The statement of problem. The article is an attempt to comprehend the semantic originality of the text of three Fugues in Bach’s Sonatas for solo violin. Despite the fact that J. S. Bach’s music has long been the basis of the musical culture of mankind, interest in the scientific study of his work does not fade away: new attempts to penetrate the world of the composer’s creative ideas, to discover the unknown secrets of his thoughts appear again and again.For the first time in Ukrainian Bach studies, an attempt is made to explore the similarity of semantics of the Canonical Church texts and the themes of the Fugues for solo violin. The purpose of the article is, by analyzing the themes of three Fugues (G minor, A minor, C Major), to prove the semantic kinship with the Canonical Latin text and, taking this into account, to clarify the symbolic and artistic content of other parts of J. S. Bach’s solo violin Sonatas (Siciliana in B Flat Major, Andante in C Major, Adagio in C Major), and to give some tips for performers when playing fugues. The methods of intonation and semantic analysis, deductive and comparative approaches are used in the study. Discussion and results. Particularly important is the fact that Bach’s Three Sonatas and Three Partitas for solo violin are traditionally treated in musicology as a “meta-cycle”, whose image sphere is linked to the key events of the Gospel: Christmas, Passion and Resurrection of our Lord Jesus Christ (Wolff, 2000, Kogut, 2008; Lebedev, 2016, Pavliy, 1989, etc.). The study reveals high probability of closeness of the semantic content of the fugue theme and the canonical text of Latin prayers, which are the textual basis of the key parts of the Mass: “Christe eleison” – close to the theme of the Fugue in G minor, “Kyrie eleison” – the Fugue in A minor, “Et resurrexit tertia die” – the Fugue in C Major. Since fugues are the main parts of Bach’s Sonatas, this comparison reveals the symbolic meaning of the entire “metacycle” in a different way, more fully, and allows us to comprehend other parts of the Sonatas (“Siciliana” in B-flat Major, Andante in C Major, Adagio in C Major). Taking into account the above mentioned semantic guidelines, the article provides some recommendations for the performance phrasing and articulation of the musical text. Conclusion. The model of perceiving the thematisizm of three Fugues, which (along with the famous “Ciaccona”) are key parts of the cycle, proposed by the author of the article, makes it possible to find new interpretive solutions and greatly facilitates the searchfor high-quality means of expression, helps to choose rightly the tempo, articulation, dynamics, phrasing, strokes; contributing to achievement of textural transparency and completeness of entire form, it determines the figurative and emotional reinterpretation of other parts of the cycle.
{"title":"Semantics of fugue themes in the context of figurative distinctiveness of J. S. Bach’s cycle “Three Sonatas and Three Partitas for Violin Solo”","authors":"Ihor Andriievskyi","doi":"10.34064/khnum1-64.06","DOIUrl":"https://doi.org/10.34064/khnum1-64.06","url":null,"abstract":"The statement of problem. The article is an attempt to comprehend the semantic originality of the text of three Fugues in Bach’s Sonatas for solo violin. Despite the fact that J. S. Bach’s music has long been the basis of the musical culture of mankind, interest in the scientific study of his work does not fade away: new attempts to penetrate the world of the composer’s creative ideas, to discover the unknown secrets of his thoughts appear again and again.For the first time in Ukrainian Bach studies, an attempt is made to explore the similarity of semantics of the Canonical Church texts and the themes of the Fugues for solo violin. The purpose of the article is, by analyzing the themes of three Fugues (G minor, A minor, C Major), to prove the semantic kinship with the Canonical Latin text and, taking this into account, to clarify the symbolic and artistic content of other parts of J. S. Bach’s solo violin Sonatas (Siciliana in B Flat Major, Andante in C Major, Adagio in C Major), and to give some tips for performers when playing fugues. The methods of intonation and semantic analysis, deductive and comparative approaches are used in the study. Discussion and results. Particularly important is the fact that Bach’s Three Sonatas and Three Partitas for solo violin are traditionally treated in musicology as a “meta-cycle”, whose image sphere is linked to the key events of the Gospel: Christmas, Passion and Resurrection of our Lord Jesus Christ (Wolff, 2000, Kogut, 2008; Lebedev, 2016, Pavliy, 1989, etc.). The study reveals high probability of closeness of the semantic content of the fugue theme and the canonical text of Latin prayers, which are the textual basis of the key parts of the Mass: “Christe eleison” – close to the theme of the Fugue in G minor, “Kyrie eleison” – the Fugue in A minor, “Et resurrexit tertia die” – the Fugue in C Major. Since fugues are the main parts of Bach’s Sonatas, this comparison reveals the symbolic meaning of the entire “metacycle” in a different way, more fully, and allows us to comprehend other parts of the Sonatas (“Siciliana” in B-flat Major, Andante in C Major, Adagio in C Major). Taking into account the above mentioned semantic guidelines, the article provides some recommendations for the performance phrasing and articulation of the musical text. Conclusion. The model of perceiving the thematisizm of three Fugues, which (along with the famous “Ciaccona”) are key parts of the cycle, proposed by the author of the article, makes it possible to find new interpretive solutions and greatly facilitates the searchfor high-quality means of expression, helps to choose rightly the tempo, articulation, dynamics, phrasing, strokes; contributing to achievement of textural transparency and completeness of entire form, it determines the figurative and emotional reinterpretation of other parts of the cycle.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127177890","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 role of music in the ballet genre, its relationship with choreographic text remain one of the most controversial in the scientific field. In the situation of the “musical revolutions” of the 20th century, this problem became acute in connection with the renewal of genres, the emancipation of the creative imagination of choreographers who began to use music of any style direction in ballet. Among the interesting innovations of the past, we should point out the concept of free dance by Serge Lifar – a famous dancer, Ukrainian by origin, whose work as choreographer is less covered than the work of his colleagues and contemporaries M. Fokin and G. Balanchin. The purpose of the article is to consider the interaction of musical and choreographic components in the concept of S. Lifar’s ballet performance. For the first time S. Lifar’s creative experiments are considered in the context of the relationship between music and dance with the defining the role of music in the conception of “free dance” that is the innovative idea of this study. Recent research and publications. After the first publication of the leading art critic A. Levinson (Levinson & Lifar, 1934), the materials about S. Lifar appear in French art history with a certain frequency (Prunières, 1935; Gropius & Servane,1947; Hofmann, 1953; Laurent & Sazanova, 1960; Schouvaloff, 1998; Christout & Lefèvre, 2006; Poudru, 2007; Pastori, 2009). In the Ukrainian scientific space, attention to the artist’s figure has been increasing since the late of 1990s (Yu. Stanishevsky in: Lifar, 2007; A. Balabko, 2011). Important for the development of the theme are the books of the dancer himself. In his “Le manifesto du chorégraphe” (Lifar, 1935) the choreographer lays out the understanding of the relationship between music and dance in a ballet performance. Results and conclusion. S. Lifar realized his concept in the ballet “Icarus” (1935). Musically gifted by nature, in his choreographic practice, he unexpectedly proclaims the primacy of choreography, not music (!), which went against the latest trends of the time. The choreographer argued that the composer can use the fixed choreographic text in the same way as the text of a poem for creating music, which will enliven a given rhythmic and dance patterns. A. Honegger in the ballet “Icarus” uses 26 instruments, combines them into five blocks of drums of uniform timbre, supplemented by two double basses, which are also interpreted as percussions, due to the predominance of the col legno technique. The simple in essence rhythm formulas are artfully distributed among the instruments of a percussion ensemble that takes on the role of a traditional orchestra. In S. Lifar’s “Icarus” for the first time proposed a method of translating body movements into rhythmic formulas combined into a plastic score of the performance. A. Honegger turned out to be an ideal composer for such translstion. If other versions of the musical embodiment of
{"title":"The role of musical component in S. Lifar’s stage conception","authors":"Svitlana Anfilova","doi":"10.34064/khnum1-64.09","DOIUrl":"https://doi.org/10.34064/khnum1-64.09","url":null,"abstract":"Statement of the problem. The role of music in the ballet genre, its relationship with choreographic text remain one of the most controversial in the scientific field. In the situation of the “musical revolutions” of the 20th century, this problem became acute in connection with the renewal of genres, the emancipation of the creative imagination of choreographers who began to use music of any style direction in ballet. Among the interesting innovations of the past, we should point out the concept of free dance by Serge Lifar – a famous dancer, Ukrainian by origin, whose work as choreographer is less covered than the work of his colleagues and contemporaries M. Fokin and G. Balanchin. The purpose of the article is to consider the interaction of musical and choreographic components in the concept of S. Lifar’s ballet performance. For the first time S. Lifar’s creative experiments are considered in the context of the relationship between music and dance with the defining the role of music in the conception of “free dance” that is the innovative idea of this study. Recent research and publications. After the first publication of the leading art critic A. Levinson (Levinson & Lifar, 1934), the materials about S. Lifar appear in French art history with a certain frequency (Prunières, 1935; Gropius & Servane,1947; Hofmann, 1953; Laurent & Sazanova, 1960; Schouvaloff, 1998; Christout & Lefèvre, 2006; Poudru, 2007; Pastori, 2009). In the Ukrainian scientific space, attention to the artist’s figure has been increasing since the late of 1990s (Yu. Stanishevsky in: Lifar, 2007; A. Balabko, 2011). Important for the development of the theme are the books of the dancer himself. In his “Le manifesto du chorégraphe” (Lifar, 1935) the choreographer lays out the understanding of the relationship between music and dance in a ballet performance. Results and conclusion. S. Lifar realized his concept in the ballet “Icarus” (1935). Musically gifted by nature, in his choreographic practice, he unexpectedly proclaims the primacy of choreography, not music (!), which went against the latest trends of the time. The choreographer argued that the composer can use the fixed choreographic text in the same way as the text of a poem for creating music, which will enliven a given rhythmic and dance patterns. A. Honegger in the ballet “Icarus” uses 26 instruments, combines them into five blocks of drums of uniform timbre, supplemented by two double basses, which are also interpreted as percussions, due to the predominance of the col legno technique. The simple in essence rhythm formulas are artfully distributed among the instruments of a percussion ensemble that takes on the role of a traditional orchestra. In S. Lifar’s “Icarus” for the first time proposed a method of translating body movements into rhythmic formulas combined into a plastic score of the performance. A. Honegger turned out to be an ideal composer for such translstion. If other versions of the musical embodiment of ","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130681723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. Ukraine is currently going through a period of forming its nation, so it is urgent to turn to historical figures who influenced the country’s development. The tragic life of Hetman Ivan Mazepa has been attracting the attention of both historians and artists for over 300 years. Each of the authors was drawnto something “his own” in Mazepa’s fate, so the range of artistic representations of the hetman is very wide: from traitor to hero, from warrior to philanthropist, from an ordinary person to an almost mythical creature. The question arises as to the relevance of Mazepa’s personality representation in artistic works. The purpose of the article is to study the image of the Hetman in the opera practice of the nineteenth century using historical, chronological, cultural and comparative research methods. For the first time, M. Grandval’s opera is studied in comparative chronological and general cultural contexts. Results and conclusions. In world culture, the memory of I. Mazepa has been preserved mainly because his life reflects the main themes of Romanticism: loneliness, betrayal, love, exile. These romantic features prompted most authors to modify the historical truth, so Mazepa’s portraits are very different from their prototype. Taking up the study of Mazepa’s “operatic iconography”, we found that three other operas of the same name were created in the nineteenth century, in addition to the most famous and most studied work by P. Tchaikovsky, written in 1881–1883. The first of them is the opera “Mazepa” (“Maria”) by the prominent Ukrainian composer, folklorist, and music critic Petro Sokalsky (1832–1887). The opera was never staged. The second opera “Mazepa” chronologically was written and staged in St. Petersburg in 1859 by Borys Fitinhoff, a little-known Russian composer of German descent. The third opera “Mazeppa” was written b the French composer M. Grandval (Marie Félicie Clemence de Rezet, Victoire de Grandval). By analyzing the facts of her creative life, we have clarified the main features of her compositional style, which represented the salon culture of the time and was the result of her own passion for opera. Her operatic work was quite fruitful: she created eight operas and two “lyrical poems” written together with the most famous librettists who collaborated with G. Bizet, Ch. Gounod, J. Massenet, C. Saint-Saëns. M. Grandval’s Mazepa (1892) is rightfully considered the most prominent and popular among the composer’s operas. After its premiere, the opera was performed for more than 10 years at opera houses in France. The answer to the question of why the composer of chamber and lyrical salon genres chose a large-scale historically significant image of Mazepa, on the one hand, should be sought in the high public interest in the romanticized image of the Ukrainian hetman and the related problem of power inherent in post-Napoleonic France. On the other hand, the creation of “Mazeppa” is a logical result of the
问题的陈述。乌克兰目前正处于国家形成的时期，因此迫切需要向影响国家发展的历史人物求助。300多年来，Hetman Ivan Mazepa的悲惨生活一直吸引着历史学家和艺术家的关注。每一位作者都被马泽帕的命运所吸引，因此酋长的艺术表现范围非常广泛:从叛徒到英雄，从战士到慈善家，从普通人到近乎神话的生物。问题是马泽帕的个性表现在艺术作品中的相关性。本文的目的是运用历史的、时间的、文化的和比较的研究方法来研究19世纪歌剧实践中的酋长形象。这是格朗瓦尔先生的歌剧第一次在比较年代和一般文化背景下进行研究。结果和结论。在世界文化中，马泽帕的记忆被保存下来，主要是因为他的生活反映了浪漫主义的主题:孤独，背叛，爱情，流亡。这些浪漫的特征促使大多数作者修改历史真相，所以马泽帕的肖像与他们的原型有很大的不同。在研究马泽帕的“歌剧肖像学”时，我们发现，除了P.柴可夫斯基在1881-1883年创作的最著名、研究最多的作品外，还有另外三部同名歌剧创作于19世纪。其中第一部是由乌克兰著名作曲家、民俗学家和音乐评论家彼得罗·索卡尔斯基(1832-1887)创作的歌剧《玛丽亚》。这出歌剧从未上演过。第二部歌剧《马泽帕》按时间顺序于1859年在圣彼得堡由鲍里斯·菲廷霍夫创作并上演，他是一位名不见经传的德国裔俄罗斯作曲家。第三部歌剧《玛泽帕》是法国作曲家格朗瓦尔(Marie fsamuice Clemence de Rezet, Victoire de Grandval)创作的。通过对她创作生活的事实分析，明确了她的创作风格的主要特征，这种风格代表了当时的沙龙文化，是她自己对歌剧的热爱的结果。她的歌剧作品非常富有成效:她创作了八部歌剧和两首“抒情诗”，与最著名的剧作家合作，如比才，古诺，马塞内，Saint-Saëns。格朗瓦尔的《马泽帕》(1892)理所当然地被认为是作曲家的歌剧中最杰出和最受欢迎的。首演后，在法国各大歌剧院演出了10多年。室内乐和抒情沙龙流派的作曲家为什么选择了具有历史意义的大规模马泽帕形象，这一问题的答案一方面应该在公众对乌克兰酋长浪漫化形象的高度兴趣以及后拿破仑时代法国固有的权力问题中寻求。另一方面，《玛泽帕》的创作是格朗瓦尔的歌剧作品从独幕喜剧向五幕历史大歌剧内部演变的必然结果，是对既定民族传统的延续。
{"title":"The image of Ivan Mazepa in opera works of the 19th century","authors":"Du Ling","doi":"10.34064/khnum1-64.08","DOIUrl":"https://doi.org/10.34064/khnum1-64.08","url":null,"abstract":"Statement of the problem. Ukraine is currently going through a period of forming its nation, so it is urgent to turn to historical figures who influenced the country’s development. The tragic life of Hetman Ivan Mazepa has been attracting the attention of both historians and artists for over 300 years. Each of the authors was drawnto something “his own” in Mazepa’s fate, so the range of artistic representations of the hetman is very wide: from traitor to hero, from warrior to philanthropist, from an ordinary person to an almost mythical creature. The question arises as to the relevance of Mazepa’s personality representation in artistic works. The purpose of the article is to study the image of the Hetman in the opera practice of the nineteenth century using historical, chronological, cultural and comparative research methods. For the first time, M. Grandval’s opera is studied in comparative chronological and general cultural contexts. Results and conclusions. In world culture, the memory of I. Mazepa has been preserved mainly because his life reflects the main themes of Romanticism: loneliness, betrayal, love, exile. These romantic features prompted most authors to modify the historical truth, so Mazepa’s portraits are very different from their prototype. Taking up the study of Mazepa’s “operatic iconography”, we found that three other operas of the same name were created in the nineteenth century, in addition to the most famous and most studied work by P. Tchaikovsky, written in 1881–1883. The first of them is the opera “Mazepa” (“Maria”) by the prominent Ukrainian composer, folklorist, and music critic Petro Sokalsky (1832–1887). The opera was never staged. The second opera “Mazepa” chronologically was written and staged in St. Petersburg in 1859 by Borys Fitinhoff, a little-known Russian composer of German descent. The third opera “Mazeppa” was written b the French composer M. Grandval (Marie Félicie Clemence de Rezet, Victoire de Grandval). By analyzing the facts of her creative life, we have clarified the main features of her compositional style, which represented the salon culture of the time and was the result of her own passion for opera. Her operatic work was quite fruitful: she created eight operas and two “lyrical poems” written together with the most famous librettists who collaborated with G. Bizet, Ch. Gounod, J. Massenet, C. Saint-Saëns. M. Grandval’s Mazepa (1892) is rightfully considered the most prominent and popular among the composer’s operas. After its premiere, the opera was performed for more than 10 years at opera houses in France. The answer to the question of why the composer of chamber and lyrical salon genres chose a large-scale historically significant image of Mazepa, on the one hand, should be sought in the high public interest in the romanticized image of the Ukrainian hetman and the related problem of power inherent in post-Napoleonic France. On the other hand, the creation of “Mazeppa” is a logical result of the ","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"135 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134355694","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. Marko Topchii (1991) is one of the famous Ukrainian guitarists who began to conquer the music world at an early age. Winning in competitions (more than 90 times), performances in the world’s most prestigious concert halls (Carnegie Hall, Corto Hall, conservatories of San Francisco, Madrid, Vienna, Bologna) are the result of immense talent and great professional work. The young guitarist is one of those who expand the guitar repertoire by creating arrangements for guitar, in particular of works by J. S. Bach, M. Ravel, M. Mussorgsky. These facts contribute to the relevance of the topic of the article and create a context for the theoretical research of M. Topchii’s performance principles. Recent research and publications. A number of works are devoted to the theme of musical / composer’s thinking (Dys, 1989; Kotlyarevskiy, 1989; Malyi, 2018), guitar thinking and style (Tkachenko, 2008, 2012; Nikolaievska, 2008), M. Topchii’s performance style (Chechenia, 2021, 2016), “musical interpretation” (Moskalenko, 2013), “performance style” (Martienssen, 1930; Katrich, 2000; Tkach, 2012). The purpose of the study is an attempt to identify the features of M. Topchii’s performance style through the context of shaping his musical thinking, communication, social and cultural paradigm and worldview. The scientific novelty is explained by the lack of study of M. Topchii’s personality in Ukrainian and world musicology. M. Topchii’s performance thinking is revealed on the example of the analysis of his own transcriptions of J. S. Bach’s Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ” and M. Mussorgsky’s suite “Pictures from the Exhibition”. The study uses such methods of contemporary cognitivism as historical and cultural (research of the evolution of guitar schools, performance, development of M. Topchii’s style and thinking) and interpretative (identification of principles of performance / interpretation of works); comparative method of analysis of M. Topchii’s style in the context of guitar performance. Results and conclusion. M. Topchii’s style is a concentrated combination of the best achievements of guitar performance schools, which originate from A. Segovia and F. Tarrega. In the context of guitar art, M. Topchii is a unique performer, which is due not only to the number of victories in international competitions and performances on the world’s most prestigious stages, but also to the fact that M. Topchii demonstrates original interpretation of musical works, depth of understanding of the composer’ idea and high technical level of playing the instrument. These qualities make up his unique performance style – emotional, monolithic, crystallized.
{"title":"Marco Topchii’s style in the context of modern world guitar performance","authors":"V. Dotsenko, V. Tkachenko","doi":"10.34064/khnum1-64.03","DOIUrl":"https://doi.org/10.34064/khnum1-64.03","url":null,"abstract":"Statement of the problem. Marko Topchii (1991) is one of the famous Ukrainian guitarists who began to conquer the music world at an early age. Winning in competitions (more than 90 times), performances in the world’s most prestigious concert halls (Carnegie Hall, Corto Hall, conservatories of San Francisco, Madrid, Vienna, Bologna) are the result of immense talent and great professional work. The young guitarist is one of those who expand the guitar repertoire by creating arrangements for guitar, in particular of works by J. S. Bach, M. Ravel, M. Mussorgsky. These facts contribute to the relevance of the topic of the article and create a context for the theoretical research of M. Topchii’s performance principles. Recent research and publications. A number of works are devoted to the theme of musical / composer’s thinking (Dys, 1989; Kotlyarevskiy, 1989; Malyi, 2018), guitar thinking and style (Tkachenko, 2008, 2012; Nikolaievska, 2008), M. Topchii’s performance style (Chechenia, 2021, 2016), “musical interpretation” (Moskalenko, 2013), “performance style” (Martienssen, 1930; Katrich, 2000; Tkach, 2012). The purpose of the study is an attempt to identify the features of M. Topchii’s performance style through the context of shaping his musical thinking, communication, social and cultural paradigm and worldview. The scientific novelty is explained by the lack of study of M. Topchii’s personality in Ukrainian and world musicology. M. Topchii’s performance thinking is revealed on the example of the analysis of his own transcriptions of J. S. Bach’s Choral Prelude “Ich ruf zu Dir, Herr Jesu Christ” and M. Mussorgsky’s suite “Pictures from the Exhibition”. The study uses such methods of contemporary cognitivism as historical and cultural (research of the evolution of guitar schools, performance, development of M. Topchii’s style and thinking) and interpretative (identification of principles of performance / interpretation of works); comparative method of analysis of M. Topchii’s style in the context of guitar performance. Results and conclusion. M. Topchii’s style is a concentrated combination of the best achievements of guitar performance schools, which originate from A. Segovia and F. Tarrega. In the context of guitar art, M. Topchii is a unique performer, which is due not only to the number of victories in international competitions and performances on the world’s most prestigious stages, but also to the fact that M. Topchii demonstrates original interpretation of musical works, depth of understanding of the composer’ idea and high technical level of playing the instrument. These qualities make up his unique performance style – emotional, monolithic, crystallized.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134497125","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. People’s Artist of Ukraine Mykola Petrovych Koval (1946–2018) is a representative of the Kharkiv vocal school, which was established at the turn of the nineteenth and twentieth centuries. Possessing a wonderful dramatic baritone (bass-baritone) of rich timbre, he was a successor to the traditions of Italian bel canto that prevailed in the classes of prominent Kharkiv vocal teachers P. Holubiev, M. Mykhailov, T. Veske. The significance of the multifaceted work of this outstanding artist necessitates a systematic study of his music legacy, which has not yet been sufficiently researched. The only monographic study by Yu. Shchukina (2019) dedicated to the singer presents mostly biographical materials. The purpose of this article is to present a complete creative portrait of the singer and to characterize his performance style. The study of creativity and pedagogical activity of M. Koval using biographical and stylistic approaches allowed to identify the features of his individual style and to classify the latter according to the performance archetype (developed by O. Katrych, 2000), which is an innovative element of the work. Results and conclusions. The creative activity of M. Koval had a significant impact on the development of the The Mykola Lysenko Kharkiv Academic Opera and Ballet Theatre, where he had performed the main roles in almost all opera productions since 1974. His vocal practice was a model for the young singers who worked with him at the theater, and his performances as both an opera and concert singer had a wide public response, drawing attention to the activities of the Kharkiv Opera House far beyond the city. His repertoire included works of various vocal genres, in particular, in solo concerts he performed opera arias (from M. Mussorgsky’s “Borys Godunov”, G. Verdi’s “Otello” and “Rigoletto”, G. Puccini’s “Tosca”, O. Borodin’s “Prince Igor”, etc.), romances and songs by Ukrainian composers (P. Maiboroda, I. Shamo), and folk songs. The pedagogical activity of M. Koval, who worked at Kharkiv I. P. Kotlyarevsky National University of Arts, at the Solo Singing Department from 2002 to 2018, deserves further study. Today, his students work at The Mykola Lysenko Kharkiv Academic Opera and Ballet Theatre, as well as in other Opera Houses and music schools in Ukraine, continuing the traditions of their Teacher. The analysis of M. Koval’s vocal and pedagogical work allows us to draw the following conclusions: – M. Koval’s individual style is characterized by a high vocal and artistic culture, in particular, a careful attitude to the word, clear expressive diction, a certain emotional restraint and balance (which makes him “the Apollo archetype” of the artist); deep psychologism in the interpretation of musical images, the brilliant embodiment of which is facilitated by his exceptional acting talent. – These features of the individual style also determined the formation of the singer’s pedagogical principles. The te
问题的陈述。乌克兰人民艺术家米科拉·彼得罗维奇·科瓦尔(1946-2018)是哈尔科夫声乐学校的代表人物，该学校成立于19世纪和20世纪之交。他拥有一个美妙的戏剧男中音(男中音)，音色丰富，是意大利美声唱法传统的继承者，这种传统在哈尔科夫著名的声乐老师P. Holubiev, M. Mykhailov, T. Veske的班级中盛行。这位杰出艺术家的多面作品的重要性需要对他的音乐遗产进行系统的研究，这方面的研究还不够充分。余唯一的专著研究。献给歌手的《Shchukina》(2019)主要展示了传记材料。本文的目的是呈现这位歌手的完整创作肖像，并描绘他的表演风格。使用传记和风格方法研究M. Koval的创造力和教学活动，可以识别他个人风格的特征，并根据表现原型(由O. Katrych开发，2000)对后者进行分类，这是作品的创新元素。结果和结论。科瓦尔的创作活动对哈尔科夫学术歌剧和芭蕾舞剧院的发展产生了重大影响，自1974年以来，他几乎在所有歌剧作品中担任主要角色。他的声乐练习是与他一起在剧院工作的年轻歌手的榜样，他作为歌剧和音乐会歌手的表演得到了广泛的公众反应，引起了人们对哈尔科夫歌剧院活动的关注。他的曲目包括各种声乐流派的作品，特别是在独奏会上，他表演歌剧咏唱曲(穆索尔斯基的“鲍里斯·戈杜诺夫”，威尔第的“奥赛罗”和“Rigoletto”，普契尼的“托斯卡”，鲍罗丁的“伊戈尔王子”等)，乌克兰作曲家的浪漫主义和歌曲(P. Maiboroda, I. Shamo)和民歌。2002年至2018年在哈尔科夫国立艺术大学独奏歌唱系工作的科瓦尔先生的教学活动值得进一步研究。今天，他的学生在哈尔科夫学术歌剧和芭蕾舞剧院工作，以及在乌克兰的其他歌剧院和音乐学校，继续着他们老师的传统。通过对科瓦尔先生的声乐和教学作品的分析，我们可以得出以下结论:-科瓦尔先生的个人风格具有很高的声乐和艺术修养，特别是用词谨慎，表达清晰，有一定的情感克制和平衡(这使他成为艺术家的“阿波罗原型”);深刻的心理主义在音乐形象的诠释中，其卓越的表演才能促成了这种心理主义的精彩体现。个人风格的这些特点也决定了歌手教学原则的形成。老师经常说，一个人应该永远用灵魂、灵感和坦率地唱，“发自内心”，音乐本身可以帮助解决技术上的困难。因此，完美的发声技巧或音量本身并不是目的，而只是一个组成部分。技巧和声乐是可以学的，但对音乐的微妙接受是学不到的;这是大自然赋予人们的东西。除了他独特的声乐和表演才能外，他的勤奋和毅力是他事业成功的重要因素。-因此，可以肯定地说，哈尔科夫地区的整个声乐艺术，特别是歌剧艺术时代都与科瓦尔先生的名字联系在一起。大师去世后，大部分由他担任主要角色的演出都被从保留曲目中删除了，因为缺乏这样一个天才的艺术家。
{"title":"Mykola Koval in the history of vocal art in the Kharkiv region","authors":"Oleksii Vietrov","doi":"10.34064/khnum1-64.02","DOIUrl":"https://doi.org/10.34064/khnum1-64.02","url":null,"abstract":"Statement of the problem. People’s Artist of Ukraine Mykola Petrovych Koval (1946–2018) is a representative of the Kharkiv vocal school, which was established at the turn of the nineteenth and twentieth centuries. Possessing a wonderful dramatic baritone (bass-baritone) of rich timbre, he was a successor to the traditions of Italian bel canto that prevailed in the classes of prominent Kharkiv vocal teachers P. Holubiev, M. Mykhailov, T. Veske. The significance of the multifaceted work of this outstanding artist necessitates a systematic study of his music legacy, which has not yet been sufficiently researched. The only monographic study by Yu. Shchukina (2019) dedicated to the singer presents mostly biographical materials. The purpose of this article is to present a complete creative portrait of the singer and to characterize his performance style. The study of creativity and pedagogical activity of M. Koval using biographical and stylistic approaches allowed to identify the features of his individual style and to classify the latter according to the performance archetype (developed by O. Katrych, 2000), which is an innovative element of the work. Results and conclusions. The creative activity of M. Koval had a significant impact on the development of the The Mykola Lysenko Kharkiv Academic Opera and Ballet Theatre, where he had performed the main roles in almost all opera productions since 1974. His vocal practice was a model for the young singers who worked with him at the theater, and his performances as both an opera and concert singer had a wide public response, drawing attention to the activities of the Kharkiv Opera House far beyond the city. His repertoire included works of various vocal genres, in particular, in solo concerts he performed opera arias (from M. Mussorgsky’s “Borys Godunov”, G. Verdi’s “Otello” and “Rigoletto”, G. Puccini’s “Tosca”, O. Borodin’s “Prince Igor”, etc.), romances and songs by Ukrainian composers (P. Maiboroda, I. Shamo), and folk songs. The pedagogical activity of M. Koval, who worked at Kharkiv I. P. Kotlyarevsky National University of Arts, at the Solo Singing Department from 2002 to 2018, deserves further study. Today, his students work at The Mykola Lysenko Kharkiv Academic Opera and Ballet Theatre, as well as in other Opera Houses and music schools in Ukraine, continuing the traditions of their Teacher. The analysis of M. Koval’s vocal and pedagogical work allows us to draw the following conclusions: – M. Koval’s individual style is characterized by a high vocal and artistic culture, in particular, a careful attitude to the word, clear expressive diction, a certain emotional restraint and balance (which makes him “the Apollo archetype” of the artist); deep psychologism in the interpretation of musical images, the brilliant embodiment of which is facilitated by his exceptional acting talent. – These features of the individual style also determined the formation of the singer’s pedagogical principles. The te","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131277393","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 discipline “Piano accompaniment” is one of the core subjects in a Bachelor program for pianists at Kharkiv I. P. Kotlyarevsky National University of Arts. While studying it, the students improve their skills of piano accompaniment in different genres. Special attention is paid to opera, while performance of any opera as a whole piece presents a substantial problem on the level of the whole educational establishment. It is the Department of Piano Accompaniment with its long-lasting tradition which contributes greatly to the solution of this problem. We are talking about 23 operas performed at the concerts through years within the project lead by Professor Ye. Nikitska, Honored Art Worker of Ukraine, Head of the Department. Recent research and publications. In the domain of Ukrainian musicology, there are some works devoted to specifics of piano accompaniment as an art, to the personality of a pianist-accompanist (Iniutochkina, 2010; Kretov & Novik-Kretova, 2017; Molchanova, 2013; Pavlichuk, Chaika, Tyshkevych, 2020; Zub, 2021). Scholarly sources portray an image of a musician who is integral in their essence: they are equally competent in such spheres as music history and music theory, art performance and technical issues, this is a musician capable of combining the qualities of a soloist and ensemblist, a thoughtful interpreter. The objectives of the study are: 1) to research the special ways in which opera as a stage genre can exist in untypical conditions of concert performance; 2) to justify the importance of the project created by the Department of Piano Accompaniment of Kharkiv I. P. Kotlyarevsky National University of Arts under the guidance of Professor Ye. Nikitska as a tool which allows students to acquire knowledge and skills necessary for self-realization and building a successful career of the piano accompanist. The scientific novelty of the study is caused by the fact that this project has not yet received proper attention in scientific research works. The article uses such research methods as genre, functional, comparative, and performing ones. Results and conclusion. The work on an art project guided by Ye. Nikitska allowed to gain significant experience in the concert performance of opera. This experience includes various directions of work, such as:1) preparatory work with the opera clavier aimed at abridgement of less essential scenes, removal of secondary characters; 2) creation of a script and usage of a concert presenter to make up for the reduction of the performance; 3) compensation for the limited stage space with concentrated acting and emphasized articulation of all the necessary details in vocal and piano parts; 4) compensation for the lack of the orchestra with specific “theatrical” expressiveness of the piano playing; 5) the work of each student on the whole opera text to make them interchangeable; 6) development of an accompanist as a polyfunctional musician; 7) bringing up a pianist-acc
{"title":"Art project of the Department of Piano Accompaniment of Kharkiv I. P. Kotlyarevsky National University of Arts: experience of performer’s and composer’s comprehension","authors":"Yevheniia Nikitska, H. Savchenko","doi":"10.34064/khnum1-64.04","DOIUrl":"https://doi.org/10.34064/khnum1-64.04","url":null,"abstract":"Statement of the problem. The discipline “Piano accompaniment” is one of the core subjects in a Bachelor program for pianists at Kharkiv I. P. Kotlyarevsky National University of Arts. While studying it, the students improve their skills of piano accompaniment in different genres. Special attention is paid to opera, while performance of any opera as a whole piece presents a substantial problem on the level of the whole educational establishment. It is the Department of Piano Accompaniment with its long-lasting tradition which contributes greatly to the solution of this problem. We are talking about 23 operas performed at the concerts through years within the project lead by Professor Ye. Nikitska, Honored Art Worker of Ukraine, Head of the Department. Recent research and publications. In the domain of Ukrainian musicology, there are some works devoted to specifics of piano accompaniment as an art, to the personality of a pianist-accompanist (Iniutochkina, 2010; Kretov & Novik-Kretova, 2017; Molchanova, 2013; Pavlichuk, Chaika, Tyshkevych, 2020; Zub, 2021). Scholarly sources portray an image of a musician who is integral in their essence: they are equally competent in such spheres as music history and music theory, art performance and technical issues, this is a musician capable of combining the qualities of a soloist and ensemblist, a thoughtful interpreter. The objectives of the study are: 1) to research the special ways in which opera as a stage genre can exist in untypical conditions of concert performance; 2) to justify the importance of the project created by the Department of Piano Accompaniment of Kharkiv I. P. Kotlyarevsky National University of Arts under the guidance of Professor Ye. Nikitska as a tool which allows students to acquire knowledge and skills necessary for self-realization and building a successful career of the piano accompanist. The scientific novelty of the study is caused by the fact that this project has not yet received proper attention in scientific research works. The article uses such research methods as genre, functional, comparative, and performing ones. Results and conclusion. The work on an art project guided by Ye. Nikitska allowed to gain significant experience in the concert performance of opera. This experience includes various directions of work, such as:1) preparatory work with the opera clavier aimed at abridgement of less essential scenes, removal of secondary characters; 2) creation of a script and usage of a concert presenter to make up for the reduction of the performance; 3) compensation for the limited stage space with concentrated acting and emphasized articulation of all the necessary details in vocal and piano parts; 4) compensation for the lack of the orchestra with specific “theatrical” expressiveness of the piano playing; 5) the work of each student on the whole opera text to make them interchangeable; 6) development of an accompanist as a polyfunctional musician; 7) bringing up a pianist-acc","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124325476","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 figure of Hennadii Tymofiyovych Statyvkin as a reformer of the methodology of teaching the button accordion has always interested researchers for its versatility: ideas of restructuring the educational process of primary music education; experimental introduction of new methodological principles in the educational process; introduction of a seven-year period of training for button accordionists in children’s music schools; production of special training children’s selectable and ready-made button accordions; development and publication of a new curriculum and teaching aids. The above-mentioned ranges of H. Statyvkin’s activity have been covered by scholars at different times exclusively from the point of view of changing the methodology of teaching the button accordion from a selectable to a ready-made instrument. The problem of studying the structure of children’s accordion instruments created by H. Statyvkin has never acquired the format of a special separate study. The proposed article aims to reveal the design activity H. Statyvkin by analysing the design features of children’s musical instruments created by him for ensemble and orchestral music for preschool children. The scientific novelty of the research results is due to the introduction of some facts about the design features of the children’s orchestra set “Harmonika” into the scientific circulation of musicology, which made it possible to reveal the specifics of H. Statyvkin’s design thinking. Based on the analysis of the system of sound disposition at the right keyboards of the “Solo-1” and “Solo-2” instruments, we can conclude that H. Statyvkin’s system corresponds to the right keyboard of the piano-type accordion, but in the button version. Unusual for the button accordion disposition of the sounds at the right keyboard and grouping of major and minor triads in one row of the left keyboard is based on ergonomic and physiological data of preschool children (height and width of the chest, length of hands and forearms). It was this design that made it possible to reduce the overall sizes of the instruments and to make them in accordance with the physiology of a preschool children.
{"title":"Children’s orchestral set “Harmonika” by H. T. Statyvkin as a source of developing initial skills of ensemble and orchestral music playing for preschool children","authors":"Olena Rieznik","doi":"10.34064/khnum1-64.05","DOIUrl":"https://doi.org/10.34064/khnum1-64.05","url":null,"abstract":"The figure of Hennadii Tymofiyovych Statyvkin as a reformer of the methodology of teaching the button accordion has always interested researchers for its versatility: ideas of restructuring the educational process of primary music education; experimental introduction of new methodological principles in the educational process; introduction of a seven-year period of training for button accordionists in children’s music schools; production of special training children’s selectable and ready-made button accordions; development and publication of a new curriculum and teaching aids. The above-mentioned ranges of H. Statyvkin’s activity have been covered by scholars at different times exclusively from the point of view of changing the methodology of teaching the button accordion from a selectable to a ready-made instrument. The problem of studying the structure of children’s accordion instruments created by H. Statyvkin has never acquired the format of a special separate study. The proposed article aims to reveal the design activity H. Statyvkin by analysing the design features of children’s musical instruments created by him for ensemble and orchestral music for preschool children. The scientific novelty of the research results is due to the introduction of some facts about the design features of the children’s orchestra set “Harmonika” into the scientific circulation of musicology, which made it possible to reveal the specifics of H. Statyvkin’s design thinking. Based on the analysis of the system of sound disposition at the right keyboards of the “Solo-1” and “Solo-2” instruments, we can conclude that H. Statyvkin’s system corresponds to the right keyboard of the piano-type accordion, but in the button version. Unusual for the button accordion disposition of the sounds at the right keyboard and grouping of major and minor triads in one row of the left keyboard is based on ergonomic and physiological data of preschool children (height and width of the chest, length of hands and forearms). It was this design that made it possible to reduce the overall sizes of the instruments and to make them in accordance with the physiology of a preschool children.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129534580","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 article examines the specifics of the performance chronotope (time-space) of two masterpieces written by outstanding composers-contemporaries, whose lifetime is characterized by a gradual transition from the classical to the romantic style. Its essential characteristics and the significance of their awareness by the pianist-performer in the practice of working at a musical piece are highlighted. The “performance chronotope” is one of the parameters involved in the field of contemporary music-performance interpretation (Nikolaievska, 2020: 144). This publication is related to our previous work, where space-time characteristics of clavier sonatas by D. Scarlatti, С. Ph. E. Bach, J. Haydn, W. A. Mozart, and M. Clementi were revealed from the viewpoint of a piano performer (Tarabanov, 2021). Some parameters of the performance chronotope that have been outlined before – interaction and mutual balance of statics and dynamics, organizing function of performance time in sound musical form, metrorhythmic performance inertia, continuity of space-time and performance prediction (anticipation) – are supplemented by others, such as performance understanding of the form through working at details, and psychological space-time of the performer (as one of the components of the performance chronotope of the work). This is attributable to new interpretative tasks of the pianist in Beethoven’s and Schubert’s Sonatas under consideration. These works have not yet been the subject of analysis from the standpoint of performance chronotope characteristics, which, along with the use of an experimental research method (with the involvement of the author’s experience in concert performance of the considered works10), determined the scientific novelty of the presented study. The results of the study are supposed to be helpful for piano performers in their learning of these works and similar ones. It is especially relevant, because the greatest composer of piano sonatas, Ludwig van Beethoven, is in the spotlight all the time. His so-named “Moonlight” Sonata (op. 27 No. 2) continues to attract new generations of listeners, performers, and researchers (Rosen, 2002; Waltz, 2007; Gordon, 2017, and others). Beethoven’s direct successor, Franz P. Schubert created no less fascinating works in the genre of piano sonata. Among them is the Sonata D. 958 in C minor, where Beethoven’s influence is observed to a great extent. As in the case with concrete musical examples analyzed in the article, the piano performer can realize on practice their own interpretative searches connected with the use of timespace characteristics. In particular, a method of “expanding the performance chronotope” is recommended, which should significantly facilitate the mastering of complicated technical episodes.
{"title":"Performance Chronotope in the Piano Sonatas by Beethoven (op. 27 No. 2) and Schubert (D. 958)","authors":"Tarabanov Anatolii","doi":"10.34064/khnum1-62.04","DOIUrl":"https://doi.org/10.34064/khnum1-62.04","url":null,"abstract":"The article examines the specifics of the performance chronotope (time-space) of two masterpieces written by outstanding composers-contemporaries, whose lifetime is characterized by a gradual transition from the classical to the romantic style. Its essential characteristics and the significance of their awareness by the pianist-performer in the practice of working at a musical piece are highlighted. The “performance chronotope” is one of the parameters involved in the field of contemporary music-performance interpretation (Nikolaievska, 2020: 144). This publication is related to our previous work, where space-time characteristics of clavier sonatas by D. Scarlatti, С. Ph. E. Bach, J. Haydn, W. A. Mozart, and M. Clementi were revealed from the viewpoint of a piano performer (Tarabanov, 2021). Some parameters of the performance chronotope that have been outlined before – interaction and mutual balance of statics and dynamics, organizing function of performance time in sound musical form, metrorhythmic performance inertia, continuity of space-time and performance prediction (anticipation) – are supplemented by others, such as performance understanding of the form through working at details, and psychological space-time of the performer (as one of the components of the performance chronotope of the work). This is attributable to new interpretative tasks of the pianist in Beethoven’s and Schubert’s Sonatas under consideration. These works have not yet been the subject of analysis from the standpoint of performance chronotope characteristics, which, along with the use of an experimental research method (with the involvement of the author’s experience in concert performance of the considered works10), determined the scientific novelty of the presented study. The results of the study are supposed to be helpful for piano performers in their learning of these works and similar ones. It is especially relevant, because the greatest composer of piano sonatas, Ludwig van Beethoven, is in the spotlight all the time. His so-named “Moonlight” Sonata (op. 27 No. 2) continues to attract new generations of listeners, performers, and researchers (Rosen, 2002; Waltz, 2007; Gordon, 2017, and others). Beethoven’s direct successor, Franz P. Schubert created no less fascinating works in the genre of piano sonata. Among them is the Sonata D. 958 in C minor, where Beethoven’s influence is observed to a great extent. As in the case with concrete musical examples analyzed in the article, the piano performer can realize on practice their own interpretative searches connected with the use of timespace characteristics. In particular, a method of “expanding the performance chronotope” is recommended, which should significantly facilitate the mastering of complicated technical episodes.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126394838","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}
V. Podgorny made a great contribution to the development of the national button accordion art of the second half of the twentieth century. The composer managed to create highly artistic works that reflect the dramatic content and characterize the author’s symphonic thinking. The article reveals the peculiarities of the performer’s interpretation of works for button accordion by V. Podgorny on the example of Fantasia on the theme of the Ukrainian folk song “Poviy, vitre, na Vkrayinu”. For this purpose, for the first time, two performance versions by two famous performers are analyzed: a version by O. Nazarenko, and a version by F. Lips. The conclusions emphasize that the interpretation of V. Podgorny’s works requires accurate knowledge of the text, correct nuances, a good command of strokes; skillful pedalization and sound production, vocalization of melody when conveying the image.
波德戈尔尼对20世纪下半叶全国钮扣手风琴艺术的发展做出了巨大贡献。作曲家成功地创作出了极具艺术性的作品，既体现了戏剧内容，又体现了作者交响乐思维的特点。本文以乌克兰民歌《Poviy, vitre, na Vkrayinu》为主题的《幻想曲》为例，揭示了表演者对波德戈尔尼钮扣手风琴作品的诠释特点。为此，我们首次分析了两位著名演奏家的两个表演版本:纳扎连科的版本和利普斯的版本。结论强调，解读波德戈尔尼的作品需要对文本有准确的认识，要有正确的细微差别，要有良好的笔法;在传达形象的过程中，熟练的踏板和声音制作，旋律发声。
{"title":"Performing peculiarities of interpretation of V. Podgorny’s works for button accordion (based on the Fantasia on the theme of the Ukrainian folk song “Poviy, vitre, na Vkrayinu”)","authors":"Lytvyshchenko Oleksandr","doi":"10.34064/khnum1-62.09","DOIUrl":"https://doi.org/10.34064/khnum1-62.09","url":null,"abstract":"V. Podgorny made a great contribution to the development of the national button accordion art of the second half of the twentieth century. The composer managed to create highly artistic works that reflect the dramatic content and characterize the author’s symphonic thinking. The article reveals the peculiarities of the performer’s interpretation of works for button accordion by V. Podgorny on the example of Fantasia on the theme of the Ukrainian folk song “Poviy, vitre, na Vkrayinu”. For this purpose, for the first time, two performance versions by two famous performers are analyzed: a version by O. Nazarenko, and a version by F. Lips. The conclusions emphasize that the interpretation of V. Podgorny’s works requires accurate knowledge of the text, correct nuances, a good command of strokes; skillful pedalization and sound production, vocalization of melody when conveying the image.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116394356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. Creativity of Gr. Washington Jr. studied, although he was a very popular performer and improviser. The official site provides the most detailed material on the heritage of Gr. Washington Jr., a section is not well of A. West’s dissertation (Aaron J. West) is devoted to the method of his improvisation, Gr. Washington Jr. is mentioned in studies on the theory and history of jazz (Aebersold, 1992; Ellenberger, 2005; Levine, 1995) as well as in a research essay on “smooth” jazz (Flynn, 2014; Mader, 2012). The purpose of the article is to outline the main features of Grover Washington Jr’s improvisation on saxophone. The research methodology combines several sources: works on the theory of improvisation (Ferand, 1957; Bailey, 1993; Stetsiuk, 2020; Zotov, 2018), works on performance style and interpretation as communication (Adorno, 2002, Nikolaevska, 2020). Based on a combination of methods, the article defines “style of improvisation” as a system of four dimensions: the phenomenological considers improvisation as a method of music-making based on the instantaneous transmission of what appears in empirical time; pragmatic – explores improvisation as a set of elements that are formed in the language of an individual musician and objectified “here and now” according to certain laws of form; personal – interprets improvisation from the standpoint of the psychological and spiritual qualities of a musician-improviser; communicative – studies improvisation from the point of communication between the musician(s) in the group and the musician(s) with the audience. The study uses this proposed definition to analyse Gr. Washington Jr’s works. Scientific novelty is declared by the analysis of “style of improvisation” as a system of four dimensions (phenomenological, pragmatic, personal and communicative). Conclusions and results of the study. The article revealed the features of Gr. Washington’s style of improvisation on the example of his albums “Inner City Blues” (1971), “Mister Magic” (1975) and “Winelight” (1980), which belonged to the crossover music of the 1970s and established musical and cultural paradigms of the smooth jazz in the 1980s. The pragmatic dimension of the style is evident in the saxophone timbre (“multi-timbre” instrument); modal harmony (an evolution from a “two-chord vamp” to richer harmonic thinking, from smooth jazz to fusion); predominantly “horizontal” melodic thinking; tendency to build short phrases. The communicative dimension is expressed in the predominance of the declamatory (recitative) style of jazz improvisation, which returned jazz to the traditions of the swing era, phenomenally manifesting itself in the work of Washington and influencing the further development of jazz.
问题的陈述。小华盛顿的创造力，虽然他是一个非常受欢迎的表演者和即兴表演者。官方网站提供了关于小华盛顿的遗产的最详细的材料，a . West的论文(Aaron J. West)的一个部分是关于他的即兴创作方法的，小华盛顿在爵士理论和历史的研究中被提到(Aebersold, 1992;Ellenberger, 2005;Levine, 1995)，以及一篇关于“平滑”爵士乐的研究论文(Flynn, 2014;马德尔,2012)。本文的目的是概述格罗弗·华盛顿小萨克斯管即兴创作的主要特点。研究方法结合了几个来源:关于即兴理论的著作(Ferand, 1957;贝利,1993;Stetsiuk, 2020;Zotov, 2018)，研究作为交流的表演风格和诠释(Adorno, 2002; Nikolaevska, 2020)。基于多种方法的结合，本文将“即兴风格”定义为四个维度的系统:现象学认为即兴是一种基于经验时间中出现的瞬时传递的音乐制作方法;实用主义-将即兴创作视为一组元素，这些元素以音乐家个人的语言形成，并根据某些形式法则将“此时此地”客观化;个人——从即兴音乐家的心理素质和精神素质的角度解读即兴创作;交流-研究即兴从交流的音乐家(s)之间的团体和音乐家(s)与观众。该研究使用这一提议的定义来分析小华盛顿的作品。通过对“即兴风格”的分析，科学的新颖性被认为是一个由四个维度(现象学、语用学、个人和交际学)组成的系统。研究的结论和结果。文章以华盛顿的专辑《Inner City Blues》(1971年)、《Mister Magic》(1975年)、《Winelight》(1980年)为例，揭示了华盛顿即兴创作风格的特点。这些专辑属于20世纪70年代的跨界音乐，在20世纪80年代确立了流畅爵士乐的音乐和文化范式。风格的实用维度在萨克斯管音色(“多音色”乐器)中很明显;调式和声(从“双和弦”到更丰富的和声思维的演变，从流畅的爵士到融合);以“水平”旋律思维为主;倾向于构建简短的短语。交流的维度表现在爵士乐即兴演奏的朗诵(朗诵)风格的主导地位，这使爵士乐回到了摇摆时代的传统，在华盛顿的作品中表现得很明显，并影响了爵士乐的进一步发展。
{"title":"Grover Washington Jr.’s style of improvisation on the saxophone","authors":"Qi Zhang","doi":"10.34064/khnum1-62.07","DOIUrl":"https://doi.org/10.34064/khnum1-62.07","url":null,"abstract":"Statement of the problem. Creativity of Gr. Washington Jr. studied, although he was a very popular performer and improviser. The official site provides the most detailed material on the heritage of Gr. Washington Jr., a section is not well of A. West’s dissertation (Aaron J. West) is devoted to the method of his improvisation, Gr. Washington Jr. is mentioned in studies on the theory and history of jazz (Aebersold, 1992; Ellenberger, 2005; Levine, 1995) as well as in a research essay on “smooth” jazz (Flynn, 2014; Mader, 2012). The purpose of the article is to outline the main features of Grover Washington Jr’s improvisation on saxophone. The research methodology combines several sources: works on the theory of improvisation (Ferand, 1957; Bailey, 1993; Stetsiuk, 2020; Zotov, 2018), works on performance style and interpretation as communication (Adorno, 2002, Nikolaevska, 2020). Based on a combination of methods, the article defines “style of improvisation” as a system of four dimensions: the phenomenological considers improvisation as a method of music-making based on the instantaneous transmission of what appears in empirical time; pragmatic – explores improvisation as a set of elements that are formed in the language of an individual musician and objectified “here and now” according to certain laws of form; personal – interprets improvisation from the standpoint of the psychological and spiritual qualities of a musician-improviser; communicative – studies improvisation from the point of communication between the musician(s) in the group and the musician(s) with the audience. The study uses this proposed definition to analyse Gr. Washington Jr’s works. Scientific novelty is declared by the analysis of “style of improvisation” as a system of four dimensions (phenomenological, pragmatic, personal and communicative). Conclusions and results of the study. The article revealed the features of Gr. Washington’s style of improvisation on the example of his albums “Inner City Blues” (1971), “Mister Magic” (1975) and “Winelight” (1980), which belonged to the crossover music of the 1970s and established musical and cultural paradigms of the smooth jazz in the 1980s. The pragmatic dimension of the style is evident in the saxophone timbre (“multi-timbre” instrument); modal harmony (an evolution from a “two-chord vamp” to richer harmonic thinking, from smooth jazz to fusion); predominantly “horizontal” melodic thinking; tendency to build short phrases. The communicative dimension is expressed in the predominance of the declamatory (recitative) style of jazz improvisation, which returned jazz to the traditions of the swing era, phenomenally manifesting itself in the work of Washington and influencing the further development of jazz.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121541817","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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