relies on the latter. B. Almen uses this concept in his research and adapts the theory of narrative archetypes by J. Liszka and N. Frye to musical analysis; M. Klein also relies on the latt
问题陈述。文字与音乐如何相互影响这一永恒的争论贯穿了音乐艺术的历史，其中既包括声乐作品，因为在声乐作品中，文字基础的主导作用是显而易见的，也包括器乐作品，因为在器乐作品中，文字流派的影响产生了新的特质和相应的表现复合体。其中一种特质是 "叙事性"，即以事件性为基础的叙事，这在音乐，尤其是纯器乐音乐中具有特殊性。叙事性 "的概念已经远远超越了单一学科的界限，成为 20-21 世纪包括音乐界在内的活跃理论研究的对象。国外学者（Hatten, 2004；Klein, 2009；Almen, 2003, 2004, 2008；Tarasti, 1994；Grabocz, 2004；Hair, 2004 等）和乌克兰研究人员（Ivko, 2008；Piaskovsky, 2003；Lysiuk, 2011 等）在许多研究中都考虑了音乐中的叙事概念。研究的目的、方法和新颖性。本研究的目的是对有关音乐叙事的论述进行元分析，并强调叙事分析的一些基本理论和方法。首次尝试将乌克兰和外国研究人员的叙事概念系统化，并强调外国科学家处理叙事分析问题的方法，以便在乌克兰音乐学中进一步应用和发展。研究采用了概括化和系统化相结合的方法以及信息比较分析方法。研究结果研究表明，民族音乐学中的音乐叙事性理论目前尚处于起步阶段。I. Piaskovsky 仅以复调音乐为素材研究这一问题，A. Ivko 仅考虑声乐和器乐作品中的事件性等叙事性方面，Liu Xia 和 S. Lysiuk 侧重于音乐叙事的表演体现，V. Stepurko & Ya.Bardashevska 采用综合方法分析当代器乐作品。国外音乐学已经对音乐叙事问题进行了详细研究，并提供了各种分析音乐叙事的理论和方法。R. Hatten 以童话故事和说书人为类比，证明了 "纯粹 "音乐中叙事性的存在，并创立了一种表现性流派理论，这种流派是悲剧、田园、英雄主义原则的载体，其出现与当前音乐状态的变化有关，作者称之为 "转向更高层次的话语"（Hatten, 1991: 76）（类似于 "叙述者 "的评论）。B. Almen 在其研究中使用了这一概念，并将 J. Liszka 和 N. Frye 的叙事原型理论应用于音乐分析；M. Klein 也依赖于后者。B. Almen 在其研究中使用了这一概念，并将 J. Liszka 和 N. Frye 的叙事原型理论应用于音乐分析；M. Klein 也依赖于后者。此外，B. Almen 还对器乐作品中音乐主题与叙事的相关性进行了分类。E. Tarasti 和 M. Grabocz 在分析研究中参考了 A. Greimas 的模式。也有学者反对音乐叙事性的观点（J. J. Nattiez 和 C. Abbate），但许多研究者（包括 B. Almen 和 M. Sichardt）驳斥了他们的论点，这表明 "叙事性 "的概念在世界各国音乐学的论述中得到了积极的应用。结论因此，对音乐叙事学论述的元分析虽然并不完整，但却让我们了解到世界各地的研究人员对这一问题的兴趣，而这一问题至今仍具有现实意义。音乐叙事问题是一个复杂的问题，需要进一步研究和拓展音乐学领域。
{"title":"The theory of narrative in the musicological discourse","authors":"Oleksandra Shara","doi":"10.34064/khnum1-68.01","DOIUrl":"https://doi.org/10.34064/khnum1-68.01","url":null,"abstract":"Statement of the problem. The eternal debate, how words and music interact with each other, runs through the history of musical art, covering both vocal works, where the leading role of the verbal base is obvious, and instrumental works, where the influences of verbal genres give rise to new qualities and corresponding expressive complexes. One of these qualities is “narrativity”, i.e. narration based on eventfulness that in music, especially purely instrumental one, has a specific character. The notion of “narrative” has moved far beyond the boundaries of a single discipline and has become the object of active theoretical research in 20th –21st centuries, including the music world. The concept of narrative in music has been considered in a number of studies by foreign scholars (Hatten, 2004; Klein, 2009; Almen, 2003, 2004, 2008; Tarasti, 1994; Grabocz, 2004; Hair, 2004, and others) and Ukrainian researchers (Ivko, 2008; Piaskovsky, 2003; Lysiuk, 2011, and others). Objectives, methods and novelty of the research. The purpose of the study is the meta-analysis of the discourse on music narrative and highlighting some of the fundamental theories and methods of narrative analysis. For the first time, an attempt was made to systematize the narrative concepts of Ukrainian and foreign researchers and to highlight the approaches of foreign scientists to the issues of narrative analysis for their further application and development in Ukrainian musicology. A combination of methods of generalization and systematization, as well as comparative analysis of information, was used as a research tool. Results. The research shows that the theory of musical narrativity in national musicology is currently at the initial stage. I. Piaskovsky studies this issue on the material of polyphonic music only, A. Ivko considers merely such aspect of narrativity as eventfulness in vocal and instrumental works, Liu Xia and S. Lysiuk focus on the performance embodiment of music narrative, and V. Stepurko & Ya. Bardashevska apply a synthetic approach to the analysis of contemporary instrumental works. Foreign musicology, which has already studied the issue of musical narrative in detail, offers the various theories and methods to analyse it. R. Hatten, drawing parallels with a fairy tale and a storyteller, proves the existence of a narrative in “pure” music and creates a theory of expressive genres that are carriers of tragic, pastoral, heroic principles, and whose appearance is associated with change of current music state, which the author calls “shifting to a higher level of discourse” (Hatten, 1991: 76) ( similar to the “narrator’s” comment). B. Almen uses this concept in his research and adapts the theory of narrative archetypes by J. Liszka and N. Frye to musical analysis; M. Klein also relies on the latter. B. Almen uses this concept in his research and adapts the theory of narrative archetypes by J. Liszka and N. Frye to musical analysis; M. Klein also relies on the latt","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"119 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139227112","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 study of the dramaturgy of the world-famous Georges Bizet’s opera «Carmen» remains an unsolved question in modern domestic musicology. However, a deep understanding of drama is the key to a successful performance and is directly related to the activity of conductors, vocalists, and instrumentalists who participate in the production of an opera. The general issues of musical dramaturgy are represented in the scientific articles by O. Beloіenko (2020), V. Vyshynsky (2016), O. Chyrkov (2006); the main problems of the opera genre are studied in the works by V. Rozhоk (2014), M. Cherkashina-Hubarenko (2022), J. Kerman (2005). M. Dibbern’s work is dedicated to the different editions of the opera “Carmen”; the article by M. Christoforidis reveals the significance of the opera “Carmen” for the development of the Spanish national opera. The relevance of the proposed topic is determined by the lack of research specifically devoted to paired female opera images. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the composer’s embodiment of paired women’s characters (Carmen and Michaela) in the context of the general dramaturgy of G. Bizet’s opera “Carmen”. General and special research methods, such as phenomenological, comparative, genre-stylistic, semantic, functional-structural were used in the study. The novelty of the work consists in determining the dramatic function of paired women’s characters and their influence on the overall dramaturgy of the opera performance using the example of G. Bizet’s opera “Carmen”. Research results. In the creative heritage by G. Bizet (1838–1875), the genre of opera is central. The dramaturgy of his famous opera “Carmen” is a rather complex, multifaceted phenomenon, the main characters (Carmen, Jose) combine different qualities and transform during the work, and it is difficult to determine whether they belong to positive or negative groups – each of them, as it were, follows his own path, a pre-prepared year of evil fate. The interaction between the characters of Mikaela and Carmen, which can be called paired, is interesting: on the one hand, they are opposites, on the other hand, they are complementary (the common dramatic “axis” is the influence on the evolution of Jose’s image). The image of Carmen is presented in an expanded and developed way, since Carmen is the main character of the opera. However, both female characters – Carmen and Michaela – play an important role in the overall dramatic development through their interaction with the main male character – Jose. The exposition of both images is presented in the context of other characters, where the vocal parts of the heroines are combined with a choral sound. Interaction with Jose is observed in ensemble numbers. The main female characters do not fundamentally change throughout the opera. Mikaela remains a kind, compassionate girl who lives by high moral principles. Carmen also
{"title":"Opera women’s characters in the context of paired images (on the example of G. Bizet’s opera “Сarmen”)","authors":"YongTing Pei","doi":"10.34064/khnum1-68.07","DOIUrl":"https://doi.org/10.34064/khnum1-68.07","url":null,"abstract":"Statement of the problem. The study of the dramaturgy of the world-famous Georges Bizet’s opera «Carmen» remains an unsolved question in modern domestic musicology. However, a deep understanding of drama is the key to a successful performance and is directly related to the activity of conductors, vocalists, and instrumentalists who participate in the production of an opera. The general issues of musical dramaturgy are represented in the scientific articles by O. Beloіenko (2020), V. Vyshynsky (2016), O. Chyrkov (2006); the main problems of the opera genre are studied in the works by V. Rozhоk (2014), M. Cherkashina-Hubarenko (2022), J. Kerman (2005). M. Dibbern’s work is dedicated to the different editions of the opera “Carmen”; the article by M. Christoforidis reveals the significance of the opera “Carmen” for the development of the Spanish national opera. The relevance of the proposed topic is determined by the lack of research specifically devoted to paired female opera images. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the composer’s embodiment of paired women’s characters (Carmen and Michaela) in the context of the general dramaturgy of G. Bizet’s opera “Carmen”. General and special research methods, such as phenomenological, comparative, genre-stylistic, semantic, functional-structural were used in the study. The novelty of the work consists in determining the dramatic function of paired women’s characters and their influence on the overall dramaturgy of the opera performance using the example of G. Bizet’s opera “Carmen”. Research results. In the creative heritage by G. Bizet (1838–1875), the genre of opera is central. The dramaturgy of his famous opera “Carmen” is a rather complex, multifaceted phenomenon, the main characters (Carmen, Jose) combine different qualities and transform during the work, and it is difficult to determine whether they belong to positive or negative groups – each of them, as it were, follows his own path, a pre-prepared year of evil fate. The interaction between the characters of Mikaela and Carmen, which can be called paired, is interesting: on the one hand, they are opposites, on the other hand, they are complementary (the common dramatic “axis” is the influence on the evolution of Jose’s image). The image of Carmen is presented in an expanded and developed way, since Carmen is the main character of the opera. However, both female characters – Carmen and Michaela – play an important role in the overall dramatic development through their interaction with the main male character – Jose. The exposition of both images is presented in the context of other characters, where the vocal parts of the heroines are combined with a choral sound. Interaction with Jose is observed in ensemble numbers. The main female characters do not fundamentally change throughout the opera. Mikaela remains a kind, compassionate girl who lives by high moral principles. Carmen also","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139223763","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}
The study examines gender issues in the works of Ukrainian writers on the border of the 19th and 20th centuries, whose main heroes and heroines are representatives of art. In the dramaturgical works of this time, due to the departure from the social issues, the problems of gender equality and the possibility of choosing their life path by women actresses are intensified. This topic today remains an almost unexplored in scientific works, which determines the relevance and scientific novelty of our article. The purpose of the study is to consider the processes of modernization of Ukrainian literature in the context of gender and feminist issues, as well as to analyze the peculiarities of writers’ interpretation of images of artists in prose and drama using general scientific approaches and comparative typological method. The research results allows to state that such writers as O. Konisky and H. Khotkevych seek to reveal the peculiarities of the worldview of their characters. At the same time, the attitude of the heroes towards the female gender is traditional, the chosen ones of the musicians – main literary personages – should be female associates who fully support the lofty thoughts and deeds of their husbands. Actors and actresses in the plays by M. Starytsky and I. Karpenko-Kary raise the most difficult issues of family life, fidelity and betrayal of wives and husbands in marriage, life in a civil marriage and others that continue to be relevant in our time. L. Starytska Cherniakhivska, Lesia Ukrainka and O. Kobylianska, going beyond gender issues in the direction of feminist views, transfer the emphasis in their plays and short prose to the tragedy of a talented woman who devoted herself to art. Thus, Ukrainian writers of the studied period considered in sufficient detail the problem of gender relations in their modern society, in particular, the issue of family betrayal in its interpretation by representatives of the opposite sexes, and built a kind of hierarchy of relations between women and men.
本研究探讨了 19 世纪和 20 世纪交界处乌克兰作家作品中的性别问题，这些作品中的男女主人公都是 艺术界的代表人物。在这一时期的戏剧作品中，由于脱离了社会问题，性别平等问题和女演员选择自己人生道路的可能性问题更加突出。如今，这一主题在科学著作中几乎仍未得到探讨，这也决定了我们这篇文章的现实意义和科学新颖性。本研究的目的是在性别和女权问题的背景下思考乌克兰文学的现代化进程，并利用一般科学方法 和比较类型学方法分析作家对散文和戏剧中艺术家形象的诠释的特殊性。研究结果表明，O. Konisky 和 H. Khotkevych 等作家试图揭示其笔下人物世界观的特殊性。同时，主人公对女性的态度是传统的，音乐家选择的对象--主要的文学人物--应该是全力支持丈夫崇高思想和行为的女性伙伴。在 M. Starytsky 和 I. Karpenko-Kary 的剧作中，演员们提出了家庭生活中最棘手的问题、婚姻中妻子和丈夫的忠诚与背叛、公证结婚中的生活等问题，这些问题在当代依然具有现实意义。L. Starytska Cherniakhivska、Lesia Ukrainka 和 O. Kobylianska 超越了性别问题，朝着女权主义观点的方向发展，在其剧本和短篇散文中将重点转移到一位献身艺术的天才女性的悲剧上。因此，研究期间的乌克兰作家充分考虑了现代社会中的性别关系问题，特别是异性代表对 家庭背叛问题的解释，并建立了一种男女关系等级制度。
{"title":"The image of male / female artist in Ukrainian literature at the turn of the 19th and 20th centuries in the gender aspect","authors":"O. Kalenichenko, Yu.P. Shchukina","doi":"10.34064/khnum1-68.09","DOIUrl":"https://doi.org/10.34064/khnum1-68.09","url":null,"abstract":"The study examines gender issues in the works of Ukrainian writers on the border of the 19th and 20th centuries, whose main heroes and heroines are representatives of art. In the dramaturgical works of this time, due to the departure from the social issues, the problems of gender equality and the possibility of choosing their life path by women actresses are intensified. This topic today remains an almost unexplored in scientific works, which determines the relevance and scientific novelty of our article. The purpose of the study is to consider the processes of modernization of Ukrainian literature in the context of gender and feminist issues, as well as to analyze the peculiarities of writers’ interpretation of images of artists in prose and drama using general scientific approaches and comparative typological method. The research results allows to state that such writers as O. Konisky and H. Khotkevych seek to reveal the peculiarities of the worldview of their characters. At the same time, the attitude of the heroes towards the female gender is traditional, the chosen ones of the musicians – main literary personages – should be female associates who fully support the lofty thoughts and deeds of their husbands. Actors and actresses in the plays by M. Starytsky and I. Karpenko-Kary raise the most difficult issues of family life, fidelity and betrayal of wives and husbands in marriage, life in a civil marriage and others that continue to be relevant in our time. L. Starytska Cherniakhivska, Lesia Ukrainka and O. Kobylianska, going beyond gender issues in the direction of feminist views, transfer the emphasis in their plays and short prose to the tragedy of a talented woman who devoted herself to art. Thus, Ukrainian writers of the studied period considered in sufficient detail the problem of gender relations in their modern society, in particular, the issue of family betrayal in its interpretation by representatives of the opposite sexes, and built a kind of hierarchy of relations between women and men.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"59 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139218618","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. Etienne Ozi stands out as a bassoonist due to his significant creative achievements in various spheres of his multifaceted activities. As a bassoonist soloist, he successfully debuted in the “Concerts Spirituels” and for more than two decades was actively performed in front of Parisians in the best halls of the capital. An equally significant achievement of Ozі as a teacher was the preparation of the first instructional manual for the specialists “Nouvelle méthode de basson adoptue par le Conservatoire” (1803), which remained the main official publication of the Paris Conservatory for many years. The composer’s work also became an important part of the bassoon repertoire, which was actively used by him and his students in performing and teaching activities. Despite the importance of E. Ozi’s contribution to all spheres of bassoon art, the artist’s multifaceted creative activity still has not been properly assessed by modern researchers and requires a more detailed study. Recent research and publications. Among the works of domestic scientists, there are hardly any publications dedicated to E. Ozi’s creative activity. An outstanding Ukrainian musician, teacher and scientist V. M. Apatsky (2017) in his fundamental reference publication «Bassoon from A to Z» covers only individual episodes of the musician’s biography. The figure of the French artist is considered more deeply by foreign researchers, among which it is necessary to single out the dissertation and monograph of H. E. Griswold «Etienne Ozi (1754–1813): Bassoonist, Teacher, and Composer» (1979), in which E. Ozi’s work is revealed in sufficient detail. However, over the forty-year period of its existence, a certain updating of historical materials took place, which requires clarification and correction of some facts. Among the latest publications, which in one way or another highlight E. Ozi’s work, it is worth mentioning O. Tiffou’s monograph «The French Bassoon in the 19th Century. Theory and Repertoire» (2022) and Á. D. Moreno’s thesis «Bassoon Playing in Perspective. Character and Performance Practice from 1800 to 1850» (2013). In each of the studies, the authors partly consider individual aspects of the musician’s creative work according to the chosen research direction. Objectives, methods, and novelty of the research. The purpose of the study is to identify the main directions of Etienne Ozi’s performance and his role in the process of formation of the French bassoon school of the late 18th – early 19th centuries. The scientific novelty of the paper is determined by disclosing little-known facts of E. Ozi’s performance and his contribution to the formation of the French bassoon school. The study of E. Ozi’s performance required the use of a number of methods, such as historical to reveal the ideological and socio-economic factors of influence of the French Revolution on the development of musical art; historiography analyses to study and interpret musical an
问题陈述艾蒂安-奥兹（Etienne Ozi）作为一名巴松管演奏家，在其多方面活动的各个领域都取得了显著的创作成就。作为一名巴松管独奏家，他成功地在 "精神音乐会"（Concerts Spirituels）上首次亮相，二十多年来在巴黎最好的音乐厅为巴黎市民积极演出。作为一名教师，奥兹同样重要的成就是为专家编写了第一本教学手册《音乐学院采用的新低音管教学法》（Nouvelle méthode de basson adoptue par le Conservatoire）（1803 年），该手册多年来一直是巴黎音乐学院的主要官方出版物。作曲家的作品也成为巴松管曲目的重要组成部分，在演奏和教学活动中被他和他的学生们积极使用。尽管埃-奥兹对巴松管艺术的各个领域都做出了重要贡献，但现代研究人员仍未对这位艺术家多方面的创作活动进行适当评估，因此需要对其进行更详细的研究。最新研究和出版物。在国内科学家的著作中，几乎没有专门研究 E. Ozi 创作活动的出版物。乌克兰杰出的音乐家、教师和科学家 V. M. Apatsky（2017 年）在其基本参考出版物《从 A 到 Z 的巴松管》中只介绍了这位音乐家传记中的个别情节。外国研究人员对这位法国艺术家的形象进行了更深入的研究，其中有必要特别提到 H. E. Griswold 的论文和专著《Etienne Ozi (1754-1813)》：格里斯伍德的论文和专著《埃蒂安-奥兹（1754-1813 年）：巴松管演奏家、教师和作曲家》（1979 年）充分详细地介绍了奥兹的作品。然而，在该书问世的四十年间，对史料进行了一定程度的更新，需要对一些事实进行澄清和更正。在以某种方式强调 E. Ozi 作品的最新出版物中，值得一提的是 O. Tiffou 的专著《19 世纪的法国巴松管》（The French Bassoon in the 19th Century）。理论与曲目"（2022 年）和 Á.D. Moreno 的论文 "透视巴松管演奏。1800 年至 1850 年的特点和演奏实践"（2013 年）。在每项研究中，作者都根据选定的研究方向对音乐家创作的个别方面进行了部分考虑。研究的目的、方法和新颖性。本研究的目的是确定艾蒂安-奥兹演奏的主要方向，以及他在 18 世纪末 19 世纪初法国巴松管流派形成过程中的作用。本文的科学新颖性在于揭示了艾蒂安-奥兹鲜为人知的演奏事实及其对法国巴松管流派形成的贡献。研究 E. Ozi 的演奏需要使用多种方法，如历史学方法，以揭示法国大革命对音乐艺术发展的意识形态和社会经济影响因素；历史学分析，以研究和解释 18 世纪的音乐和批评资料；年代学方法，以确定 E. Ozi 主要音乐会演出的时间顺序；背景和传记方法，以突出艺术家创作的重要阶段。研究成果。奥兹成为演奏家的过程与军乐团有关，由于十八世纪法国缺乏专门的音乐教育机构，军乐团仍然是唯一可以学习管乐器演奏的地方。后来，在德国杰出的巴松管演奏家里特尔（G. V. Ritter）的指导下，成功地学习了巴松管，为他打开了通往音乐会舞台的大门。从 1779 年起，他成为皇宫中著名的 "精神音乐会 "的活跃独奏家。法国大革命和君主制被推翻后，埃-奥齐继续在巴黎音乐学院、意大利剧院管弦乐团、费多剧院管弦乐团和共和国与艺术剧院管弦乐团成功地从事表演和教学工作。这位天才音乐家的一项重要成就是在大歌剧院独奏家候选人的竞争中取得了令人信服的胜利，这使他成为法国最负盛名的巴松管演奏家。结论E. Ozi 是法国第一批将巴松管作为独奏乐器并为其创作多流派音乐会曲目的音乐家之一。他经常在巴黎最负盛名的音乐厅演出，这使他不仅在法国，而且在欧洲巴松管演奏家中自信地占据领先地位。埃-奥齐积极的演奏活动和他在巴黎音乐学院卓有成效的教学实践对 18 世纪末 19 世纪初欧洲巴松管艺术的发展产生了至关重要的影响。
{"title":"Etienne Ozi – «a great bassonist of incredible talent»","authors":"Ihor Nechesnyi","doi":"10.34064/khnum1-68.02","DOIUrl":"https://doi.org/10.34064/khnum1-68.02","url":null,"abstract":"Statement of the problem. Etienne Ozi stands out as a bassoonist due to his significant creative achievements in various spheres of his multifaceted activities. As a bassoonist soloist, he successfully debuted in the “Concerts Spirituels” and for more than two decades was actively performed in front of Parisians in the best halls of the capital. An equally significant achievement of Ozі as a teacher was the preparation of the first instructional manual for the specialists “Nouvelle méthode de basson adoptue par le Conservatoire” (1803), which remained the main official publication of the Paris Conservatory for many years. The composer’s work also became an important part of the bassoon repertoire, which was actively used by him and his students in performing and teaching activities. Despite the importance of E. Ozi’s contribution to all spheres of bassoon art, the artist’s multifaceted creative activity still has not been properly assessed by modern researchers and requires a more detailed study. Recent research and publications. Among the works of domestic scientists, there are hardly any publications dedicated to E. Ozi’s creative activity. An outstanding Ukrainian musician, teacher and scientist V. M. Apatsky (2017) in his fundamental reference publication «Bassoon from A to Z» covers only individual episodes of the musician’s biography. The figure of the French artist is considered more deeply by foreign researchers, among which it is necessary to single out the dissertation and monograph of H. E. Griswold «Etienne Ozi (1754–1813): Bassoonist, Teacher, and Composer» (1979), in which E. Ozi’s work is revealed in sufficient detail. However, over the forty-year period of its existence, a certain updating of historical materials took place, which requires clarification and correction of some facts. Among the latest publications, which in one way or another highlight E. Ozi’s work, it is worth mentioning O. Tiffou’s monograph «The French Bassoon in the 19th Century. Theory and Repertoire» (2022) and Á. D. Moreno’s thesis «Bassoon Playing in Perspective. Character and Performance Practice from 1800 to 1850» (2013). In each of the studies, the authors partly consider individual aspects of the musician’s creative work according to the chosen research direction. Objectives, methods, and novelty of the research. The purpose of the study is to identify the main directions of Etienne Ozi’s performance and his role in the process of formation of the French bassoon school of the late 18th – early 19th centuries. The scientific novelty of the paper is determined by disclosing little-known facts of E. Ozi’s performance and his contribution to the formation of the French bassoon school. The study of E. Ozi’s performance required the use of a number of methods, such as historical to reveal the ideological and socio-economic factors of influence of the French Revolution on the development of musical art; historiography analyses to study and interpret musical an","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"692 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139222459","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 modern academic violin performance art is an extensive and multi-level phenomenon. Musicians choose one or another direction of self-realization (soloist, ensemble or quartet player, orchestra artist), achieving a certain level of mastery in it. Such a narrowing of specialization, determined by the history of musical art, on the one hand, helps to increase the level of professionalism, and on the other hand, it ruins the integrity of the figure of the performer in the perception of musicians and listeners. The scientific literature devoted to the issues of violin performance in various roles is quite extensive and versatile and makes it possible to understand certain aspects of a musician’s creative life. Recently researches by L. Bishop et al. (2021), E. B. Horwitz et al. (2021), E. Cho (2021), and others gives a chance to understand the creative life of a violinist in a fragmented way, stimulating the desire to achieve a certain integrity when considering the stated problem. Objectives, methods, and novelty of the research. The purpose of the study is to consider the synthetic nature of the violinist’s professionalism and its manifestation in various directions of his / her creative realization. The cognitive apparatus of the study is based on the combination of historical-theoretical, structural-functional, comparative, hermeneutic, and systemic methods of analysis, owing to which the synthetic nature of the violinist-performer’s professionalism unfolds in different angles. For the first time, the professionalism of the violinist is considered from the point of view of its synthetic nature; in the context of the chosen topic, L. Spohr’s thorough views in his “Violin School” are highlighted. Research results. Solo, ensemble, quartet or orchestral playing differs in the functional characteristics of the musician: status that determines his/her behaviour and the type of communication – the role. Acquiring practical knowledge in each of these specializations, the violinist realizes the uniqueness of the respective statuses and roles, enrichs self-own artistic-aesthetic, socio-cultural experience, thereby developing intelligence, expanding the psycho-emotional range and scope of his / her performer art. L. Spohr in the “Violin School” provides his own vision of the universal qualities of a violinist and separately characterizes his / her various statuses and roles. Although this methodical work is almost two hundred years old, the relevance of the author’s advice is not lost even today. Conclusion. Regardless of the chosen status, the violinist faces some circle of art tasks. They are based on the features of the implementation and delivery of a specific composer’s idea to the listener and determine the musician’s use of a particular set of playing skills. Mastering various “roles”, which clearly demonstrate the synthetic nature of a violinist’s professionalism, allows one to demonstrate exactly those qualities that ar
问题陈述。现代学术小提琴演奏艺术是一种广泛而多层次的现象。音乐家们选择这样或那样的自我实现方向（独奏家、合奏或四重奏演奏家、管弦乐队艺术家），并在其中达到一定的造诣。这种由音乐艺术史决定的专业化缩小，一方面有助于提高专业水平，另一方面也破坏了演奏家形象在音乐家和听众心目中的完整性。专门研究各种角色的小提琴演奏问题的科学文献相当广泛和多样，使人们有可能了解音乐家创作生活的某些方面。L. Bishop 等人 (2021)、E. B. Horwitz 等人 (2021)、E. Cho (2021) 等人最近的研究使我们有机会零散地了解小提琴家的创作生活，激发了我们在考虑所述问题时实现某种完整性的愿望。研究的目的、方法和新颖性。本研究的目的是探讨小提琴家职业精神的综合性质及其在不同创作方向上的体现。本研究的认知装置基于历史理论、结构功能、比较、诠释和系统分析方法的结合，从而从不同角度展现了小提琴演奏家职业精神的综合本质。这是首次从小提琴演奏家职业精神的综合性质角度对其进行思考；在所选主题的背景下，强调了 L. Spohr 在其 "小提琴学派 "中的透彻观点。研究成果。独奏、合奏、四重奏或管弦乐演奏的不同之处在于音乐家的功能特征：决定其行为的地位和交流类型--角色。小提琴家通过掌握这些专业的实践知识，认识到各自地位和角色的独特性，丰富自我的艺术审美和社会文化体验，从而开发智力，扩大其表演艺术的心理情感范围和范畴。L. 斯波尔在 "小提琴学派 "中提出了自己对小提琴家普遍素质的看法，并分别描述了小提琴家的各种地位和角色。尽管这部系统的著作已有近两百年的历史，但作者的建议即使在今天也不失其现实意义。结论无论选择何种身份，小提琴家都面临着一些艺术任务。这些任务的基础是将特定作曲家的思想付诸实施并传递给听众，同时也决定了音乐家对特定演奏技巧的运用。掌握各种 "角色"，可以清楚地显示出小提琴家专业水平的综合性质，也可以准确地显示出所选择的音乐创作形式和作曲家意图所要求的品质。我们认为，对交流和角色扮演过程的具体细节进行研究，有助于重新思考既定的教学方法和综合学习方法的价值，而 L. Shpor 的 "小提琴学校 "正是建立在这一基础之上的。
{"title":"The synthetic nature of the violinist-performer’s professionalism (on the material of L. Spohr’s “Violin school”)","authors":"Stanislav Kucherenko","doi":"10.34064/khnum1-68.03","DOIUrl":"https://doi.org/10.34064/khnum1-68.03","url":null,"abstract":"Statement of the problem. The modern academic violin performance art is an extensive and multi-level phenomenon. Musicians choose one or another direction of self-realization (soloist, ensemble or quartet player, orchestra artist), achieving a certain level of mastery in it. Such a narrowing of specialization, determined by the history of musical art, on the one hand, helps to increase the level of professionalism, and on the other hand, it ruins the integrity of the figure of the performer in the perception of musicians and listeners. The scientific literature devoted to the issues of violin performance in various roles is quite extensive and versatile and makes it possible to understand certain aspects of a musician’s creative life. Recently researches by L. Bishop et al. (2021), E. B. Horwitz et al. (2021), E. Cho (2021), and others gives a chance to understand the creative life of a violinist in a fragmented way, stimulating the desire to achieve a certain integrity when considering the stated problem. Objectives, methods, and novelty of the research. The purpose of the study is to consider the synthetic nature of the violinist’s professionalism and its manifestation in various directions of his / her creative realization. The cognitive apparatus of the study is based on the combination of historical-theoretical, structural-functional, comparative, hermeneutic, and systemic methods of analysis, owing to which the synthetic nature of the violinist-performer’s professionalism unfolds in different angles. For the first time, the professionalism of the violinist is considered from the point of view of its synthetic nature; in the context of the chosen topic, L. Spohr’s thorough views in his “Violin School” are highlighted. Research results. Solo, ensemble, quartet or orchestral playing differs in the functional characteristics of the musician: status that determines his/her behaviour and the type of communication – the role. Acquiring practical knowledge in each of these specializations, the violinist realizes the uniqueness of the respective statuses and roles, enrichs self-own artistic-aesthetic, socio-cultural experience, thereby developing intelligence, expanding the psycho-emotional range and scope of his / her performer art. L. Spohr in the “Violin School” provides his own vision of the universal qualities of a violinist and separately characterizes his / her various statuses and roles. Although this methodical work is almost two hundred years old, the relevance of the author’s advice is not lost even today. Conclusion. Regardless of the chosen status, the violinist faces some circle of art tasks. They are based on the features of the implementation and delivery of a specific composer’s idea to the listener and determine the musician’s use of a particular set of playing skills. Mastering various “roles”, which clearly demonstrate the synthetic nature of a violinist’s professionalism, allows one to demonstrate exactly those qualities that ar","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139225550","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 modern information society using cutting-edge digital tools and resources, requires innovative approaches in education aimed at shaping the personality of students in all the diversity of their activities. In today’s globalized space, where innovation and creativity are key success factors, it is important to cultivate students’ skills in creative thinking and self-expression. The turbulent Ukrainian present became a challenge for the development and establishment of a new educational system oriented on the personal type of teaching. An urgent need to improve pedagogical technologies encourages the search for a new educational paradigm, allowing Ukraine to stay abreast of global innovative processes. The course “Choral Arrangement” is aimed at developing the creative potential of choirmaster students, which is undoubtedly a relevant task in the modern educational space. Objectives, methods, and novelty of the research. The personal oriented approach in higher education is an actively researched topic, by domestic (Podmazin, 2006; Bekh, 2003) and foreign (Heikkila, Niemivirta, Nieminen, & Lonka, 2010) authors. A number of studies are devoted to pedagogical innovations (Dychkivska, 2004; Ihnatovich, 2019; Danilenko, 2006) and the psychological and pedagogical aspect of personal development (Moliako, 2003; Turynina, 2007; Mishchykha, 2010), the musical pedagogy (Smyrnova, 2021; Zhernovnykova, & Van Tsin I, 2017; Plotnytska, 2021) and the contemporary trends in choral conducting education too (Dolchuk, 2008; Smyrnova, 2008; Karpenko, 2021; Semenchuk, 2022). However, the questions of the impact of choral arrangement on the development of music creative skills of choirmaster students, as well as the search for innovative teaching methods and organizational forms that contribute to the formation of unique musical personalities, requires further analytical refinement. The purpose of the article is to determine the role of choral arrangement in developing the creative potential of choirmasters’ students, their musical thinking, performance and interpretive skills. The study is also focused on finding innovative approaches to teaching the “Choral Arrangement” discipline that contribute to more effective development of unique artistic individuals, which capable to self-improvement and professional growth as choral conductors. The interaction of personal, competence and contextual approaches to the professional training of a specialist, necessary in the process of developing his creative abilities, led to the involvement of such research methods as theoretical and comparative analysis of pedagogical conceptions. Also, “case study” method was considered as one of the way for creation of choral arrangement. Results and conclusion. The discipline "Choral arrangement" is an extremely important component of the formation of the artistic personality of the future choirmaster, as it develops his musical thinking and creative abilities,
{"title":"Choral conducting as a way of realizing the creative potential of a student choirmaster","authors":"Nataliia Mykhailova","doi":"10.34064/khnum1-68.04","DOIUrl":"https://doi.org/10.34064/khnum1-68.04","url":null,"abstract":"Statement of the problem. The modern information society using cutting-edge digital tools and resources, requires innovative approaches in education aimed at shaping the personality of students in all the diversity of their activities. In today’s globalized space, where innovation and creativity are key success factors, it is important to cultivate students’ skills in creative thinking and self-expression. The turbulent Ukrainian present became a challenge for the development and establishment of a new educational system oriented on the personal type of teaching. An urgent need to improve pedagogical technologies encourages the search for a new educational paradigm, allowing Ukraine to stay abreast of global innovative processes. The course “Choral Arrangement” is aimed at developing the creative potential of choirmaster students, which is undoubtedly a relevant task in the modern educational space. Objectives, methods, and novelty of the research. The personal oriented approach in higher education is an actively researched topic, by domestic (Podmazin, 2006; Bekh, 2003) and foreign (Heikkila, Niemivirta, Nieminen, & Lonka, 2010) authors. A number of studies are devoted to pedagogical innovations (Dychkivska, 2004; Ihnatovich, 2019; Danilenko, 2006) and the psychological and pedagogical aspect of personal development (Moliako, 2003; Turynina, 2007; Mishchykha, 2010), the musical pedagogy (Smyrnova, 2021; Zhernovnykova, & Van Tsin I, 2017; Plotnytska, 2021) and the contemporary trends in choral conducting education too (Dolchuk, 2008; Smyrnova, 2008; Karpenko, 2021; Semenchuk, 2022). However, the questions of the impact of choral arrangement on the development of music creative skills of choirmaster students, as well as the search for innovative teaching methods and organizational forms that contribute to the formation of unique musical personalities, requires further analytical refinement. The purpose of the article is to determine the role of choral arrangement in developing the creative potential of choirmasters’ students, their musical thinking, performance and interpretive skills. The study is also focused on finding innovative approaches to teaching the “Choral Arrangement” discipline that contribute to more effective development of unique artistic individuals, which capable to self-improvement and professional growth as choral conductors. The interaction of personal, competence and contextual approaches to the professional training of a specialist, necessary in the process of developing his creative abilities, led to the involvement of such research methods as theoretical and comparative analysis of pedagogical conceptions. Also, “case study” method was considered as one of the way for creation of choral arrangement. Results and conclusion. The discipline \"Choral arrangement\" is an extremely important component of the formation of the artistic personality of the future choirmaster, as it develops his musical thinking and creative abilities,","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139222577","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 question of the quality of education in one way or another is raised by almost all recent studies in the field of education. Both domestic and foreign scientists insist on the importance of innovative changes in the educational process. Cognitive technologies of neuropedagogy can become one of the most effective innovative methods of learning, education and self-development. Neuropedagogy is based on the classical principles of pedagogy, psychology, neurology, cybernetics and reflects a person-oriented approach in the educational process. The goal of neuropedagogy is to optimally and creatively solve pedagogical tasks in practice, using knowledge about the individual features of the brain organization of higher mental functions. Neuropedagogy studies neuropedagogical systems, their properties and processes. Obiectives, methods, and novelty of the research. Neuropedagogy almost did not attract the attention of domestic authors, therefore the issues discussed in the article are of a topical nature and include elements of scientific novelty. The purpose of the article is to define and consider some of the aspects of neuropedagogy that can become the basis for innovative directions in vocal education. The main research methods were analysis and synthesis when studying the Ukrainian and foreign experience of implementing the principles of neuropedagogy in the educational process; method of systematization for determining the provisions of neuropedagogy essential for vocal education. Research results and conclusion. Vocal pedagogy is based on the general psychophysiological characteristics of a person, the peculiarities of his higher nervous activity. The system of vocal and performance skills is a complex of conditioned reflex actions, most of which have already been studied, but the search for new knowledge about the capabilities of the human body does not stop. The practical application of such knowledge is also useful in vocal pedagogy. Among the various methods and principles of teaching offered by neuropedagogy, as the most essential for working in the vocal class, we have identified the following: the reliance of perception on the unity of analysis-synthesis processes; taking into account the features of simultaneous perception (the effect of peripheral perception) and controlling the directions of attention; unity of conscious and unconscious processes; features of memory (emotionally colored, spatial-visual memorization); the importance of freedom in the educational process; application of the phenomenon of emotional and psychological resonance in the formation of vocal and performing skills; the development of the musician’s individual sphere as the embodiment of a personally oriented approach to learning. The application of the principles of neuropedagogy in the educational process can become an additional factor that will contribute to the individualization of education, the introduction of a personally oriente
{"title":"Neuropedagogy as a perspective direction of vocal educational work","authors":"Viktoriia Mykhailets","doi":"10.34064/khnum1-68.05","DOIUrl":"https://doi.org/10.34064/khnum1-68.05","url":null,"abstract":"Statement of the problem. The question of the quality of education in one way or another is raised by almost all recent studies in the field of education. Both domestic and foreign scientists insist on the importance of innovative changes in the educational process. Cognitive technologies of neuropedagogy can become one of the most effective innovative methods of learning, education and self-development. Neuropedagogy is based on the classical principles of pedagogy, psychology, neurology, cybernetics and reflects a person-oriented approach in the educational process. The goal of neuropedagogy is to optimally and creatively solve pedagogical tasks in practice, using knowledge about the individual features of the brain organization of higher mental functions. Neuropedagogy studies neuropedagogical systems, their properties and processes. Obiectives, methods, and novelty of the research. Neuropedagogy almost did not attract the attention of domestic authors, therefore the issues discussed in the article are of a topical nature and include elements of scientific novelty. The purpose of the article is to define and consider some of the aspects of neuropedagogy that can become the basis for innovative directions in vocal education. The main research methods were analysis and synthesis when studying the Ukrainian and foreign experience of implementing the principles of neuropedagogy in the educational process; method of systematization for determining the provisions of neuropedagogy essential for vocal education. Research results and conclusion. Vocal pedagogy is based on the general psychophysiological characteristics of a person, the peculiarities of his higher nervous activity. The system of vocal and performance skills is a complex of conditioned reflex actions, most of which have already been studied, but the search for new knowledge about the capabilities of the human body does not stop. The practical application of such knowledge is also useful in vocal pedagogy. Among the various methods and principles of teaching offered by neuropedagogy, as the most essential for working in the vocal class, we have identified the following: the reliance of perception on the unity of analysis-synthesis processes; taking into account the features of simultaneous perception (the effect of peripheral perception) and controlling the directions of attention; unity of conscious and unconscious processes; features of memory (emotionally colored, spatial-visual memorization); the importance of freedom in the educational process; application of the phenomenon of emotional and psychological resonance in the formation of vocal and performing skills; the development of the musician’s individual sphere as the embodiment of a personally oriented approach to learning. The application of the principles of neuropedagogy in the educational process can become an additional factor that will contribute to the individualization of education, the introduction of a personally oriente","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139226014","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. Recognized as a masterpiece of romantic art, G. Meyerbeer’s five-act ”grand” opera, due to its genre specificity, demonstrates brilliant examples of the use of choral scenes, which carry an important mean and emotional load in the opera. We can talk about the presence of choral dramaturgy in the work, which vividly embodies the idea of romantic “two-worldliness” expressed in the confrontation between Good and evil, real, human, and unreal, otherworldly ones. Objectives, methods and novelty of the research. The purpose of this study is to reveal the essence of the conflict between the real and the unreal in the choral drama of G. Meyerbeer’s opera “Robert le Diable”. The systematic approach to the study of the choral layer of the opera conditioned the application of genre, intonation-dramaturgical, structural-functional, and contextual types of analysis. The genre affiliation of G. Meyerber’s opera, its connections with lyrical tragedy and romantic drama attracted the attention of researchers (Everist, 1994; Sakalo, 2017; De Van, 1996, and other), as well as the symbolic richness of the opera (Pendle, 1979; Zolotariova, 2018, etc.) associated with its legendary a medieval plot adapted to the opera stage by the best librettists of the 19th century, however, the choral component of the opera in chosen aspect has not been studied in detail. For the first time in domestic musicology, the choral scenes of G. Meyerbeer’s opera were examined with the determination of the dramatic functions of the choir and focusing attention on the embodiment of two opposite “worlds” through the peculiarities of the choral dramaturgy. Research results and conclusion. According to the results of the analysis, it was found that the “two worlds” of the choral dramaturgy of G. Meyerbeer’s opera “Robert the Devil” visualize the main conflict of the work – the opposition of the Divine and demonic principles, and the use of “nvisible” (located behind the scenes) choirs emphasizes the two dimensionality of the artistic space of the opera and allows not stop stage action in choral scenes. Choirs bear a significant dramaturgical load at each stage of the development of the opera action and convincingly embody the most important feature of the plot of the opera – multiple intersections of the real and the unreal relying on the combination of the principles of contrast, suiteness, symphonism in the unfolding of opera and choral drama. The choral component in G. Meyerbeer’s opera “Robert the Devil” is represented in almost all its functional diversity and richness of gradations, from effectiveness to contemplation, and is an active carrier of the ideological and plot content of the opera.
问题陈述。梅耶贝尔（G. Meyerbeer）的这部五幕 "大 "歌剧被公认为浪漫主义艺术的杰作，由于其体裁的特殊性，它在合唱场景的运用方面展示了辉煌的典范，合唱场景在歌剧中承载着重要的意义和情感负荷。我们可以说，合唱戏剧在这部作品中的存在，生动地体现了在善与恶、真实的人类与虚幻的异世界之间的对抗中所表达的浪漫的 "两个世界 "的思想。研究的目的、方法和新颖性。本研究的目的是揭示 G. Meyerbeer 的歌剧《罗伯特-勒-可变的人》合唱剧中真实与虚幻冲突的本质。在对歌剧合唱层进行系统研究的过程中，运用了体裁分析、语调戏剧学分析、结构功能分析和语境分析等方法。梅耶贝尔（G. Meyerber）歌剧的体裁归属、与抒情悲剧和浪漫主义戏剧的联系引起了研究者的关注（Everist，1994；Sakalo，2017；De Van，1996等），歌剧丰富的象征意义（Pendle，1979；Zolotariova，2018等）与其传奇性的中世纪情节被19世纪最优秀的词作者改编为歌剧舞台有关，然而，歌剧合唱部分在选择方面尚未得到详细研究。国内音乐学界首次对 G. Meyerbeer 的歌剧中的合唱场景进行了研究，确定了合唱团的戏剧功能，并通过合唱戏剧的特殊性关注了两个截然相反的 "世界 "的体现。研究成果和结论。分析结果表明，梅耶比尔歌剧《魔鬼罗伯特》合唱戏剧的 "两个世界 "将作品的主要矛盾--神性原则与魔鬼原则的对立--形象化，而 "隐形"（位于幕后）合唱团的使用强调了歌剧艺术空间的二维性，并允许在合唱场景中不停止舞台动作。合唱团在歌剧动作发展的每个阶段都承担着重要的戏剧负荷，并令人信服地体现了歌剧情节的最重要特征--在歌剧和合唱戏剧的展开过程中，依靠对比、适宜、交响等原则的结合，实现了真实与虚幻的多重交错。梅耶贝尔（G. Meyerbeer）的歌剧《魔鬼罗伯特》中的合唱部分几乎体现了其功能的多样性和丰富的层次性，从有效性到沉思性，是歌剧思想和情节内容的积极载体。
{"title":"Two worlds of choral dramaturgy of G. Meyerbeer’s “Robert le Diable”","authors":"Tetiana Kyseliova","doi":"10.34064/khnum1-68.06","DOIUrl":"https://doi.org/10.34064/khnum1-68.06","url":null,"abstract":"Statement of the problem. Recognized as a masterpiece of romantic art, G. Meyerbeer’s five-act ”grand” opera, due to its genre specificity, demonstrates brilliant examples of the use of choral scenes, which carry an important mean and emotional load in the opera. We can talk about the presence of choral dramaturgy in the work, which vividly embodies the idea of romantic “two-worldliness” expressed in the confrontation between Good and evil, real, human, and unreal, otherworldly ones. Objectives, methods and novelty of the research. The purpose of this study is to reveal the essence of the conflict between the real and the unreal in the choral drama of G. Meyerbeer’s opera “Robert le Diable”. The systematic approach to the study of the choral layer of the opera conditioned the application of genre, intonation-dramaturgical, structural-functional, and contextual types of analysis. The genre affiliation of G. Meyerber’s opera, its connections with lyrical tragedy and romantic drama attracted the attention of researchers (Everist, 1994; Sakalo, 2017; De Van, 1996, and other), as well as the symbolic richness of the opera (Pendle, 1979; Zolotariova, 2018, etc.) associated with its legendary a medieval plot adapted to the opera stage by the best librettists of the 19th century, however, the choral component of the opera in chosen aspect has not been studied in detail. For the first time in domestic musicology, the choral scenes of G. Meyerbeer’s opera were examined with the determination of the dramatic functions of the choir and focusing attention on the embodiment of two opposite “worlds” through the peculiarities of the choral dramaturgy. Research results and conclusion. According to the results of the analysis, it was found that the “two worlds” of the choral dramaturgy of G. Meyerbeer’s opera “Robert the Devil” visualize the main conflict of the work – the opposition of the Divine and demonic principles, and the use of “nvisible” (located behind the scenes) choirs emphasizes the two dimensionality of the artistic space of the opera and allows not stop stage action in choral scenes. Choirs bear a significant dramaturgical load at each stage of the development of the opera action and convincingly embody the most important feature of the plot of the opera – multiple intersections of the real and the unreal relying on the combination of the principles of contrast, suiteness, symphonism in the unfolding of opera and choral drama. The choral component in G. Meyerbeer’s opera “Robert the Devil” is represented in almost all its functional diversity and richness of gradations, from effectiveness to contemplation, and is an active carrier of the ideological and plot content of the opera.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"40 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139224571","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 history of Ukrainian culture is a continuous ascending path of trials, on which the mental level of Ukrainian music – its song melos, from crying and lyrics to heroics and jokes – appears as the quintessence of spirituality. A large layer of the Ukrainian folk song tradition and academic genres of music, in particular chamber and opera, from the past to the present, embodies spirituality as a guiding principle. Through the worldview position of its author, artistic images convey the “spirit of the time”. The creativity of a singerperformer is connected with the knowledge of the inner world of a person, its artistic “reflection”, with reliance on a strong spiritual foundation for realizing higher spiritual priorities in the hierarchy of values of national musical culture. So, the topicality of the topic is due to: a) the need to preserve national Ukrainian art at the current stage of development of higher art education in Ukraine; b) the needs of spiritual and personal education of young singers; c) understanding of the spiritual content of vocal works of various genres and styles, which are included in educational programs for solo singing. The significance of the formation of spiritual values of a creative personality is actualized in the scientific works of I. Bekh (2018), O. Oleksiuk (2017), V. Antoniuk (2007), O. Rudnytska (2001); the question of the spirituality of music is considered by L. Shapovalova (2014), S. Ship (2016). The innovativeness of the study is conditioned by consideration of the spiritual component of the vocal students’ creation based on the national musical background. The purpose of the study is to substantiate the role of external and internal levels of manifestations of spirituality as components of the student’s creative experience in the class of solo singing. The study of the problem of the singer’s spiritual education presupposes the application of general and special scientific approaches and methods, including: comparative typological analysis of the interpretation of vocal works; interpretative and instructive understanding of the performance through the reflection of the mentality of the imaginary hero (Shapovalova, 2014: 30); a personal and creative approach in creating a “spiritual circle” in the “teacherconcertmaster-student” system. The results of the study support the necessity of realizing the spiritual content of vocal works of different genres and styles included in the solo singing curricula. The special significance of Ukrainian song examened in the spiritual and personal dimension in the performing work of vocal students is emphasizes. Vocal pieces based on T. Shevchenko’s poems as the embodiment of a deep national idea are presented. L. Kolodub’s opera “The Poet” is given as an example of the genre of tragic-lyrical phantasmagoria, where the figure of Taras Shevchenko himself is presented. Another dimension of folk spirituality continuing of the traditionally funny image
问题的陈述。乌克兰文化的历史是一条不断上升的考验之路，在这条道路上，乌克兰音乐的精神层面——它的歌曲旋律，从哭泣和歌词到英雄主义和笑话——似乎是精神的精髓。从过去到现在，乌克兰民歌传统和学术音乐流派，特别是室内乐和歌剧，都体现了灵性作为指导原则。艺术形象通过作者的世界观立场，传递着“时代精神”。歌手和表演者的创造力是与对人的内心世界的认识和艺术的“反思”联系在一起的，依靠强大的精神基础在民族音乐文化的价值层次中实现更高的精神优先。因此，这个话题的话题性是由于:a)在乌克兰高等艺术教育发展的现阶段，需要保护乌克兰民族艺术;B)青年歌手的精神和个人教育需求;C)理解各种流派和风格的声乐作品的精神内容，这些作品包括在独奏演唱的教育节目中。I. Bekh(2018)、O. Oleksiuk(2017)、V. Antoniuk(2007)、O. Rudnytska(2001)的科学著作体现了创造性人格精神价值形成的意义;L. Shapovalova (2014)， S. Ship(2016)研究了音乐的精神性问题。研究的创新性在于考虑声乐学生在民族音乐背景下创作的精神成分。本研究的目的是证实精神的外在和内在层次的表现作为学生在独唱课上的创造性经验的组成部分的作用。歌手精神教育问题的研究需要运用一般的和特殊的科学方法，包括:声乐作品解读的比较类型学分析;通过对虚构英雄心理的反映对表演进行解释性和指导性的理解(Shapovalova, 2014: 30);在“教师-演奏会-大师-学生”系统中创造“精神圈”的个人和创造性方法。研究结果支持了在独唱课程中实现不同体裁和风格的声乐作品的精神内涵的必要性。强调了乌克兰歌曲在声乐学生表演作品中从精神层面和个人层面考察的特殊意义。以舍甫琴科的诗歌为基础的声乐作品体现了一种深刻的民族观念。L. Kolodub的歌剧《诗人》是悲剧抒情幻想曲类型的一个例子，塔拉斯·舍甫琴科本人的形象被呈现出来。民间精神的另一个方面延续了乌克兰歌剧传统的滑稽形象，在V. Hubarenko的歌剧“不情愿的媒人”的例子中被认为是。杰出歌手(E. Chervoniuk, V. Grashchenko)在《M. Lysenko KhNATOB》舞台上创作的色彩丰富的形象体现了声乐形象的精神成分。在独奏课上，教师和学生之间创造性交流的精神体验问题是在个体语境中考虑的(根据H. Rickert)。分析了在“师、伴、生”体系中形成创新关系精神模式的途径。结论。事实证明，没有作品的精神自我提升和社会取向，没有“内心壮举”本质的实现，声乐学生的职业自我肯定是不可能的:在表演过程中，他既是作者的精神反映，也是想象中的英雄的化身。结果表明，师生共同的振奋情绪、创造过程的喜庆感和“神圣”感是形成创造过程精神基础的前提。诠释独立的个体表现与“老师-伴奏-学生”创作圈内精神成分的实现模式相结合，成为未来歌手精神体验形成的基础。
{"title":"Spiritual component of the students-vocalists’ work (based on the Ukrainian composers’ repertory)","authors":"Boldyrev Volodymyr","doi":"10.34064/khnum1-63.04","DOIUrl":"https://doi.org/10.34064/khnum1-63.04","url":null,"abstract":"Statement of the problem. The history of Ukrainian culture is a continuous ascending path of trials, on which the mental level of Ukrainian music – its song melos, from crying and lyrics to heroics and jokes – appears as the quintessence of spirituality. A large layer of the Ukrainian folk song tradition and academic genres of music, in particular chamber and opera, from the past to the present, embodies spirituality as a guiding principle. Through the worldview position of its author, artistic images convey the “spirit of the time”. The creativity of a singerperformer is connected with the knowledge of the inner world of a person, its artistic “reflection”, with reliance on a strong spiritual foundation for realizing higher spiritual priorities in the hierarchy of values of national musical culture. So, the topicality of the topic is due to: a) the need to preserve national Ukrainian art at the current stage of development of higher art education in Ukraine; b) the needs of spiritual and personal education of young singers; c) understanding of the spiritual content of vocal works of various genres and styles, which are included in educational programs for solo singing. The significance of the formation of spiritual values of a creative personality is actualized in the scientific works of I. Bekh (2018), O. Oleksiuk (2017), V. Antoniuk (2007), O. Rudnytska (2001); the question of the spirituality of music is considered by L. Shapovalova (2014), S. Ship (2016). The innovativeness of the study is conditioned by consideration of the spiritual component of the vocal students’ creation based on the national musical background. The purpose of the study is to substantiate the role of external and internal levels of manifestations of spirituality as components of the student’s creative experience in the class of solo singing. The study of the problem of the singer’s spiritual education presupposes the application of general and special scientific approaches and methods, including: comparative typological analysis of the interpretation of vocal works; interpretative and instructive understanding of the performance through the reflection of the mentality of the imaginary hero (Shapovalova, 2014: 30); a personal and creative approach in creating a “spiritual circle” in the “teacherconcertmaster-student” system. The results of the study support the necessity of realizing the spiritual content of vocal works of different genres and styles included in the solo singing curricula. The special significance of Ukrainian song examened in the spiritual and personal dimension in the performing work of vocal students is emphasizes. Vocal pieces based on T. Shevchenko’s poems as the embodiment of a deep national idea are presented. L. Kolodub’s opera “The Poet” is given as an example of the genre of tragic-lyrical phantasmagoria, where the figure of Taras Shevchenko himself is presented. Another dimension of folk spirituality continuing of the traditionally funny image","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123366722","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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