Statement of the problem. Under consideration is a specific form of art synthesis – singing in modern ballet. The synthesis of arts is attributive to the poetics of European opera, where a choreographic plan is used, however, singing in ballet is a rather rare phenomenon against the background of the dominance of singing in the operas of the 18th and 19th centuries. Nonetheless, there are eloquent examples of the return of singing in a ballet as a characteristic feature of the innovative choreographic theatre (“Pulcinella” by I. Stravinsky). The relevance of the topic is explained by the lack of musicological research devoted to the functions of singing as a component of ballet, while in modern practice there are clear precedents for the revival of this phenomenon. Some topical sources indicate the synthetic type of theatrical spectacle in the context of French Baroque culture (Danshina, 2010; Anfilova, 2004; Chepalov, 2008 and others), but the vocal component is not considered as a special problem. The purpose of the article is to investigate the interaction of vocal and ballet arts in the modern practice of ballet productions of the Kharkiv Opera and Ballet Theater (Ukraine) in the retrospective context of European musical-theatrical traditions. Modern ballet “The Little Prince” based on A. Saint-Exupery’s novel of the same name (2016) staged by Kharkiv ‘M. Lysenko’ National Academic Theatre of Opera and Ballet (KhNATOB) was chosen to be the material of the article. The following research methods are used: historical and typological approach that distinguishes the styles of European opera culture; semantic analysis of ballet performance as an artistic text; interpretative-cognitive comprehension of singing and its functions in ballet dramaturgy. Presentation of the research results. The creative experience of the French choreographer Johann Nuss on the stage of Kharkiv Opera Theatre – the premiere of the modern ballet “The Little Prince”, testified to the actualization of intertextuality in solving the problem of the relationship between singing and dancing. Traditional artistic plans are an important factor in the dramaturgy of a ballet performance. Together with two purely choreographic levels where the virtuoso skill of dancers and plastique of “talking” movements prevails, the singing voice is the third plan, which indicates the continuity of the French tradition (one can remember the model of J. B. Rameau’s “Gallant India”). The choice of musical material for the performance belongs to J. Nuss. He “saw” the image of Rose, who the Prince is in love with, twofold: as a choreographic-plastic and a “singing” one. Respectively, the role of Rose is embodied by a ballerina (Honoured Artist of Ukraine Iryna Khandazhevska) and a singer (Honoured Artist of Ukraine Olena Starykova, soprano). Dressed in a costume of a flower, the singer represents an ideal creature: themes from R. Glier’s and S. Rachmaninoff’s vocal compositions sound. The appearance
{"title":"The interpretative function of singing in the “score” of a modern ballet performance","authors":"Ting Liu","doi":"10.34064/khnum1-62.05","DOIUrl":"https://doi.org/10.34064/khnum1-62.05","url":null,"abstract":"Statement of the problem. Under consideration is a specific form of art synthesis – singing in modern ballet. The synthesis of arts is attributive to the poetics of European opera, where a choreographic plan is used, however, singing in ballet is a rather rare phenomenon against the background of the dominance of singing in the operas of the 18th and 19th centuries. Nonetheless, there are eloquent examples of the return of singing in a ballet as a characteristic feature of the innovative choreographic theatre (“Pulcinella” by I. Stravinsky). The relevance of the topic is explained by the lack of musicological research devoted to the functions of singing as a component of ballet, while in modern practice there are clear precedents for the revival of this phenomenon. Some topical sources indicate the synthetic type of theatrical spectacle in the context of French Baroque culture (Danshina, 2010; Anfilova, 2004; Chepalov, 2008 and others), but the vocal component is not considered as a special problem. The purpose of the article is to investigate the interaction of vocal and ballet arts in the modern practice of ballet productions of the Kharkiv Opera and Ballet Theater (Ukraine) in the retrospective context of European musical-theatrical traditions. Modern ballet “The Little Prince” based on A. Saint-Exupery’s novel of the same name (2016) staged by Kharkiv ‘M. Lysenko’ National Academic Theatre of Opera and Ballet (KhNATOB) was chosen to be the material of the article. The following research methods are used: historical and typological approach that distinguishes the styles of European opera culture; semantic analysis of ballet performance as an artistic text; interpretative-cognitive comprehension of singing and its functions in ballet dramaturgy. Presentation of the research results. The creative experience of the French choreographer Johann Nuss on the stage of Kharkiv Opera Theatre – the premiere of the modern ballet “The Little Prince”, testified to the actualization of intertextuality in solving the problem of the relationship between singing and dancing. Traditional artistic plans are an important factor in the dramaturgy of a ballet performance. Together with two purely choreographic levels where the virtuoso skill of dancers and plastique of “talking” movements prevails, the singing voice is the third plan, which indicates the continuity of the French tradition (one can remember the model of J. B. Rameau’s “Gallant India”). The choice of musical material for the performance belongs to J. Nuss. He “saw” the image of Rose, who the Prince is in love with, twofold: as a choreographic-plastic and a “singing” one. Respectively, the role of Rose is embodied by a ballerina (Honoured Artist of Ukraine Iryna Khandazhevska) and a singer (Honoured Artist of Ukraine Olena Starykova, soprano). Dressed in a costume of a flower, the singer represents an ideal creature: themes from R. Glier’s and S. Rachmaninoff’s vocal compositions sound. The appearance ","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"72 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":"121965732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. In the study, an attempt was made to highlight the process of the viola repertoire shaping, which occurred due to the improvement of the viola as a solo concert instrument. In view of the increasing popularity of the viola in the 20th century and the growth of scholars’ attention to modern viola practice, the previous stages of the development of viola art need new evaluations. Such a review and reassessment turned out to be especially relevant for the national musicology, which has been in informational isolation for a long time; therefore, the involvement of little-known sources determined the expediency and certain scientific novelty of this attempt. The purpose of this work was to analyze the process of shaping the concert repertoire for the viola during the 17th–19th centuries in the context of the viola performance development. As a result, the factors that contributed to a radical change in attitude towards this instrument on the part of composers, performers and listeners during the selected historical period were identified. The main sources for making conclusions were the catalogues by V. Borissovsky, and V. Altmann “Literaturverzeichnis für Bratsche und Viola d’amore” (Altmann, Borissovsky, 1937), the researches by D. Havrylets (2012) where for the first time in Ukrainian musicology the evolution the viola concerto as a genre is covered from the origins to the present; and M. Kugel (2009), where his rich performance experience is summarized. Results and conclusion. Based on the analysis of the sources, systematization and generalization of its results, the path of the viola performance development is traced up to the beginning of the 20th century, from the work of G. Telemann, brothers Antonin and Carel Stamitz, I. Holzbauer, L. Lebrun, E. Eichner, through the creative work of F. A. Hoffmeister (the 18th century), A. Rolla, H. Sitt (the 19th century). It is emphasized that the leading viola players, most of whom were composers, made a decisive contribution to the transformation of the viola from an accompanying instrument into a full-fledged solo instrument. The circumstances of the cultural life of the society, which influenced the change of attitude to the viola, and the following factors of the development of the concert viola repertoire in the 19th century have been marked: the emergence of virtuosos, intensification of touring, music business, development of pedagogy, formation of sustainable performing trends, schools, the tradition of viola playing in the composers environment, etc., which led to the rapid development of the viola repertoire in the 20th century
问题的陈述。在研究中，试图突出中提琴曲目的形成过程，这是由于中提琴作为独奏音乐会乐器的改进而发生的。鉴于中提琴在20世纪的日益普及和学者对现代中提琴实践的日益关注，中提琴艺术发展的前几个阶段需要重新评估。对于长期处于信息孤立状态的民族音乐学而言，这样的回顾与重估显得尤为重要;因此，参与鲜为人知的来源决定了这种尝试的权宜之计和一定的科学新颖性。这项工作的目的是在中提琴演奏发展的背景下，分析17 - 19世纪中提琴音乐会曲目的形成过程。因此，在选定的历史时期，作曲家、表演者和听众对这种乐器的态度发生了根本性的变化，这些因素是确定的。得出结论的主要来源是V. Borissovsky和V. Altmann的目录“Literaturverzeichnis f r Bratsche und Viola d 'amore”(Altmann, Borissovsky, 1937)， d . Havrylets(2012)的研究，其中在乌克兰音乐学中首次涵盖了中提琴协奏曲作为一种流派的演变，从起源到现在;M. Kugel(2009)，总结了他丰富的表演经验。结果与结论。通过对资料来源的分析、对结果的系统化和概括，中提琴演奏的发展路径可以追溯到20世纪初，从G. Telemann、Antonin和Carel Stamitz兄弟、I. Holzbauer、L. Lebrun、E. Eichner的作品，到F. A. Hoffmeister(18世纪)、A. Rolla、H. Sitt(19世纪)的创造性作品。中提琴从伴奏乐器转变为独奏乐器的过程中，主要的中提琴演奏家们(大部分是作曲家)做出了决定性的贡献。影响人们对中提琴态度变化的社会文化生活环境，以及19世纪音乐会中提琴曲目发展的下列因素，都已被记录下来:大师的出现、巡演的加强、音乐商业的发展、教育学的发展、可持续演奏趋势的形成、流派的形成、中提琴在作曲家环境下演奏的传统等等，导致了中提琴曲目在20世纪的迅速发展
{"title":"Ways of shaping the concert repertoire for the viola in the 17th–19th centuries","authors":"Udovychеnko Mykola","doi":"10.34064/khnum1-62.01","DOIUrl":"https://doi.org/10.34064/khnum1-62.01","url":null,"abstract":"Statement of the problem. In the study, an attempt was made to highlight the process of the viola repertoire shaping, which occurred due to the improvement of the viola as a solo concert instrument. In view of the increasing popularity of the viola in the 20th century and the growth of scholars’ attention to modern viola practice, the previous stages of the development of viola art need new evaluations. Such a review and reassessment turned out to be especially relevant for the national musicology, which has been in informational isolation for a long time; therefore, the involvement of little-known sources determined the expediency and certain scientific novelty of this attempt. The purpose of this work was to analyze the process of shaping the concert repertoire for the viola during the 17th–19th centuries in the context of the viola performance development. As a result, the factors that contributed to a radical change in attitude towards this instrument on the part of composers, performers and listeners during the selected historical period were identified. The main sources for making conclusions were the catalogues by V. Borissovsky, and V. Altmann “Literaturverzeichnis für Bratsche und Viola d’amore” (Altmann, Borissovsky, 1937), the researches by D. Havrylets (2012) where for the first time in Ukrainian musicology the evolution the viola concerto as a genre is covered from the origins to the present; and M. Kugel (2009), where his rich performance experience is summarized. Results and conclusion. Based on the analysis of the sources, systematization and generalization of its results, the path of the viola performance development is traced up to the beginning of the 20th century, from the work of G. Telemann, brothers Antonin and Carel Stamitz, I. Holzbauer, L. Lebrun, E. Eichner, through the creative work of F. A. Hoffmeister (the 18th century), A. Rolla, H. Sitt (the 19th century). It is emphasized that the leading viola players, most of whom were composers, made a decisive contribution to the transformation of the viola from an accompanying instrument into a full-fledged solo instrument. The circumstances of the cultural life of the society, which influenced the change of attitude to the viola, and the following factors of the development of the concert viola repertoire in the 19th century have been marked: the emergence of virtuosos, intensification of touring, music business, development of pedagogy, formation of sustainable performing trends, schools, the tradition of viola playing in the composers environment, etc., which led to the rapid development of the viola repertoire in the 20th century","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"37 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":"129060805","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. An arsenal of technical performance means can act as an indicator of the novelty of a work at a certain historical stage, opening the way to understanding both evolutionary processes in the field of performance, in particular violin, and the patterns of development of certain genres. The purpose of the article is to highlight the issue of “violin” and “non-violin” specifics on the example of É. Lalo’s «Symphonie Espagnole» (Violin Concerto No. 2, op. 21), which belongs to a number of violin concertos of the last third of the 19th century marked by the influence of a new wave of virtuosity. The question of “non-violinism” became relevant in the late 70s of the 19th century, when the concert repertoire was replenished with works that went beyond the performance ideal as a result of the composers’ rethinking of the principles of musical dramaturgy and, accordingly, the functions of the soloist and the orchestra. Subordinating technical tasks to the dramaturgy of the work, rather than showing the virtuoso capabilities of the instrument and the soloist, raises a number of issues related to the objective perception of the new sound artistic model. Thus, in the concert works for the violin of the last third of the 19th century, two approaches are evident – traditional and innovative. É. Lalo’s concert works, despite the presence of his name in scientific research, remain understudied. In particular, the approach to the analysis of the «Symphonie Espagnole» from the viewpoint of “violin” and “non-violin” characteristics has not been used before. Results and conclusions. The analysis of É. Lalo’s work according to several parameters proposed by us (the balance of solo and orchestral parts; the implementation of tessitura and dynamic tasks; the choice of strokes; techniques of playing – passage, chordal technique; fingering) with the purpose of identifying the specific “violin” nature in the musical text allowed us to come to the conclusion that the spread of the latest trends did not turn É. Lalo away from using purely violin techniques and artistically expressive means that maximized performance comfort. The evolution of the concert genre in the last third of the 19th century contributed to the emergence of a new format of the relationship between the soloist and the author, when the dramatic idea, the artistic content of the work became a priority in the composing process, and the transformation of the performance approach towards the subordination of the soloist to certain semantic dominants expanded the limits of performance possibilities. However, musicians did not reject the traditional approach; they preserved the continuity of performance traditions, which is proved by the works of É. Lalo, A. Dvořak, C. Saint-Saëns.
问题的陈述。技术表演手段的武器库可以作为某个历史阶段作品新颖性的指标，为理解表演领域(特别是小提琴)的演变过程和某些流派的发展模式开辟了道路。本文的目的是以É为例，强调“小提琴”和“非小提琴”的具体问题。拉洛的《Espagnole交响曲》(第二小提琴协奏曲，作品21)，它属于19世纪最后三分之一的小提琴协奏曲，受到新一波精湛技艺的影响。“非小提琴主义”的问题在19世纪70年代后期变得相关，当时音乐会曲目被补充了超出表演理想的作品，这是作曲家重新思考音乐戏剧原则的结果，相应地，独奏者和管弦乐队的功能。将技术任务从属于作品的戏剧性，而不是展示乐器和独奏者的精湛能力，提出了一些与新声音艺术模式的客观感知相关的问题。因此，在19世纪后30年的小提琴音乐会作品中，有两种明显的方法-传统和创新。E。尽管拉洛的名字出现在科学研究中，但他的音乐会作品仍未得到充分研究。特别是，从“小提琴”和“非小提琴”特征的角度来分析《Espagnole交响曲》的方法以前从未使用过。结果和结论。É的分析。拉洛的作品根据我们提出的几个参数(独奏和管弦乐部分的平衡;结构化和动态任务的实现;笔画的选择;演奏技巧——乐段、和弦技巧;指法)以识别音乐文本中具体的“小提琴”性质为目的，使我们得出结论，即最新趋势的传播并未转向É。拉洛远离使用纯粹的小提琴技巧和艺术表现力的手段，最大限度地提高了演奏的舒适性。19世纪最后三分之一的音乐会流派的演变促成了独奏者和作者之间关系的新形式的出现，当作品的戏剧思想，艺术内容成为创作过程中的优先事项时，独奏者从属于某些语义主导的表演方法的转变扩大了表演可能性的限制。然而，音乐家们并没有拒绝传统的方法;他们保留了表演传统的连续性，É的作品证明了这一点。拉洛，A. Dvořak, C. Saint-Saëns。
{"title":"«Violin» characteristics of Édouard Lalo’s «Symphonie Espagnole»","authors":"Onishchenko Oleksandra","doi":"10.34064/khnum1-62.02","DOIUrl":"https://doi.org/10.34064/khnum1-62.02","url":null,"abstract":"Statement of the problem. An arsenal of technical performance means can act as an indicator of the novelty of a work at a certain historical stage, opening the way to understanding both evolutionary processes in the field of performance, in particular violin, and the patterns of development of certain genres. The purpose of the article is to highlight the issue of “violin” and “non-violin” specifics on the example of É. Lalo’s «Symphonie Espagnole» (Violin Concerto No. 2, op. 21), which belongs to a number of violin concertos of the last third of the 19th century marked by the influence of a new wave of virtuosity. The question of “non-violinism” became relevant in the late 70s of the 19th century, when the concert repertoire was replenished with works that went beyond the performance ideal as a result of the composers’ rethinking of the principles of musical dramaturgy and, accordingly, the functions of the soloist and the orchestra. Subordinating technical tasks to the dramaturgy of the work, rather than showing the virtuoso capabilities of the instrument and the soloist, raises a number of issues related to the objective perception of the new sound artistic model. Thus, in the concert works for the violin of the last third of the 19th century, two approaches are evident – traditional and innovative. É. Lalo’s concert works, despite the presence of his name in scientific research, remain understudied. In particular, the approach to the analysis of the «Symphonie Espagnole» from the viewpoint of “violin” and “non-violin” characteristics has not been used before. Results and conclusions. The analysis of É. Lalo’s work according to several parameters proposed by us (the balance of solo and orchestral parts; the implementation of tessitura and dynamic tasks; the choice of strokes; techniques of playing – passage, chordal technique; fingering) with the purpose of identifying the specific “violin” nature in the musical text allowed us to come to the conclusion that the spread of the latest trends did not turn É. Lalo away from using purely violin techniques and artistically expressive means that maximized performance comfort. The evolution of the concert genre in the last third of the 19th century contributed to the emergence of a new format of the relationship between the soloist and the author, when the dramatic idea, the artistic content of the work became a priority in the composing process, and the transformation of the performance approach towards the subordination of the soloist to certain semantic dominants expanded the limits of performance possibilities. However, musicians did not reject the traditional approach; they preserved the continuity of performance traditions, which is proved by the works of É. Lalo, A. Dvořak, C. Saint-Saëns.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"8 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":"114993742","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 opuses, which were created at the final stage of the composer’s creative path – namely, V. Bibik’s Fifth String Quartet – always arouse the special interest of researchers as the “last word” of the artist, which accumulates the peculiarities of his thinking and contributes to the integrity of the perception of his work We are particularly interested in the fact that quite often the latest works of composers, par excellence, those of the 19–21 centuries, are associated with the timbre of the viola (J. Brahms, M. Reger, D. Shostakovich, B. Britten, B. Bartok, P. Hindemith, B. Martinu, E. Bloch, A. Khachaturyan and others), which can also be traced in V. Bibik’s work. The phenomenon of involving the viola in the late opuses of composers of the 19–21 centuries has not been specifically considered so far, therefore, the discovery and application of this research angle constitutes a certain scientific novelty of our work. The purpose of the presented research is to consider the specifics of the application of the timbre semantics of the viola in the late works of the famous Ukrainian composer Valentyn Bibik (1940–2003) using the example of his Fifth String Quartet (2002). A set of general and special musicological approaches was used to explore the topic: historical and biographical in the study of V. Bibik’s life and creative path; stylistic, since the specifics of the composer’s late style are considered; semantic, in connection with the study of the timbre image of the viola; organological, in connection with the analysis of timbre-sematic and articulation-stroke means of expression; the method of performance analysis, focused on revealing the semantics of the viola timbre in the researched work. The article presents the references to works by researchers on the issue of the semantics of the timbre-image of the viola (Kosenko, 2018; Kupriyanenko, 2005; Horodetskyi, 2019 and others), on the studies dedicated to the issues of periodization of the work of composers, in particular, the typology of late period of creativity (Savytska, 2008, 2010), and on some works devoted to V. Bibik (Shapovalova, 2007a, b; Ivanova, & Mizitova, 2020; Shchetynsky, 2021, Serhaniuk, Shapovalova, Nikolaievska, & Kopeliuk, 2021). Results and conclusions. Based on the research of G. Kosenko, E. Kupriyanenko, and A. Horodetskyi, we have deduced some parameters for analyzing the semantics of the viola timbre-image: – creating a semantic “image of the instrument”; – accentuation of timbre qualities that express its specificity; – selection of intonations that form psychological characteristics presented by the alto timbre; – emphasis on various timbre components that influence the richness of the viola timbre. – performance influence on the timbre-image of the viola; – gravitation of the alto timbre towards certain moods; – use of two opposite parts of the viola register (high – low) for the characterization of internally contrasting images. The typ
问题的陈述。在作曲家创作道路的最后阶段创作的作品-即V. Bibik的第五弦乐四重奏-总是引起研究人员的特别兴趣，作为艺术家的“最后一句话”，它积累了他思想的独特性，并有助于对他作品的完整性感知。我们特别感兴趣的是，作曲家的最新作品，卓越的作品，那些19-21世纪的作品，与中提琴的音色有关(J. Brahms, M. Reger, D. Shostakovich, B. Britten, B. Bartok, P. hindemmith, B. Martinu, E. Bloch, A. Khachaturyan等)，这也可以在V. Bibik的作品中找到。中提琴在19-21世纪作曲家后期作品中出现的现象至今还没有被专门研究过，因此，这一研究角度的发现和应用构成了我们工作中一定的科学新颖性。本文以乌克兰著名作曲家Valentyn Bibik(1940-2003)的《第五弦乐四重奏》(2002)为例，探讨中提琴音色语义在其晚期作品中的具体应用。本文采用了一套通用的和特殊的音乐学方法来探讨这一主题:历史的和传记的研究V. Bibik的生活和创作路径;风格，因为作曲家晚期风格的细节被考虑;语义，与中提琴音色图像的研究有关;器官，与音色-语义和发音-笔触的表达方式分析有关;性能分析的方法，重点揭示了研究工作中提琴音色的语义。本文介绍了研究人员关于中提琴音色图像语义问题的参考文献(Kosenko, 2018;Kupriyanenko, 2005;霍洛维茨基，2019年和其他人)，致力于作曲家作品分期问题的研究，特别是后期创造力的类型学(Savytska, 2008年，2010年)，以及一些专门研究V. Bibik的作品(Shapovalova, 2007年a, b;伊万诺娃和米兹托娃，2020;Shchetynsky, 2021; Serhaniuk, Shapovalova, Nikolaievska， & Kopeliuk, 2021)。结果和结论。在G. Kosenko, E. Kupriyanenko和a . Horodetskyi的研究基础上，我们推导出了分析中提琴音色图像语义的一些参数:-创建一个语义的“乐器图像”;-强调表达其特殊性的音质;-选择语调，形成由中音呈现的心理特征;-强调影响中提琴音色丰富性的各种音色成分。-中提琴音色图像的演奏影响;-中音对某些情绪的引力;-使用中提琴寄存器的两个相对部分(高-低)来表征内部对比的图像。创作时期的类型(根据N. Savytska, 2008)被投射到V. Bibik的作品上，结果发现，他的创作活动的后期(根据我们的分期- 1994-2003)可以归因于“巩固”类型，因为艺术家风格的主要常量，如哲学方面，交响乐，多音化，单一性，戏剧的冥想类型被保留了下来。对第五弦乐四重奏进行了作曲和戏剧分析，考虑了器乐展示和主题材料发展的技术，并将注意力集中在作品语义领域中提琴音色图像使用的特殊性上。在对《四重奏》分析的基础上，考虑到作曲家作品的风格优势，突出了V. Bibik后期作品中提琴音色使用的主要趋势。结论是，由于乐器的技术和演奏能力，作曲家显著地扩展了其语义谱。
{"title":"Timbre-image of the viola in Valentin Bibik’s Fifth String Quartet in the context of the «last work» concept","authors":"Pashkovska Marharyta","doi":"10.34064/khnum1-62.10","DOIUrl":"https://doi.org/10.34064/khnum1-62.10","url":null,"abstract":"Statement of the problem. The opuses, which were created at the final stage of the composer’s creative path – namely, V. Bibik’s Fifth String Quartet – always arouse the special interest of researchers as the “last word” of the artist, which accumulates the peculiarities of his thinking and contributes to the integrity of the perception of his work We are particularly interested in the fact that quite often the latest works of composers, par excellence, those of the 19–21 centuries, are associated with the timbre of the viola (J. Brahms, M. Reger, D. Shostakovich, B. Britten, B. Bartok, P. Hindemith, B. Martinu, E. Bloch, A. Khachaturyan and others), which can also be traced in V. Bibik’s work. The phenomenon of involving the viola in the late opuses of composers of the 19–21 centuries has not been specifically considered so far, therefore, the discovery and application of this research angle constitutes a certain scientific novelty of our work. The purpose of the presented research is to consider the specifics of the application of the timbre semantics of the viola in the late works of the famous Ukrainian composer Valentyn Bibik (1940–2003) using the example of his Fifth String Quartet (2002). A set of general and special musicological approaches was used to explore the topic: historical and biographical in the study of V. Bibik’s life and creative path; stylistic, since the specifics of the composer’s late style are considered; semantic, in connection with the study of the timbre image of the viola; organological, in connection with the analysis of timbre-sematic and articulation-stroke means of expression; the method of performance analysis, focused on revealing the semantics of the viola timbre in the researched work. The article presents the references to works by researchers on the issue of the semantics of the timbre-image of the viola (Kosenko, 2018; Kupriyanenko, 2005; Horodetskyi, 2019 and others), on the studies dedicated to the issues of periodization of the work of composers, in particular, the typology of late period of creativity (Savytska, 2008, 2010), and on some works devoted to V. Bibik (Shapovalova, 2007a, b; Ivanova, & Mizitova, 2020; Shchetynsky, 2021, Serhaniuk, Shapovalova, Nikolaievska, & Kopeliuk, 2021). Results and conclusions. Based on the research of G. Kosenko, E. Kupriyanenko, and A. Horodetskyi, we have deduced some parameters for analyzing the semantics of the viola timbre-image: – creating a semantic “image of the instrument”; – accentuation of timbre qualities that express its specificity; – selection of intonations that form psychological characteristics presented by the alto timbre; – emphasis on various timbre components that influence the richness of the viola timbre. – performance influence on the timbre-image of the viola; – gravitation of the alto timbre towards certain moods; – use of two opposite parts of the viola register (high – low) for the characterization of internally contrasting images. The typ","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"42 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":"131053478","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 is dedicated to an outstanding personality, Merited Artist of Ukraine, professor of Kharkiv I. P. Kotlyarevsky National University of Arts. Nataliia Olexandrivna Yeshchenko (1926–2015) is the pianist, teacher, artist, scientist, who devoted her entire life to music. In her work she preserved traditions of the Kharkiv piano school, the founders of which were P. Lutsenko, O. Horovyts, M. Khazanovskyi. Her rich and fruitful activity left a noticeable mark in the history of piano performance in Ukraine. The work of the famous performer attracted the attention of reviewers and researchers, but it did not specifically focus on such an aspect as public awareness. The purpose of this article is to consider the educational direction of N. O. Yeshchenko’s performance as an important aspect of the work of an outstanding pianist of the 20th century. In the course of the research, it became necessary to turn to archival materials, in particular personal documents of the pianist, reviews of her concerts in periodicals, audio recordings of her works, her repertoire list. Based on the analysis of the mentioned source base, we support the idea that the performance art of N. O. Yeshchenko had a clearly defined educational orientation. Unforgettable was her concert-educational activity, which manifested itself in various aspects of her performance: numerous monographic concerts dedicated to the works of great composers, performances with a symphony orchestra, playing in a piano duet, accompaniment to vocalists and instrumentalists. She willingly took part in concert lectures, performed in front of a wide audience in sponsor concerts, also took part in various concerts in remote areas of the country. She bequeathed such a broad vision of the musician’s performing mission to her students. Thanks to music she constantly had a dialogue with the audience through numerous publications in periodicals. By including little-known or, unfortunately, forgotten works she showed the audience the layers of beautiful music, and was the first performer of works by Ukrainian composers, including Kharkiv authors. Programs (often organized in collaboration with a musicologist) featuring works of a certain genre, such as waltz, rondo, transcriptions, miniatures, introduced the listener to the world of genres still unknown or little known to them. A significant contribution to the treasure trove of Ukrainian performance was the concert performance of world-famous complex cycles of piano literature: 12 F. Liszt`s “Transcendental Etudes” and “24 Preludes” by S. Rachmaninoff. So, the analysis of N. O. Yeshchenko’s performance art shows that raising public awareness in the performance field was the main direction of her activity.
这篇文章是献给一位杰出的人物，乌克兰功勋艺术家，哈尔科夫国立艺术大学教授。娜塔莉亚·奥列克山德里夫娜·叶先科(1926-2015)是钢琴家、教师、艺术家、科学家，她的一生都奉献给了音乐。在她的作品中，她保留了哈尔科夫钢琴学校的传统，该学校的创始人是P. Lutsenko, O. Horovyts, M. Khazanovskyi。她丰富而富有成效的活动在乌克兰钢琴演奏史上留下了引人注目的印记。这位著名演奏家的作品引起了评论家和研究者的注意，但它并没有特别关注公众意识这样一个方面。本文的目的是将叶先科演奏的教育方向作为20世纪杰出钢琴家作品的一个重要方面来考虑。在研究过程中，有必要求助于档案材料，特别是钢琴家的个人文件，期刊上对她的音乐会的评论，她的作品的录音，她的曲目列表。通过对上述来源基础的分析，我们支持叶先科行为艺术具有明确的教育取向的观点。令人难忘的是她的音乐会教育活动，这体现在她的表演的各个方面:许多专门为伟大作曲家的作品举办的音乐会，与交响乐团的演出，钢琴二重奏，为声乐家和器乐家伴奏。她心甘情愿地参加音乐会讲座，在赞助的音乐会中在广大观众面前表演，还参加了该国偏远地区的各种音乐会。她把这位音乐家的表演使命的广阔视野留给了她的学生。由于音乐的缘故，她经常通过期刊上的许多出版物与观众进行对话。通过包括鲜为人知或不幸被遗忘的作品，她向观众展示了美丽音乐的层次感，并且是乌克兰作曲家(包括哈尔科夫作家)作品的第一位表演者。节目(通常与音乐学家合作组织)以某种流派的作品为特色，如华尔兹，回旋曲，转录，微缩，向听众介绍了他们仍然未知或知之甚少的流派的世界。对乌克兰演奏宝库的重大贡献是世界著名的钢琴文学复杂循环:12 F的音乐会表演。李斯特的《先验练习曲》和拉赫玛尼诺夫的《24首前奏曲》。因此，对叶先科行为艺术的分析表明，在行为领域提高公众意识是她活动的主要方向。
{"title":"Raising public awareness in N. O. Yeshchenko’s performance activity","authors":"Rudenko Nina","doi":"10.34064/khnum1-62.08","DOIUrl":"https://doi.org/10.34064/khnum1-62.08","url":null,"abstract":"The article is dedicated to an outstanding personality, Merited Artist of Ukraine, professor of Kharkiv I. P. Kotlyarevsky National University of Arts. Nataliia Olexandrivna Yeshchenko (1926–2015) is the pianist, teacher, artist, scientist, who devoted her entire life to music. In her work she preserved traditions of the Kharkiv piano school, the founders of which were P. Lutsenko, O. Horovyts, M. Khazanovskyi. Her rich and fruitful activity left a noticeable mark in the history of piano performance in Ukraine. The work of the famous performer attracted the attention of reviewers and researchers, but it did not specifically focus on such an aspect as public awareness. The purpose of this article is to consider the educational direction of N. O. Yeshchenko’s performance as an important aspect of the work of an outstanding pianist of the 20th century. In the course of the research, it became necessary to turn to archival materials, in particular personal documents of the pianist, reviews of her concerts in periodicals, audio recordings of her works, her repertoire list. Based on the analysis of the mentioned source base, we support the idea that the performance art of N. O. Yeshchenko had a clearly defined educational orientation. Unforgettable was her concert-educational activity, which manifested itself in various aspects of her performance: numerous monographic concerts dedicated to the works of great composers, performances with a symphony orchestra, playing in a piano duet, accompaniment to vocalists and instrumentalists. She willingly took part in concert lectures, performed in front of a wide audience in sponsor concerts, also took part in various concerts in remote areas of the country. She bequeathed such a broad vision of the musician’s performing mission to her students. Thanks to music she constantly had a dialogue with the audience through numerous publications in periodicals. By including little-known or, unfortunately, forgotten works she showed the audience the layers of beautiful music, and was the first performer of works by Ukrainian composers, including Kharkiv authors. Programs (often organized in collaboration with a musicologist) featuring works of a certain genre, such as waltz, rondo, transcriptions, miniatures, introduced the listener to the world of genres still unknown or little known to them. A significant contribution to the treasure trove of Ukrainian performance was the concert performance of world-famous complex cycles of piano literature: 12 F. Liszt`s “Transcendental Etudes” and “24 Preludes” by S. Rachmaninoff. So, the analysis of N. O. Yeshchenko’s performance art shows that raising public awareness in the performance field was the main direction of her activity.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"1 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":"133114593","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 heritage of German composer Paul Hindemith significantly influenced the development of double bass art of the XX century. Yet, from the 1920s, the author of one of the most renowned chamber works with double bass of his time, the Sonata for Double Bass and Piano (1949), a composer, multi-instrumentalist, P. Hindemith actively involved the double bass in other works, both chamber and solo ones. The Eight Pieces for Double Bass Solo (1927) for a long time have not been the focus of attention of contemporary researchers or double bass players. However, one should not underestimate the fact that P. Hindemith turned to the double bass as an instrument capable of performing a solo work. P. Hindemith’s double bass works still receive insufficient attention from both foreign and domestic musicologists, although many aspects of the composer’s work are highlighted in the studies of E. Hartmann (2013), J. Haney (2008), D. Trippett (2007) and others. The most complete information about the Eight Pieces for Solo Double Bass is given in the Introduction by G. Schubert (1997) before the publication of these pieces, however, their analytical interpretation has not yet been the subject of special research. The purpose of our study is to identify the compositional and dramaturgical peculiarities of Hindemith’s Eight Pieces for Double Bass Solo and to determine their role in the development of the double bass “branch” in the composer’s work. The following scientific methods were used: historiographic approach to study the scientific sources devoted to P. Hindemith; structural-functional and textological approaches in analytical descriptions. As a result of the analysis it was concluded that the Eight Pieces for Double Bass Solo by P. Hindemith are unique as they are a vivid example of the composer’s search for non-standard solutions connected with choosing the solo instrument timbre and the cycle-making factors. From the 1920s, the timbre of the double bass solo in Hindemith’s works in most cases correlates with the semantic spheres of joke, parody, sarcasm or grotesque. Created for home performance with friends, Eight Pieces for Double Bass Solo present the parody direction in the composer’s work. The cycle was undoubtedly influenced by Gertrude Hindemith’s preferences and talents. Gifted not only as a singer, cellist and double bassist, but also as an actress, she played these pieces not only at private parties for friends, but also performed them on stage following all the “acting” remarks written in Hindemith’s manuscript. The Eight Pieces built by the principle of “the cycle in cycle”, and their dramaturgy is subjected not only to musical logic, but also to numerous nonmusical factors (reflected in the remarks, graphics, etc.), which determined the theatrical nature of the work. After a real flourish of Hindemith’s chamber and instrumental work in the 1920s, the composer focused mainly on symphonic genres. However, his interest in
{"title":"P. Hindemith’s Eight Pieces For Double Bass Solo: compositional and dramaturgical peculiarities","authors":"Dikarev Serhiі","doi":"10.34064/khnum1-62.03","DOIUrl":"https://doi.org/10.34064/khnum1-62.03","url":null,"abstract":"Statement of the problem. The heritage of German composer Paul Hindemith significantly influenced the development of double bass art of the XX century. Yet, from the 1920s, the author of one of the most renowned chamber works with double bass of his time, the Sonata for Double Bass and Piano (1949), a composer, multi-instrumentalist, P. Hindemith actively involved the double bass in other works, both chamber and solo ones. The Eight Pieces for Double Bass Solo (1927) for a long time have not been the focus of attention of contemporary researchers or double bass players. However, one should not underestimate the fact that P. Hindemith turned to the double bass as an instrument capable of performing a solo work. P. Hindemith’s double bass works still receive insufficient attention from both foreign and domestic musicologists, although many aspects of the composer’s work are highlighted in the studies of E. Hartmann (2013), J. Haney (2008), D. Trippett (2007) and others. The most complete information about the Eight Pieces for Solo Double Bass is given in the Introduction by G. Schubert (1997) before the publication of these pieces, however, their analytical interpretation has not yet been the subject of special research. The purpose of our study is to identify the compositional and dramaturgical peculiarities of Hindemith’s Eight Pieces for Double Bass Solo and to determine their role in the development of the double bass “branch” in the composer’s work. The following scientific methods were used: historiographic approach to study the scientific sources devoted to P. Hindemith; structural-functional and textological approaches in analytical descriptions. As a result of the analysis it was concluded that the Eight Pieces for Double Bass Solo by P. Hindemith are unique as they are a vivid example of the composer’s search for non-standard solutions connected with choosing the solo instrument timbre and the cycle-making factors. From the 1920s, the timbre of the double bass solo in Hindemith’s works in most cases correlates with the semantic spheres of joke, parody, sarcasm or grotesque. Created for home performance with friends, Eight Pieces for Double Bass Solo present the parody direction in the composer’s work. The cycle was undoubtedly influenced by Gertrude Hindemith’s preferences and talents. Gifted not only as a singer, cellist and double bassist, but also as an actress, she played these pieces not only at private parties for friends, but also performed them on stage following all the “acting” remarks written in Hindemith’s manuscript. The Eight Pieces built by the principle of “the cycle in cycle”, and their dramaturgy is subjected not only to musical logic, but also to numerous nonmusical factors (reflected in the remarks, graphics, etc.), which determined the theatrical nature of the work. After a real flourish of Hindemith’s chamber and instrumental work in the 1920s, the composer focused mainly on symphonic genres. However, his interest in","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"04 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":"121688296","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 research of a national component in music is one of the urgent areas of music science, which can be realized in various aspects – historical, socio-cultural, stylistic, genre, compositional, and performance. The need of studying national specifics is traced most clearly on the examples of European countries, where the path of academic musical art has large time parameters. The Ukrainian national tradition, the vocal in particular, belongs to such musical phenomena. The analysis of publications on the chosen topic shows that, in addition to academic musicological works (Draganchuk, 2008; Komenda, 2014; Lyudkevych, 1999a, 1999b; Liashenko, 1973, 1991; Romaniuk, 2009), there are studies on the border of different sciences – musicology, sociology, history, psychology, cultural studies (Nikolaievska, 2020; Applegate, 1998; Gottlieb, 2019; Kelly, Mantere, & Scott, 2018; Knox, 2019). The studies of national traditions in musical art, as a rule, concern the general principles of their manifestation (Draganchuk, Lyudkevych, Liashenko, Applegate, Kelly, Mantere, & Scott), as well as the creative work of individual composers (Komenda, Romaniuk). The study of national traditions in the performing aspect today requires special development. All this determines the scientific novelty of the presented research, which is related to the systematic characteristics of the whole phenomenon of the Ukrainian national vocal tradition. Our purpose is to identify the genre, style and performing aspects of it. The complex of research methods includes several directions: studying the researches devoted to the national in music in general, in the work of Ukrainian composers in particular; of the scientific works on a wide range of modern issues of musical theory and practice, as well as the analysis of historical evolution of Ukrainian vocal music. Research results and conclusions. In vocal music, national specificity operates on several levels – stylistic, genre, compositional, figurative, semantic, and performing. The Ukrainian national vocal tradition combines all these levels, which interact in different ways in a specific piece of music. It is important to note the difference between the concepts of national vocal tradition and national vocal school – the latter is a component of the national vocal tradition, which combines traditional musical culture and academic musical art, represented by both musical compositions and their presentation, that is by musical practice.
{"title":"Ukrainian national vocal tradition: genre, style and performance projections","authors":"Sige Wang","doi":"10.34064/khnum1-62.06","DOIUrl":"https://doi.org/10.34064/khnum1-62.06","url":null,"abstract":"Statement of the problem. The research of a national component in music is one of the urgent areas of music science, which can be realized in various aspects – historical, socio-cultural, stylistic, genre, compositional, and performance. The need of studying national specifics is traced most clearly on the examples of European countries, where the path of academic musical art has large time parameters. The Ukrainian national tradition, the vocal in particular, belongs to such musical phenomena. The analysis of publications on the chosen topic shows that, in addition to academic musicological works (Draganchuk, 2008; Komenda, 2014; Lyudkevych, 1999a, 1999b; Liashenko, 1973, 1991; Romaniuk, 2009), there are studies on the border of different sciences – musicology, sociology, history, psychology, cultural studies (Nikolaievska, 2020; Applegate, 1998; Gottlieb, 2019; Kelly, Mantere, & Scott, 2018; Knox, 2019). The studies of national traditions in musical art, as a rule, concern the general principles of their manifestation (Draganchuk, Lyudkevych, Liashenko, Applegate, Kelly, Mantere, & Scott), as well as the creative work of individual composers (Komenda, Romaniuk). The study of national traditions in the performing aspect today requires special development. All this determines the scientific novelty of the presented research, which is related to the systematic characteristics of the whole phenomenon of the Ukrainian national vocal tradition. Our purpose is to identify the genre, style and performing aspects of it. The complex of research methods includes several directions: studying the researches devoted to the national in music in general, in the work of Ukrainian composers in particular; of the scientific works on a wide range of modern issues of musical theory and practice, as well as the analysis of historical evolution of Ukrainian vocal music. Research results and conclusions. In vocal music, national specificity operates on several levels – stylistic, genre, compositional, figurative, semantic, and performing. The Ukrainian national vocal tradition combines all these levels, which interact in different ways in a specific piece of music. It is important to note the difference between the concepts of national vocal tradition and national vocal school – the latter is a component of the national vocal tradition, which combines traditional musical culture and academic musical art, represented by both musical compositions and their presentation, that is by musical practice.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"1 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":"133332513","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}
Background. The issue of performance interpretation is one of the most debatable in musicology. The article states that tonality of a musical piece is a factor that determines the performance strategy. There are many examples showing that the composer’s choice of the tonality was not accidental, rather was determined by tradition, artistic design, and the composer’s own life experience. The purpose of the article is an attempt to “decipher” the meaning of the two works in the key of D minor – one of the most meaningful and symbolic tonality – from two perspectives: musical and extra-musical contexts in order to reveal the performance strategy. Literature review. The study of the recent research and publications indicates that there is a lack of works investigating semantics of tonalities from two perspectives: 1) the influence of tonality on the composition and dramaturgy of the work; 2 those performance means by which the semantics can be “deciphered”. This statement can be substantiated by the work of L. Kazantseva (2006). Among the works on this topic is the dissertation of E. Hackmey (2012) on Mozart “Fantasy in D minor”, where the author traces the influence of this key on the composer’s work; a chapter from L. Kyrylina’s book about Beethoven (2009), which refers to the composer’s perception of this key; the article by D Schroeder (1990) discussing parallels and mutual interdependences between Beethoven, Strindberg, Berg, and others. The novelty of the study is manifested in the formulation of such questions as 1) the dependence of the composition and dramaturgy of a musical work on its tonality; 2) the ways in which tonality specifies the performance strategy. Research methods. The study uses four main methods: 1) historical, which allows considering a musical work as an agent of a certain style (in this case - classicism); 2) genre method, which represents the work in the unity of typological and individual features; 3) semantic method, which reveals the meaning of the work; 4) interpretation performance approach, which allows building a strategy for performing a musical work. The term “performance strategy” is used in the meaning, proposed by O. Pupina (2015: 9), as an “individual approach of a pianist to the use of performance means with the aim of creating intonation and sound pattern of a musical text”. We also share the view of Yu.Nikolaievska (2017a: 105) on the performance strategy as a means of communication, namely “interpretation of the Other as a subject of meaning addressing”. Conclusion. The works of W. A. Mozart and L. Van Beethoven (Fantasia in D minor, K. 397 and Piano Sonata Op. 31 No. 2) were written in the most significant, turning points in the lives of these composers (even tragic in the case of Beethoven). This led to an extremely personal tone of expression in these works. The choice of the key is by no means accidental, because in the days of Mozart and Beethoven the key of D minor had a tragic, vital and “fateful”
{"title":"W. A. Mozart’s Fantasia in D minor K. 397 and L. van Beethoven’s Piano Sonata Op. 31 No. 2: Semantic and Performance Aspects","authors":"Sahalova Hanna","doi":"10.34064/khnum1-61.04","DOIUrl":"https://doi.org/10.34064/khnum1-61.04","url":null,"abstract":"Background. The issue of performance interpretation is one of the most debatable in musicology. The article states that tonality of a musical piece is a factor that determines the performance strategy. There are many examples showing that the composer’s choice of the tonality was not accidental, rather was determined by tradition, artistic design, and the composer’s own life experience. The purpose of the article is an attempt to “decipher” the meaning of the two works in the key of D minor – one of the most meaningful and symbolic tonality – from two perspectives: musical and extra-musical contexts in order to reveal the performance strategy. Literature review. The study of the recent research and publications indicates that there is a lack of works investigating semantics of tonalities from two perspectives: 1) the influence of tonality on the composition and dramaturgy of the work; 2 those performance means by which the semantics can be “deciphered”. This statement can be substantiated by the work of L. Kazantseva (2006). Among the works on this topic is the dissertation of E. Hackmey (2012) on Mozart “Fantasy in D minor”, where the author traces the influence of this key on the composer’s work; a chapter from L. Kyrylina’s book about Beethoven (2009), which refers to the composer’s perception of this key; the article by D Schroeder (1990) discussing parallels and mutual interdependences between Beethoven, Strindberg, Berg, and others. The novelty of the study is manifested in the formulation of such questions as 1) the dependence of the composition and dramaturgy of a musical work on its tonality; 2) the ways in which tonality specifies the performance strategy. Research methods. The study uses four main methods: 1) historical, which allows considering a musical work as an agent of a certain style (in this case - classicism); 2) genre method, which represents the work in the unity of typological and individual features; 3) semantic method, which reveals the meaning of the work; 4) interpretation performance approach, which allows building a strategy for performing a musical work. The term “performance strategy” is used in the meaning, proposed by O. Pupina (2015: 9), as an “individual approach of a pianist to the use of performance means with the aim of creating intonation and sound pattern of a musical text”. We also share the view of Yu.Nikolaievska (2017a: 105) on the performance strategy as a means of communication, namely “interpretation of the Other as a subject of meaning addressing”. Conclusion. The works of W. A. Mozart and L. Van Beethoven (Fantasia in D minor, K. 397 and Piano Sonata Op. 31 No. 2) were written in the most significant, turning points in the lives of these composers (even tragic in the case of Beethoven). This led to an extremely personal tone of expression in these works. The choice of the key is by no means accidental, because in the days of Mozart and Beethoven the key of D minor had a tragic, vital and “fateful” ","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117193027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. The article is devoted to the problem of studying the foreign repertoire by the performer. By studying the works of composers of any country, the performer gets the opportunity to comprehend the achievements of another culture, thereby deepening the imagery of their own interpretations and expanding their audience. This determines the relevance of the presented study, the purpose of which is to try to outline the ways of development of Estonian piano music and to reveal the originality of the musical language of prominent Estonian composers, based on iconic works of different periods. Literature review. It should be noted that today there are few scientific works in Estonia that help an international performers to understand the essence and originality of the piano works by Estonian composers. Some scientific studies were written still in the 60-90s of the last century. Most of the authors (Roizman, 1960; Normet and Vakhter, 1968; Leichter, 1970; Olt, 1972; Sviridov, 1983) cover the piano works of the Estonian composers in the context of the general development of Estonian musical culture. The lack of the special researches, concerned with piano art of Estonian composers stipulates the novelty of this study. For the first time not only in Ukrainian musicology, but also in the world, the piano heritage of the Estonian composers became the focus of attention. The research methodology. For revealing the abovementioned issues it was necessary to use a set of scientific approaches uniting the principles of music-theoretical, historical and performing analysis. The results and conclusions. The historical overview of the development of Estonian piano music presented in the article provides an opportunity for a modern international performer to get an idea of its most characteristic features. It was found that the formation of piano works took place in Estonia in three stages, in each of which the features of the national mentality were embodied with the help of historically determined stylistics of musical language and the use of appropriate compositional techniques. It is argued that Estonian mental traits such as restraint, contemplation, meditation, rationality, striving for simplicity and conciseness have also manifested themselves in piano works: over the centuries, this mental identity has been reflected in the work of composers of different generations. The practical significance. The obtained results allow to outline the genre system of piano works of Estonian composers and provide an opportunity to promote their works in the musical circles of Ukraine, expanding the modern performing repertoire.
问题的陈述。本文主要研究演奏家学习外国曲目的问题。通过研究任何一个国家的作曲家的作品，表演者有机会理解另一种文化的成就，从而加深自己的演绎形象，扩大他们的听众。这决定了所提出的研究的相关性，其目的是试图概述爱沙尼亚钢琴音乐的发展方式，并根据不同时期的标志性作品揭示爱沙尼亚著名作曲家音乐语言的原创性。文献综述。值得注意的是，今天在爱沙尼亚很少有科学作品可以帮助国际演奏家理解爱沙尼亚作曲家钢琴作品的本质和原创性。一些科学研究仍然是在上世纪60-90年代完成的。大多数作者(罗伊兹曼，1960;Normet and Vakhter, 1968;•莱克特说,1970;Olt, 1972;Sviridov, 1983)涵盖爱沙尼亚作曲家的钢琴作品在爱沙尼亚音乐文化的总体发展的背景下。缺乏对爱沙尼亚作曲家钢琴艺术的专门研究，决定了本研究的新颖性。不仅在乌克兰音乐学，而且在世界上，爱沙尼亚作曲家的钢琴遗产第一次成为人们关注的焦点。研究方法。为了揭示上述问题，有必要使用一套科学的方法，将音乐的理论、历史和表演分析原则结合起来。结果和结论。本文介绍了爱沙尼亚钢琴音乐发展的历史概况，为现代国际演奏家提供了一个了解其最具特色的机会。研究发现，爱沙尼亚钢琴作品的形成分三个阶段，在每个阶段，民族心态的特征都是通过历史上确定的音乐语言风格和适当的作曲技术的使用来体现的。有人认为，爱沙尼亚人的精神特征，如克制、沉思、沉思、理性、追求简单和简洁，也体现在钢琴作品中:几个世纪以来，这种精神特征反映在不同一代作曲家的作品中。现实意义。所获得的结果可以概述爱沙尼亚作曲家钢琴作品的类型系统，并为在乌克兰音乐界推广他们的作品提供机会，扩大现代表演曲目。
{"title":"Estonian piano music: ways of development (comprehension of foreign repertoire by a modern performer)","authors":"Pylypenko Stanislav","doi":"10.34064/khnum1-61.10","DOIUrl":"https://doi.org/10.34064/khnum1-61.10","url":null,"abstract":"Statement of the problem. The article is devoted to the problem of studying the foreign repertoire by the performer. By studying the works of composers of any country, the performer gets the opportunity to comprehend the achievements of another culture, thereby deepening the imagery of their own interpretations and expanding their audience. This determines the relevance of the presented study, the purpose of which is to try to outline the ways of development of Estonian piano music and to reveal the originality of the musical language of prominent Estonian composers, based on iconic works of different periods. Literature review. It should be noted that today there are few scientific works in Estonia that help an international performers to understand the essence and originality of the piano works by Estonian composers. Some scientific studies were written still in the 60-90s of the last century. Most of the authors (Roizman, 1960; Normet and Vakhter, 1968; Leichter, 1970; Olt, 1972; Sviridov, 1983) cover the piano works of the Estonian composers in the context of the general development of Estonian musical culture. The lack of the special researches, concerned with piano art of Estonian composers stipulates the novelty of this study. For the first time not only in Ukrainian musicology, but also in the world, the piano heritage of the Estonian composers became the focus of attention. The research methodology. For revealing the abovementioned issues it was necessary to use a set of scientific approaches uniting the principles of music-theoretical, historical and performing analysis. The results and conclusions. The historical overview of the development of Estonian piano music presented in the article provides an opportunity for a modern international performer to get an idea of its most characteristic features. It was found that the formation of piano works took place in Estonia in three stages, in each of which the features of the national mentality were embodied with the help of historically determined stylistics of musical language and the use of appropriate compositional techniques. It is argued that Estonian mental traits such as restraint, contemplation, meditation, rationality, striving for simplicity and conciseness have also manifested themselves in piano works: over the centuries, this mental identity has been reflected in the work of composers of different generations. The practical significance. The obtained results allow to outline the genre system of piano works of Estonian composers and provide an opportunity to promote their works in the musical circles of Ukraine, expanding the modern performing repertoire.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128398832","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. Mykola Lysenko’s opera “TarasBulba”, first staged in 1924, has confidently become a theatrical repertoire and a significant event in the national art. The opera has an outstanding spiritual value, in addition to its artistic one. For the first time, the opera genre manifested the idea of national identity, the embodiment of which for the Ukrainians is the image of the Cossack ataman Taras Bulba. Even after Ukraine gained independence, the issue of national identity remained under discussion, becoming even more debatable after the events of 2014. This issue is directly related to the phenomenon of the national cultural code – the mental information dimension that forms the nation. The purpose of the article is to characterize the image of Taras Bulba from Lysenko’s opera of the same name, revealing its belonging to the national cultural code and the relevance that this image still has. The following scientific methods were used: a culturological approach to identify the place of the image of Taras in the phenomenon of the “national-cultural code”, a historical method to trace the origin of this phenomenon components and a comparative analysis to determine the features of the image of Taras implemented in vocal interpretations. Despite the fact that a significant number of the scientific works are devoted to Lysenko’s work, in fact there is no interpretive analysis of the image of Taras Bulba in the context of its belonging to the nationalcultural code, which is the scientific novelty of the research. Results and conclusions. The selected definitions of “cultural code” (Habermas, 2001; Klymenkova, 2012; Andreichuk, 2009) indicate the scope of its functioning and its relation to the subject under consideration – the image of Taras Bulba as interpreted by the leading Ukrainian singers T. Shtonda, S. Mahera, V. Dutchak. The opera’s culminating scene contains an extremely important semantic moment for understanding its idea, which is key in the musical characterization of Taras – his song “Hey, the eagle flies”. Its generalizing function is to create a symbolic image of a Cossack – brave, free, cheerful, personifying the character of Taras himself and the entire Ukrainian people. This task is brilliantly accomplished by the singers T. Shtonda and S. Mahera, not only through the soulful intonation and masterful agogics, but also through the use of minimalistic but expressive stage gestures, which become an additional means of articulation and communication. Therefore, the image of Taras, created by V. Dutchak with great artistic skills, is less convincing, since the singer lacks stage mobility and plasticity. Thus, we can confidently say that largely due to the thoughtful interpretive work of the singers, the image of the Zaporizkyi Cossack has become the holder of a freedom-loving idea vital for all people. Proclaimed by the main character, the leader of the Cossacks, the idea of liberation from the invaders gains a powerful a
问题的陈述。尼古拉·李森科的歌剧《塔拉斯布尔巴》于1924年首次上演，已自信地成为戏剧保留曲目和民族艺术的重要事件。这部歌剧除了艺术价值外，还具有突出的精神价值。歌剧类型第一次体现了民族认同的观念，对乌克兰人来说，这种认同的体现是哥萨克阿塔曼塔拉斯·巴尔巴的形象。即使在乌克兰获得独立后，国家认同问题仍在讨论之中，在2014年的事件之后，争论变得更加激烈。这一问题直接关系到构成民族的心理信息维度——民族文化密码现象。本文的目的是刻画李森科同名歌剧塔拉斯·布尔巴的形象，揭示其属于国家文化代码，以及这一形象仍然具有的相关性。本文采用了以下科学方法:用文化方法确定塔拉斯形象在“民族文化密码”现象中的位置，用历史方法追溯这一现象组成部分的起源，用比较分析确定塔拉斯形象在声乐解释中的特征。尽管大量的科学著作都致力于李森科的工作，但事实上，在属于国家文化代码的背景下，没有对塔拉斯·布尔巴的形象进行解释性分析，这是该研究的科学新颖性。结果和结论。“文化密码”定义的选择(哈贝马斯，2001;Klymenkova, 2012;Andreichuk, 2009)指出了其功能范围及其与正在考虑的主题的关系-塔拉斯·巴尔巴的形象，由乌克兰著名歌手T. Shtonda, S. Mahera, V. Dutchak所诠释。歌剧的最后一幕包含了一个非常重要的语义时刻，这是理解其思想的关键，这是塔拉斯音乐特征的关键-他的歌曲“嘿，鹰飞”。它的概括功能是创造一个哥萨克人的象征性形象-勇敢，自由，开朗，人格化塔拉斯本人和整个乌克兰人民的性格。歌手T. Shtonda和S. Mahera出色地完成了这一任务，不仅通过深情的语调和娴熟的挽歌，而且通过使用极简但富有表现力的舞台手势，成为一种额外的表达和交流手段。因此，由V. Dutchak以高超的艺术技巧塑造的塔拉斯形象缺乏说服力，因为歌手缺乏舞台流动性和可塑性。因此，我们可以自信地说，很大程度上由于歌手们深思熟虑的诠释工作，扎波罗热吉哥萨克的形象已经成为对所有人都至关重要的热爱自由的想法的持有者。由主角哥萨克人的首领宣布，从侵略者手中解放的想法在精神层面上获得了强大而有意义的旋转。戏曲角色本身已经成为体现这一理念的象征性符号，从而成为国家文化代码中不可或缺的重要组成部分。
{"title":"Interpretation of Taras’ character in M. Lysenko’s opera “Taras Bulba” as an integral part of the national cultural code","authors":"Makliuk Dmytro","doi":"10.34064/khnum1-61.08","DOIUrl":"https://doi.org/10.34064/khnum1-61.08","url":null,"abstract":"Statement of the problem. Mykola Lysenko’s opera “TarasBulba”, first staged in 1924, has confidently become a theatrical repertoire and a significant event in the national art. The opera has an outstanding spiritual value, in addition to its artistic one. For the first time, the opera genre manifested the idea of national identity, the embodiment of which for the Ukrainians is the image of the Cossack ataman Taras Bulba. Even after Ukraine gained independence, the issue of national identity remained under discussion, becoming even more debatable after the events of 2014. This issue is directly related to the phenomenon of the national cultural code – the mental information dimension that forms the nation. The purpose of the article is to characterize the image of Taras Bulba from Lysenko’s opera of the same name, revealing its belonging to the national cultural code and the relevance that this image still has. The following scientific methods were used: a culturological approach to identify the place of the image of Taras in the phenomenon of the “national-cultural code”, a historical method to trace the origin of this phenomenon components and a comparative analysis to determine the features of the image of Taras implemented in vocal interpretations. Despite the fact that a significant number of the scientific works are devoted to Lysenko’s work, in fact there is no interpretive analysis of the image of Taras Bulba in the context of its belonging to the nationalcultural code, which is the scientific novelty of the research. Results and conclusions. The selected definitions of “cultural code” (Habermas, 2001; Klymenkova, 2012; Andreichuk, 2009) indicate the scope of its functioning and its relation to the subject under consideration – the image of Taras Bulba as interpreted by the leading Ukrainian singers T. Shtonda, S. Mahera, V. Dutchak. The opera’s culminating scene contains an extremely important semantic moment for understanding its idea, which is key in the musical characterization of Taras – his song “Hey, the eagle flies”. Its generalizing function is to create a symbolic image of a Cossack – brave, free, cheerful, personifying the character of Taras himself and the entire Ukrainian people. This task is brilliantly accomplished by the singers T. Shtonda and S. Mahera, not only through the soulful intonation and masterful agogics, but also through the use of minimalistic but expressive stage gestures, which become an additional means of articulation and communication. Therefore, the image of Taras, created by V. Dutchak with great artistic skills, is less convincing, since the singer lacks stage mobility and plasticity. Thus, we can confidently say that largely due to the thoughtful interpretive work of the singers, the image of the Zaporizkyi Cossack has become the holder of a freedom-loving idea vital for all people. Proclaimed by the main character, the leader of the Cossacks, the idea of liberation from the invaders gains a powerful a","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":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127924168","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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