Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orien
{"title":"Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine","authors":"A. Fedenko","doi":"10.34064/khnum1-56.05","DOIUrl":"https://doi.org/10.34064/khnum1-56.05","url":null,"abstract":"Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orien","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"152 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116456871","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. Domra expressive means today are meager than many other instruments. This is due to the fact that domra is a relatively young instrument in the academic environment, which is why it is limited by the variety of performing techniques. However, modern domra composers and performers are constantly looking for new ways to expand the capabilities of the instrument. In domra music, sonorics is presented in the works of O. Oliinyk, L. Matviichuk, V. Matriashin, M. T. Lysenko. Special attention should be paid to the pieces for domra solo by O. Oliinyk, which trace the features of sonority, in particular “Shimmering sound” (1996) and “Chimes” (1984) for domra solo. Despite the fact that O. Oliinyk is a bright domra player, well-versed in the capabilities of the instrument, and actively fills the coffers of domra repertoire with own pieces and arrangements, researchers of domra modern art almost do not pay attention to him in their writings. The only exception is article of I. Formaniuk (2017), which researches the features of the domra sound image in “Chimes” by O. Oliinyk, while the author does not bring to light the effect of sonorics on the specifics of interpretation of the instrument. Objectives. Determine the means of implementing the sonoristic capabilities of the instrument in the pieces of O. Oliinyk for domra solo “Shimmering sound” and “Chimes”. Methods. The research methodology is based on the unity of genre-style, organological and historiographical analysis, which helps to identify the means of realizing the sonorous potential of domra. Results. Coloristic techniques in the pieces “Shimmering sound” (1996) and “Chimes” (1984) are systematized depending on the method (trills, glissando, beats) and the place of sound extraction (behind the stand, on the bow, not on the instrument), and also considered their expressive potential. In addition to the various techniques of playing in the “Shimmering sound” by O. Oliinyk, attractive is the actual compositional side and internal image contrast, which demonstrates various sound ways of implementing the program idea of “shimmering”. The composer freely uses a twelve-tonality with a noticeable attraction in G. The composition of the work is a complex three-part form. In the first part, the gradation of the figurative state ranges from light sound shimmering to expressive disconcertingly sonorous sounds in a dense texture. The effect of “shimmer” is created through the use of half-tone trills. The second part contrasts with the first transparent texture, large rhythmics and sustained pedals, which are aimed at embodying a meditative-contemplative image. The reprise (third part) consists of three phases. The first phase begins with the key intonation of the first part, and the “flashing” light effect reappears. In accordance with the chosen range of means, the ownership of the pieces of O. Oliinyk to a specific sonorics type is defined. Thus, in “Shimmering sound” the idea of shimmering is re
{"title":"Domra’s sonorous possibilities in the pieces by O. Oliinyk","authors":"K. Slipchenko","doi":"10.34064/khnum1-56.04","DOIUrl":"https://doi.org/10.34064/khnum1-56.04","url":null,"abstract":"Background. Domra expressive means today are meager than many other instruments. This is due to the fact that domra is a relatively young instrument in the academic environment, which is why it is limited by the variety of performing techniques. However, modern domra composers and performers are constantly looking for new ways to expand the capabilities of the instrument. In domra music, sonorics is presented in the works of O. Oliinyk, L. Matviichuk, V. Matriashin, M. T. Lysenko. Special attention should be paid to the pieces for domra solo by O. Oliinyk, which trace the features of sonority, in particular “Shimmering sound” (1996) and “Chimes” (1984) for domra solo. Despite the fact that O. Oliinyk is a bright domra player, well-versed in the capabilities of the instrument, and actively fills the coffers of domra repertoire with own pieces and arrangements, researchers of domra modern art almost do not pay attention to him in their writings. The only exception is article of I. Formaniuk (2017), which researches the features of the domra sound image in “Chimes” by O. Oliinyk, while the author does not bring to light the effect of sonorics on the specifics of interpretation of the instrument. Objectives. Determine the means of implementing the sonoristic capabilities of the instrument in the pieces of O. Oliinyk for domra solo “Shimmering sound” and “Chimes”. Methods. The research methodology is based on the unity of genre-style, organological and historiographical analysis, which helps to identify the means of realizing the sonorous potential of domra. Results. Coloristic techniques in the pieces “Shimmering sound” (1996) and “Chimes” (1984) are systematized depending on the method (trills, glissando, beats) and the place of sound extraction (behind the stand, on the bow, not on the instrument), and also considered their expressive potential. In addition to the various techniques of playing in the “Shimmering sound” by O. Oliinyk, attractive is the actual compositional side and internal image contrast, which demonstrates various sound ways of implementing the program idea of “shimmering”. The composer freely uses a twelve-tonality with a noticeable attraction in G. The composition of the work is a complex three-part form. In the first part, the gradation of the figurative state ranges from light sound shimmering to expressive disconcertingly sonorous sounds in a dense texture. The effect of “shimmer” is created through the use of half-tone trills. The second part contrasts with the first transparent texture, large rhythmics and sustained pedals, which are aimed at embodying a meditative-contemplative image. The reprise (third part) consists of three phases. The first phase begins with the key intonation of the first part, and the “flashing” light effect reappears. In accordance with the chosen range of means, the ownership of the pieces of O. Oliinyk to a specific sonorics type is defined. Thus, in “Shimmering sound” the idea of shimmering is re","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"40 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131121956","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 article discusses the experience of the teaching staff of the Department of Special Piano of the Kharkiv I. P. Kotlyarevsky National University of Arts. One of the innovations of the department was the use of instructive piano repertoire in the educational process for better development of piano skills among students. It has been proved that the acquisition of a technical base as a necessary basis for piano mastery is impossible without the systematic use of instructive etudes – relatively small instrumental pieces with a specific technical purpose. The correct choice of the complexity of the lessons, their compliance with the student’s level of development is a determining factor in the successful development of a pianist. Thus, an instructive piano repertoire is very useful not only at the initial stage of the pedagogical process, but is also extremely necessary at the subsequent stages of the professional pianistic education of a young musician. Objectives. The purpose of the article is to justify the need to use a number of instructive etudes for piano in junior undergraduate musical challenges, to draw the attention of students and teachers to their wider development and use in educational and concert practice. Methods. The methodology of the article is based on the totality of scientific approaches necessary to uncover problem, combining the principle of musical-theoretical, performing analysis as well as methodical and pedagogical observations. Conclusions. Statement of the main material. For the formation of the pianistic apparatus, the pupil, and then the student, needs etudes, thanks to which you need to develop strength, evenness, independence and fluency of the fingers. But the process must be complicated gradually: it is impossible to move on to mastering a more complex task, if it is simpler, it remains unresolved. It should be noted that the division of etudes into instructive and characteristic, as well as characteristic – concert and artistic is very conditional and, first of all, is determined by the level of composer skill of their authors. For the performer, any, even the simplest musical construction, should be played expressively, understood intonationally, and built dramatically. Therefore, even in the simplest and easiest etudes, novice pianists need to be tuned to the fact that this composition is highly artistic and attitude to its should be appropriate. In the subsequent educational process of mastering pianism, an accurate algorithm should be built up that allows using the huge arsenal of piano etudes to properly develop the student, to give him the opportunity to form the perfect pianistic apparatus, while instilling not only appropriate motion, but also auditory professional skills. For the formation of the piano apparatus and many auditory skills, not only schoolchildren but also students need to develop strength, equality, independence and speed of the fingers. This role should be performed by instr
{"title":"The instructive repertoire in the programs of students of the Department of Special Piano of the Kharkiv I. P. Kotlyarevsky National University of Arts","authors":"M. Chernyavska","doi":"10.34064/khnum1-57.19","DOIUrl":"https://doi.org/10.34064/khnum1-57.19","url":null,"abstract":"Background. The article discusses the experience of the teaching staff of the Department of Special Piano of the Kharkiv I. P. Kotlyarevsky National University of Arts. One of the innovations of the department was the use of instructive piano repertoire in the educational process for better development of piano skills among students. It has been proved that the acquisition of a technical base as a necessary basis for piano mastery is impossible without the systematic use of instructive etudes – relatively small instrumental pieces with a specific technical purpose. The correct choice of the complexity of the lessons, their compliance with the student’s level of development is a determining factor in the successful development of a pianist. Thus, an instructive piano repertoire is very useful not only at the initial stage of the pedagogical process, but is also extremely necessary at the subsequent stages of the professional pianistic education of a young musician. Objectives. The purpose of the article is to justify the need to use a number of instructive etudes for piano in junior undergraduate musical challenges, to draw the attention of students and teachers to their wider development and use in educational and concert practice. Methods. The methodology of the article is based on the totality of scientific approaches necessary to uncover problem, combining the principle of musical-theoretical, performing analysis as well as methodical and pedagogical observations. Conclusions. Statement of the main material. For the formation of the pianistic apparatus, the pupil, and then the student, needs etudes, thanks to which you need to develop strength, evenness, independence and fluency of the fingers. But the process must be complicated gradually: it is impossible to move on to mastering a more complex task, if it is simpler, it remains unresolved. It should be noted that the division of etudes into instructive and characteristic, as well as characteristic – concert and artistic is very conditional and, first of all, is determined by the level of composer skill of their authors. For the performer, any, even the simplest musical construction, should be played expressively, understood intonationally, and built dramatically. Therefore, even in the simplest and easiest etudes, novice pianists need to be tuned to the fact that this composition is highly artistic and attitude to its should be appropriate. In the subsequent educational process of mastering pianism, an accurate algorithm should be built up that allows using the huge arsenal of piano etudes to properly develop the student, to give him the opportunity to form the perfect pianistic apparatus, while instilling not only appropriate motion, but also auditory professional skills. For the formation of the piano apparatus and many auditory skills, not only schoolchildren but also students need to develop strength, equality, independence and speed of the fingers. This role should be performed by instr","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":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121148129","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}
Introduction. The given article is devoted to study of the Ukrainian ballet continuing to produce new ways of implementation of the ideas and artistic images in the beginning of the XXI century. The production of the ballet “Peer Gynt” on the music by E. Grieg, done by People’s artist of Ukraine V. Pisarev for the troupe of Donetsk ‘A. Solovianenko’ Academic State Theatre of Opera and Ballet is a remarkable example of this process. The production’s premiere was on, 1997, May 17, in the framework of the international theatre project “Ukraine – Norway”. Twenty years later, in 2017, the new variant of the ballet has been created for Kharkiv National Opera and Ballet Theatre named after M. V. Lysenko. This “Kharkiv variant” was staged regarding specifics of Kharkiv theatre’s troupe, while retaining the choreographic text of the original; it is marked by scenography and decorations being more spectacular and modern. The work by H. Ibsen received harsh critique from literary scholars who gave plenty of negative reviews of it, and it was E.Grieg’s music that led this poetic drama to wide recognition and popularity it has today. H. Ibsen’s piece became a base for more than the ten of films, directed from 1915 until 2006. As well as E Grieg’s music, which mostly accompanies the theatrical and cinematic interpretations of the drama poem, there are homonymous opera by Werner Egk (1938) and the ballet by John Neumeier, created in a collaboration with A. Schnittke (1987). As a ballet, the “Peer Gynt” is being staged since 1922 up to present day. The object of this research is musically-plastique image of Solveig. The aim of the study is to reveal specifics of musically-plastique, choreographic means, which are used to portray Solveig’s image in V. Pisarev’s production of ballet “Peer Gynt” regarding literary source. The article uses such methods as: 1) historical, allowing to place selected work into the perspective of development of ballet theatre in XXI century; 2) genre approach conditioned by specifics of means of expression used in choreographic art; 3) stylistic, used to regard given ballet in the context of choreographic art. The research results. H. Ibsen elevated the story to the level of philosophical parable about man’s freedom to choose his own path and about the price this freedom comes with. A psychological portrait of the protagonist, wanderer Peer Gynt, combines traits of both humanist and insane. The playwright creates opposition between him and Solveig, majestic in her spiritual martyrdom. According to H. Ibsen’s conception, it is Solveig, being an incarnation of the very best feminine traits, such as chastity, fidelity and kindness, who saves the prodigal soul of the protagonist. In the end of his earthly path, Peer Gynt finally finds what he has been looking for his entire life – self-sacrificial Love, saving him from the eternal suffering near his death. The libretto is written by Yu. Stanishevsky, historian of ballet. The author signific
{"title":"The image of Solveig in the ballet “Peer Gynt” on H. Ibsen’s dramatic poem (staged by the Kharkiv National Academic Opera and Ballet Theatre)","authors":"I. Polianska","doi":"10.34064/khnum1-57.12","DOIUrl":"https://doi.org/10.34064/khnum1-57.12","url":null,"abstract":"Introduction. The given article is devoted to study of the Ukrainian ballet continuing to produce new ways of implementation of the ideas and artistic images in the beginning of the XXI century. The production of the ballet “Peer Gynt” on the music by E. Grieg, done by People’s artist of Ukraine V. Pisarev for the troupe of Donetsk ‘A. Solovianenko’ Academic State Theatre of Opera and Ballet is a remarkable example of this process. The production’s premiere was on, 1997, May 17, in the framework of the international theatre project “Ukraine – Norway”. Twenty years later, in 2017, the new variant of the ballet has been created for Kharkiv National Opera and Ballet Theatre named after M. V. Lysenko. This “Kharkiv variant” was staged regarding specifics of Kharkiv theatre’s troupe, while retaining the choreographic text of the original; it is marked by scenography and decorations being more spectacular and modern. The work by H. Ibsen received harsh critique from literary scholars who gave plenty of negative reviews of it, and it was E.Grieg’s music that led this poetic drama to wide recognition and popularity it has today. H. Ibsen’s piece became a base for more than the ten of films, directed from 1915 until 2006. As well as E Grieg’s music, which mostly accompanies the theatrical and cinematic interpretations of the drama poem, there are homonymous opera by Werner Egk (1938) and the ballet by John Neumeier, created in a collaboration with A. Schnittke (1987). As a ballet, the “Peer Gynt” is being staged since 1922 up to present day. The object of this research is musically-plastique image of Solveig. The aim of the study is to reveal specifics of musically-plastique, choreographic means, which are used to portray Solveig’s image in V. Pisarev’s production of ballet “Peer Gynt” regarding literary source. The article uses such methods as: 1) historical, allowing to place selected work into the perspective of development of ballet theatre in XXI century; 2) genre approach conditioned by specifics of means of expression used in choreographic art; 3) stylistic, used to regard given ballet in the context of choreographic art. The research results. H. Ibsen elevated the story to the level of philosophical parable about man’s freedom to choose his own path and about the price this freedom comes with. A psychological portrait of the protagonist, wanderer Peer Gynt, combines traits of both humanist and insane. The playwright creates opposition between him and Solveig, majestic in her spiritual martyrdom. According to H. Ibsen’s conception, it is Solveig, being an incarnation of the very best feminine traits, such as chastity, fidelity and kindness, who saves the prodigal soul of the protagonist. In the end of his earthly path, Peer Gynt finally finds what he has been looking for his entire life – self-sacrificial Love, saving him from the eternal suffering near his death. The libretto is written by Yu. Stanishevsky, historian of ballet. The author signific","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":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122818649","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, objectives and methodology of the research. Musical performing art of the XX–XXI centuries demonstrates a steady and growing interest in a huge array of music from pre-classical eras – the Middle Ages, Renaissance, Baroque. The baroque music occupies a leading position in the field of instrumental performing as an obligatory part of the educational (works by J. S. Bach) and concert repertoire. The problem of interpretation of early music, acutely posed by musicians of the XX century – up to the reconstruction of all historical performance parameters – retains its relevance. In this regard, we note that the performance of a piece of music does not always make off the strongest impression precisely in its “primary” – restored – form, since reconstruction is limited by the volume of our historical knowledge, while modern musical instruments have a much wider range of expressiveness, than theirs historical predecessors, and the modern interpreter – “de facto”, due to his location in the historical space – a much richer thesaurus. So, the aim of this article is systematization, from the standpoint of the teaching experience of its author in the piano class, observations and practical recommendations regarding the style of performing of ancient instrumental music and approaches to its interpretation by a pianist on an instrument of modern construction. The methodology of the study includes an appeal to the intonation theory of B. Asafiev (1971), when considering the dynamic processes of formation of the musical form and the functioning of articulatory units – motifs, phrases, rhetorical figures, strokes, etc.; to the provisions of the works of M. Mikhailov (1981), E. Nazaikinskiy (2003), O. Katrich (2000) concerning the theory of styles; V. Kholopova (1979) and G. Ignatchenko (1983), when considering performance techniques that emphasize the originality of the texture of baroque music; as well as generally accepted methods of scientific research: analysis, selection, structuring of information with its subsequent generalization. Presentation of research results. The study of ancient instrumental music in the piano class is extremely important for the formation of a competent specialist, a musician of a wide range. In the cognitive process, such stages must be passed as determining the style, genre, form of the musical work, identifying the features of the musically expressive means used in it and finding appropriate ways to embody them. It is necessary to make as complete an idea as possible of the past historical epoch, its philosophy, aesthetics, different types of art and their interaction. The purpose of work on pieces of ancient music should be directing а performer to the general laws of “style of the era” (according to M. Mikhailov, 1981), because, despite national differences, by the middle of the XVIII century, a certain “panEuropean” style was formed, which was of great importance for the formation of the next generations of music
对早期音乐的风格、形象和精神的再现，而不是重构，成为钢琴课学习早期音乐的主要原则。在这里，钢琴家应该根据对再现风格的一般规律及其特征细节的了解，来帮助有意识的语调。杰出的早期音乐诠解者V. landska(1991: 350)写道:“人们不能忽视阅读Quantz关于演奏长笛的论文，Leopold Mozart关于小提琴的论文，Tosi-Agricola关于唱歌的论文，franois Couperin, Rameau, Frescobaldi, Marpurg, K. F. E. Bach和许多其他人关于演奏键盘乐器的论文。”在他们身上发现了“意想不到的宝藏”，门徒们很高兴，因为他们开始意识到他们以前根本没有注意到的东西。在这种情况下，你会发现自己见证了喜悦的爆发，有点让人想起爱的发现。”
{"title":"Stylistic features of the performing ancient instrumental music","authors":"Nataliia Horetska","doi":"10.34064/khnum1-57.07","DOIUrl":"https://doi.org/10.34064/khnum1-57.07","url":null,"abstract":"Background, objectives and methodology of the research. Musical performing art of the XX–XXI centuries demonstrates a steady and growing interest in a huge array of music from pre-classical eras – the Middle Ages, Renaissance, Baroque. The baroque music occupies a leading position in the field of instrumental performing as an obligatory part of the educational (works by J. S. Bach) and concert repertoire. The problem of interpretation of early music, acutely posed by musicians of the XX century – up to the reconstruction of all historical performance parameters – retains its relevance. In this regard, we note that the performance of a piece of music does not always make off the strongest impression precisely in its “primary” – restored – form, since reconstruction is limited by the volume of our historical knowledge, while modern musical instruments have a much wider range of expressiveness, than theirs historical predecessors, and the modern interpreter – “de facto”, due to his location in the historical space – a much richer thesaurus. So, the aim of this article is systematization, from the standpoint of the teaching experience of its author in the piano class, observations and practical recommendations regarding the style of performing of ancient instrumental music and approaches to its interpretation by a pianist on an instrument of modern construction. The methodology of the study includes an appeal to the intonation theory of B. Asafiev (1971), when considering the dynamic processes of formation of the musical form and the functioning of articulatory units – motifs, phrases, rhetorical figures, strokes, etc.; to the provisions of the works of M. Mikhailov (1981), E. Nazaikinskiy (2003), O. Katrich (2000) concerning the theory of styles; V. Kholopova (1979) and G. Ignatchenko (1983), when considering performance techniques that emphasize the originality of the texture of baroque music; as well as generally accepted methods of scientific research: analysis, selection, structuring of information with its subsequent generalization. Presentation of research results. The study of ancient instrumental music in the piano class is extremely important for the formation of a competent specialist, a musician of a wide range. In the cognitive process, such stages must be passed as determining the style, genre, form of the musical work, identifying the features of the musically expressive means used in it and finding appropriate ways to embody them. It is necessary to make as complete an idea as possible of the past historical epoch, its philosophy, aesthetics, different types of art and their interaction. The purpose of work on pieces of ancient music should be directing а performer to the general laws of “style of the era” (according to M. Mikhailov, 1981), because, despite national differences, by the middle of the XVIII century, a certain “panEuropean” style was formed, which was of great importance for the formation of the next generations of music","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114838699","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}
Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipations” (D. Terentiev), which has its own specifics in saxophonejazzimprovisation. Being one of the style “emblems” of jazz, saxophone combines the specifics and universalism of its aggregate sound, which makes its sound image communicatively in-demand. It was emphasized that the methodology and methodic of the topic presented in this work need to be concretized on the example of saxophone jazz styles, which offers prospects for further studies of this topic. The theory of jazz improvisation inevitably includes the question of instrument (instruments, voices) used to make it. At this point, we need to tap into information about the instrumental-type style (style of any types of music according to V. Kholopova) available in jazz practice in both of its historical forms: traditional and contemporary. Saxophone becomes one of the key objects of this study, being an instrument of new type capable of conveying the entire range of jazz intoning shades represented in such origins of jazz as blues, ballad, religious chants, popular “classical music”, academic instruments. To generalize, it is worth noting that information about saxophonejazzimprovisation is concentrated in two areas of study: organological (jazz instruments and their use: solo, ensemble, orchestral) and personal (portraits of outstanding jazz saxophonists made, as a rule, in an overview and opinionbased style). The historical path of saxophone as one of the most in-demand instruments of jazz improvisation was quite tortuous and thorny. The conservative public considered this instrument “indecent” and believed that its use in jazz does not meet the requirements of high taste (A. Onegger). It was emphasized that specifics of jazz saxophone sound indeed lay in the instrumentalization of expressive vocal and declamatory intonations originating from blues with its melancholy and “esthetics of crying”. It is manifested especially vividly, and with even greater share of shock value than in jazz, in the use of saxophone in rock music, which exerted reverse influence over jazz that gave birth to it (V. Ivanov). The timbre-articulatory diversity found in saxophone is identified when taking its organological characteristics out of the dialectics of the pair of notions “specifics – universalism”, where the deepening of the former (specifics) means overcoming thereof towards the latter, universalism (E. Nazaikinsk
{"title":"Saxophone jazz improvisation: texture and syntax parameters.","authors":"R. Stetsiuk","doi":"10.34064/khnum1-57.06","DOIUrl":"https://doi.org/10.34064/khnum1-57.06","url":null,"abstract":"Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipations” (D. Terentiev), which has its own specifics in saxophonejazzimprovisation. Being one of the style “emblems” of jazz, saxophone combines the specifics and universalism of its aggregate sound, which makes its sound image communicatively in-demand. It was emphasized that the methodology and methodic of the topic presented in this work need to be concretized on the example of saxophone jazz styles, which offers prospects for further studies of this topic. The theory of jazz improvisation inevitably includes the question of instrument (instruments, voices) used to make it. At this point, we need to tap into information about the instrumental-type style (style of any types of music according to V. Kholopova) available in jazz practice in both of its historical forms: traditional and contemporary. Saxophone becomes one of the key objects of this study, being an instrument of new type capable of conveying the entire range of jazz intoning shades represented in such origins of jazz as blues, ballad, religious chants, popular “classical music”, academic instruments. To generalize, it is worth noting that information about saxophonejazzimprovisation is concentrated in two areas of study: organological (jazz instruments and their use: solo, ensemble, orchestral) and personal (portraits of outstanding jazz saxophonists made, as a rule, in an overview and opinionbased style). The historical path of saxophone as one of the most in-demand instruments of jazz improvisation was quite tortuous and thorny. The conservative public considered this instrument “indecent” and believed that its use in jazz does not meet the requirements of high taste (A. Onegger). It was emphasized that specifics of jazz saxophone sound indeed lay in the instrumentalization of expressive vocal and declamatory intonations originating from blues with its melancholy and “esthetics of crying”. It is manifested especially vividly, and with even greater share of shock value than in jazz, in the use of saxophone in rock music, which exerted reverse influence over jazz that gave birth to it (V. Ivanov). The timbre-articulatory diversity found in saxophone is identified when taking its organological characteristics out of the dialectics of the pair of notions “specifics – universalism”, where the deepening of the former (specifics) means overcoming thereof towards the latter, universalism (E. Nazaikinsk","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125583789","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}
Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater
介绍。理论背景。Оlexandrivsk和该地区的领土形成和经济发展与俄罗斯帝国的社会，包括艺术，生活的各个方面的激活有关。包括奥列克山德里夫斯克在内的小城镇的创造潜力已经成为戏剧和舞台创作原则和手段发展的沃土。戏剧作为最民主的艺术形式，与公众生活的变化直接相关。剧院在奥列克山德里夫斯克及其地区的重要社会作用和对它的认识不足决定了研究课题的相关性。S. Voitkovsky(2014)、G. Dadamyan(1987)、M. Yevreinov(2019)的研究构成了本研究的科学和理论基础。对Oleksandrivsk (zaporizhhya)地区戏剧艺术的研究基于O. Antonenko (2017)， S. Grushkina (2011)， T. Martynyuk(2003)的作品。本研究的目的是将奥列克山德里夫斯克及同名地区的戏剧艺术作为一个特定时期的整体现象进行研究。这项工作的任务是确定该地区戏剧艺术的起源，覆盖这一现象的特征，确定戏剧公司的组织形式，研究戏剧团体的曲目和类型优先级，考虑该地区戏剧艺术专业化问题。方法论包括运用辩证法的基本原理(揭示研究对象的内在矛盾及其发展的根源);历史原理(将戏剧的发展作为一种存在形式的变化过程来研究);比较法(识别区域戏剧艺术特征);来源研究法(为研究问题建立档案和历史基础);价值论方法(识别该地区戏剧艺术团体的价值取向)。研究结果。历史资料包含了一些事实，关于当地居民的戏剧娱乐早在奥列克山德里夫斯克的基础。与邻近居民较多的地区类似，这些地区很可能存在民间戏剧，叶夫雷诺夫认为，民间戏剧的根源在于魔法动作、仪式和滑稽表演。研究者认为根源于欧洲戏剧艺术的俄罗斯戏剧是对民间戏剧的一种制衡。在州一级，这些传统自17世纪以来一直被灌输。该地区的这一进程从奥列克桑德里夫斯克基金会开始。在该地区的戏剧环境中，有两个最稳定的戏剧集体群体。以西欧戏剧传统为指导的国内外戏剧和歌剧剧团组成了第一批。第二组是乌克兰艺术家协会和当地业余戏剧界，他们进一步发展了民间戏剧的传统。他们以民族戏剧艺术的理念团结在一起。造成该地区剧团集体分化的因素主要有剧团经营的组织形式、剧目和体裁的优先顺序、专业化问题等。独资形式是西欧传统集体企业的特色。在奥列克山德里夫斯克和该地区，私营企业占主导地位，是剧院业务最活跃的组织形式。这种类型的企业在剧目安排和人员关系上都没有帝王、州、市等剧院的惯例。这为它提供了自由、机动性和独创性。合伙制的组织形式是面向民间戏剧传统的剧团所特有的。这种形式的民主体现在集体决策上。区分戏剧团体的下一个因素是剧目和类型优先级。西欧传统剧团偏爱西欧和俄罗斯作家的作品。乌克兰作家的作品，乌克兰的歌舞民俗在乌克兰协会的保留剧目中占主导地位，延续了民间戏剧的传统。这些群体更喜欢具有明显民族倾向的作品。两组的剧目差异反映在表演方法和技巧上。在西欧传统乐团中，必须掌握意大利声乐技巧、古典器乐技巧、指挥交响技巧。在乌克兰剧团的音乐和戏剧表演中，需要普遍训练的演员，在舞台演讲，民间舞蹈，民间演唱风格方面同样熟练。戏剧团体的类型偏好曲目与对原始艺术传统的取向有关。
{"title":"Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies","authors":"T. Gerdova","doi":"10.34064/khnum1-57.14","DOIUrl":"https://doi.org/10.34064/khnum1-57.14","url":null,"abstract":"Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"518 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116821749","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}
Determining the specifics of sound production on the piano makes it possible to deepen the understanding of piano intonation, which is inseparable from the artistic concept, a choice of musical expressive means, methods of forming and reproducing sounds. The purpose of the article is to study the mechanical-acoustic features and properties of the piano in a holistic relationship with the organization of musical space and artistic means of performance, which were formed in the process of musical practice. Starting from B. Asafiev’s dialectical intonation theory, the methodology of the work reaches the systemic level, including the methods of historical, cultural and comparative research, general scientific logical methods of analysis, synthesis, induction and deduction. Realizing of the objectives of the article is carried out through the study of playing techniques and all the palette of piano touché used in their practice by pianists, as well as the factors that influence the formation of piano sound. It is claimed that conscious piano intonement, being the sound embodiment of musical thought, finds its direct expression through the specifics of sound formation on the studied instrument. The latter is inextricably linked with sound production techniques, dynamics, and pedaling.
{"title":"Piano sound formation as a parameter of performing intonation","authors":"Jiaohua Zhang","doi":"10.34064/khnum1-57.16","DOIUrl":"https://doi.org/10.34064/khnum1-57.16","url":null,"abstract":"Determining the specifics of sound production on the piano makes it possible to deepen the understanding of piano intonation, which is inseparable from the artistic concept, a choice of musical expressive means, methods of forming and reproducing sounds. The purpose of the article is to study the mechanical-acoustic features and properties of the piano in a holistic relationship with the organization of musical space and artistic means of performance, which were formed in the process of musical practice. Starting from B. Asafiev’s dialectical intonation theory, the methodology of the work reaches the systemic level, including the methods of historical, cultural and comparative research, general scientific logical methods of analysis, synthesis, induction and deduction. Realizing of the objectives of the article is carried out through the study of playing techniques and all the palette of piano touché used in their practice by pianists, as well as the factors that influence the formation of piano sound. It is claimed that conscious piano intonement, being the sound embodiment of musical thought, finds its direct expression through the specifics of sound formation on the studied instrument. The latter is inextricably linked with sound production techniques, dynamics, and pedaling.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115670067","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}
This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information)
{"title":"Types of musical improvisation: a classification discourse","authors":"B. Stetsiuk","doi":"10.34064/khnum1-57.11","DOIUrl":"https://doi.org/10.34064/khnum1-57.11","url":null,"abstract":"This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information)","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"414 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133510348","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}
Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today can not be considered completed. The issues of interaction between the compositional and performance style of B. Bartok, modern interpretations of his works remain opened. The Ukrainian listener is familiar with a limited range of B. Bartok’s works, so the emphasis on the artist’s performance serves as an additional stimulus for the actualization of his art in our time. The main presentation of the material. The evolution of B. Bartok’s piano style was identified as a problem by L. Gakkel through the constituent parameters of the piano style: 1) the “realistic-non-pedal” sound image of the piano; 2) coloristic shock-noise method of sound construction; 3) textured accentuated tone as a tonal-harmonic ground. Indeed, many works of the composer testify to this interpretation of the piano: “Two elegies op. 8 / b, Burlesque three pieces op. 8c, Suite op. 14, Etudes op. 18, Sonata; three concertos for piano and orchestra. However, there are a number of works written quite traditionally, in the classical key. In these works B. Bartok uses the coloristic possibilities of the piano quite avariciously (wide range of registers, pedal effects), a striking example is the “Romanian folk dances” op. 8-a). Milestones of the piano evolution of the artist’s style are marked: Rhapsody, cycles “Romanian folk dances”. Etudes op. 18 – a sample of expressionist aesthetics, extremely complex in pianistic terms. They use extreme technical difficulties that require maximum arm stretching and great physical strength.Most of Bartok’s piano works were written in the first two creation periods – early and experimental. The composer’s attention was focused on three genre areas: folklore, pedagogics, innovation. The communicative semantics of these spheres, of course, influenced the composer’s decisions in the formative field, texture, piano technique, the level of virtuosity. The regularities are traced: B. Bartok’s “commitment” to primary (song and dance) and romantic genres (elegy, rhapsody, rich people), program cyclicity; constant interest in creating a repertoire for children, which solves two tasks at once: the promotion of folk music and the children involvement into a new musical language. Note as a contradiction the fact that the analysis of the works of B. Bartok, created in the first and second period, does not fully confirm the version of L. Gakkel, about a radicalistic change
因此，贝拉·巴托克的钢琴写作风格是艺术家创新思维的表现，其中他自身能力的演奏成分起着关键作用。
{"title":"The evolution of B. Bartok’s piano style","authors":"A. Gedi","doi":"10.34064/khnum1-57.03","DOIUrl":"https://doi.org/10.34064/khnum1-57.03","url":null,"abstract":"Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today can not be considered completed. The issues of interaction between the compositional and performance style of B. Bartok, modern interpretations of his works remain opened. The Ukrainian listener is familiar with a limited range of B. Bartok’s works, so the emphasis on the artist’s performance serves as an additional stimulus for the actualization of his art in our time. The main presentation of the material. The evolution of B. Bartok’s piano style was identified as a problem by L. Gakkel through the constituent parameters of the piano style: 1) the “realistic-non-pedal” sound image of the piano; 2) coloristic shock-noise method of sound construction; 3) textured accentuated tone as a tonal-harmonic ground. Indeed, many works of the composer testify to this interpretation of the piano: “Two elegies op. 8 / b, Burlesque three pieces op. 8c, Suite op. 14, Etudes op. 18, Sonata; three concertos for piano and orchestra. However, there are a number of works written quite traditionally, in the classical key. In these works B. Bartok uses the coloristic possibilities of the piano quite avariciously (wide range of registers, pedal effects), a striking example is the “Romanian folk dances” op. 8-a). Milestones of the piano evolution of the artist’s style are marked: Rhapsody, cycles “Romanian folk dances”. Etudes op. 18 – a sample of expressionist aesthetics, extremely complex in pianistic terms. They use extreme technical difficulties that require maximum arm stretching and great physical strength.Most of Bartok’s piano works were written in the first two creation periods – early and experimental. The composer’s attention was focused on three genre areas: folklore, pedagogics, innovation. The communicative semantics of these spheres, of course, influenced the composer’s decisions in the formative field, texture, piano technique, the level of virtuosity. The regularities are traced: B. Bartok’s “commitment” to primary (song and dance) and romantic genres (elegy, rhapsody, rich people), program cyclicity; constant interest in creating a repertoire for children, which solves two tasks at once: the promotion of folk music and the children involvement into a new musical language. Note as a contradiction the fact that the analysis of the works of B. Bartok, created in the first and second period, does not fully confirm the version of L. Gakkel, about a radicalistic change","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"125 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133669988","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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