Background. The matters of performing and composing art of the XIXth century are considered in this article. The way of formation and changes that have been brought into the violin literature for 100 years ‒ extension of performing techniques, breaking stereotypes that had been built for centuries ‒ were taken as a standard in the repertoire of the violinists of that time. The development of the concert genre by famous performers – composers and division of these two functions by the end of the century encouraged musicians to talk about «violin» and «non violin», limiting performer’s opportunities, by giving them anti violin tasks. It was encouraged by the presence of certain templates that were formed in the period of Italian violinists-composers, who defined a specific format of sound performances, formed definite formulas of technical phrases, and developed a full range of performing tools that built the violin-performing machine. In their turn, composers of the late XIX century had an opportunity to look at the performing structure from another perspective, bringing new acoustic author’s expressions into the violin literature. E. Lalo, A. Dvořák, К. Saint-Saens, J. Brahms, P. Tchaikovsky laid the foundation for new trends and performances that created a discussion about violin and non-violin. During 5 years (from 1874 until 1879), the mentioned authors were divided into two camps – followers of traditions E. Lalo, A. Dvořák, К. Saint-Saens and innovators in the concert genre J. Brahms and P. Tchaikovsky. The latter ones managed to avoid violin clichés and despite much resentment in the musical world showed those sides of performer’s characteristics that could not be positioned with related to violin performance. Objectives. This article is aimed at defining the range of techniques that allow to talk about «violin» and «non-violin» following the analysis of musical edition of the Concert for violin with orchestra by P. Thaikovsky. Results. Every era of violin art has brought its elements of expressive means that extended the violinists’ capabilities, thereby enriching the performing palette with new techniques and at the same time a range of complicated figurativesemantic objectives are given to performers. During a long period (from the seventeenth until the mid-nineteenth centuries), performers-composers, creating compositions for violin, did some methodical work as well, using specific technical tools for specific artistic objectives. In other words, musical value was intrinsically connected with the comfort while performing. Types of fingerings, dashes, chord techniques, timbres – what makes a performer’s toolbox ‒ was determined in the study and performance practice as a certain template. Over time teaching materials in form of «schools of violin performance», used for mastering performer’s technique, focused the composers on certain sound technical models, that particular «violin» structure that could be easily «read» not only the time o
20 - 21世纪一系列杰出的系统作品的作者(К)。Flesch, K. Mostras, I. Yampolsky, Yu。Yankelevich, L. Gurevich, M. Berlianchik)依靠自己的经验，回答了所有表演者在整个复杂技术发展过程中无一例外地担心的问题。然而，他们都没有把“非小提琴”这个概念作为一个方法论问题来研究，因为实践证明:如果演奏者能够听到并理解作曲家提供的创新，那么技术上的不便就会被克服，这些创新使演奏者超越了任何刻板印象。
{"title":"Violin and non-violin in the performing activity (the Concert for violin with orchestra D-dur, op. 35 is consideredby P. I. Tchaikovsky)","authors":"A. Onishchenko","doi":"10.34064/khnum1-57.08","DOIUrl":"https://doi.org/10.34064/khnum1-57.08","url":null,"abstract":"Background. The matters of performing and composing art of the XIXth century are considered in this article. The way of formation and changes that have been brought into the violin literature for 100 years ‒ extension of performing techniques, breaking stereotypes that had been built for centuries ‒ were taken as a standard in the repertoire of the violinists of that time. The development of the concert genre by famous performers – composers and division of these two functions by the end of the century encouraged musicians to talk about «violin» and «non violin», limiting performer’s opportunities, by giving them anti violin tasks. It was encouraged by the presence of certain templates that were formed in the period of Italian violinists-composers, who defined a specific format of sound performances, formed definite formulas of technical phrases, and developed a full range of performing tools that built the violin-performing machine. In their turn, composers of the late XIX century had an opportunity to look at the performing structure from another perspective, bringing new acoustic author’s expressions into the violin literature. E. Lalo, A. Dvořák, К. Saint-Saens, J. Brahms, P. Tchaikovsky laid the foundation for new trends and performances that created a discussion about violin and non-violin. During 5 years (from 1874 until 1879), the mentioned authors were divided into two camps – followers of traditions E. Lalo, A. Dvořák, К. Saint-Saens and innovators in the concert genre J. Brahms and P. Tchaikovsky. The latter ones managed to avoid violin clichés and despite much resentment in the musical world showed those sides of performer’s characteristics that could not be positioned with related to violin performance. Objectives. This article is aimed at defining the range of techniques that allow to talk about «violin» and «non-violin» following the analysis of musical edition of the Concert for violin with orchestra by P. Thaikovsky. Results. Every era of violin art has brought its elements of expressive means that extended the violinists’ capabilities, thereby enriching the performing palette with new techniques and at the same time a range of complicated figurativesemantic objectives are given to performers. During a long period (from the seventeenth until the mid-nineteenth centuries), performers-composers, creating compositions for violin, did some methodical work as well, using specific technical tools for specific artistic objectives. In other words, musical value was intrinsically connected with the comfort while performing. Types of fingerings, dashes, chord techniques, timbres – what makes a performer’s toolbox ‒ was determined in the study and performance practice as a certain template. Over time teaching materials in form of «schools of violin performance», used for mastering performer’s technique, focused the composers on certain sound technical models, that particular «violin» structure that could be easily «read» not only the time o","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"523 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":"127062198","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. By Nazaikynskyi’s (2003) definition, genres are “relatively stable types, classes, kinds and sorts of music works that have been formed historically; they could be сlassified according to the following basic criteria: a) specific function (social, domestic or artistic); b) conditions and means of performing; c) the character of the content and the forms of its embodiment” (94). Besides, genre has a memory concerning its origin and existence, it absorbs whole traditions of realisation of genre types that existed during certain historical periods. In such a way it forms the field of meaning around genre concept itself. We have chosen three pieces of L. Shukailo for our analysis. They have been written in Scherzo, Toccata and Rhapsody genres, tightly linked with different historical traditions, and also with the works of the greatest composers. That’s why we concider the analysis of Shukailo’s music in the context of genre tradition as an interesting and fertile perspective. Theoretical Background. There are no studies, dedicated to L. Shukailo’s works nowadays. So, this one has inevitably been a pioneering work in the sphere. At the same time, a considerable amount of literature is available about different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Be
{"title":"Three piano pieces of Liudmila Shukailo in the context of genre paradigm","authors":"N. Belova, O. Yakymchuk","doi":"10.34064/khnum1-57.04","DOIUrl":"https://doi.org/10.34064/khnum1-57.04","url":null,"abstract":"Introduction. By Nazaikynskyi’s (2003) definition, genres are “relatively stable types, classes, kinds and sorts of music works that have been formed historically; they could be сlassified according to the following basic criteria: a) specific function (social, domestic or artistic); b) conditions and means of performing; c) the character of the content and the forms of its embodiment” (94). Besides, genre has a memory concerning its origin and existence, it absorbs whole traditions of realisation of genre types that existed during certain historical periods. In such a way it forms the field of meaning around genre concept itself. We have chosen three pieces of L. Shukailo for our analysis. They have been written in Scherzo, Toccata and Rhapsody genres, tightly linked with different historical traditions, and also with the works of the greatest composers. That’s why we concider the analysis of Shukailo’s music in the context of genre tradition as an interesting and fertile perspective. Theoretical Background. There are no studies, dedicated to L. Shukailo’s works nowadays. So, this one has inevitably been a pioneering work in the sphere. At the same time, a considerable amount of literature is available about different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Be","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":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126353640","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}
Pastivnytsia tradition and pipe music, the existence of its plays in the centers of pastoral regions of Ukraine (Carpathian, Volyn-Polissya, Dnieper-East Ukrainian zones) are now in the final stage of its natural functioning, state of preservation and research. In this situation, when the dynamics of the pastoral tradition and its rich pipe music has reached the brink of extinction, there is an urgent need for a frontal review of sources of fixation and methods of reconstruction-strengthening the sound of these unique treasures of our traditional music and instrumental culture. The article presents the attribution and review of the maximum possible volume of recordings of pipe material of the pastoral tradition of Ukrainians, recorded by the author personally against the background of transcriptions published in scientific works and collections in recent years. Comparisons of the layers of pastoral pipe music from the end of the 19th to the beginning of the 21st centuries create an amazing «panorama» of the intonation semantics of flute pastoral tunes of this period.
{"title":"Attributes of fixation and transcriptions of pastoral pipe music of Ukraine: from the end of the XIX to the beginning of the XXI century","authors":"Tovkaylo Yaryna","doi":"10.34064/khnum1-57.01","DOIUrl":"https://doi.org/10.34064/khnum1-57.01","url":null,"abstract":"Pastivnytsia tradition and pipe music, the existence of its plays in the centers of pastoral regions of Ukraine (Carpathian, Volyn-Polissya, Dnieper-East Ukrainian zones) are now in the final stage of its natural functioning, state of preservation and research. In this situation, when the dynamics of the pastoral tradition and its rich pipe music has reached the brink of extinction, there is an urgent need for a frontal review of sources of fixation and methods of reconstruction-strengthening the sound of these unique treasures of our traditional music and instrumental culture. The article presents the attribution and review of the maximum possible volume of recordings of pipe material of the pastoral tradition of Ukrainians, recorded by the author personally against the background of transcriptions published in scientific works and collections in recent years. Comparisons of the layers of pastoral pipe music from the end of the 19th to the beginning of the 21st centuries create an amazing «panorama» of the intonation semantics of flute pastoral tunes of this period.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129642568","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 devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a ch
{"title":"Typology of genres of concert music for violin: classification criteria","authors":"Uspenskaya Inna","doi":"10.34064/khnum1-57.09","DOIUrl":"https://doi.org/10.34064/khnum1-57.09","url":null,"abstract":"The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a ch","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"159 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":"115293744","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 category of style is one of the most used in modern musicology. This is due to objective reasons: the attention of the “consumer” of a cultural product is mostly not focused on its author recently. The coexistence of individual performance versions of composer’s works is one of the reasons that problems of stylistic attribution of musical art do not lose their relevance. In different areas of musical practice these problems are interpreted in different ways and get various degrees of theoretical understanding. The area of vocal art deserves special attention. An analysis of specialized literature suggests that the ever-increasing number of appropriate studies has not yet influenced the crystallization of the definition of “vocal style” in the scientific sense. This is due to the fact that the meaning of the term “vocal style” has many dimensions that reflect technological, aesthetic, historical, individual and national parameters of creativity. This resulted in the purpose of proposed article – to identify the singular and general in the interpretation of the category “vocal style” in Western European and Chinese art discourse. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. The word style first appeared in ancient Greece, where it was called a tool for writing on wooden tablets covered with wax. Later, the word style began to be used to describe not only human activity, but himself. At the same time, there is no case in Confucius’s “Analects” of using this definition. Central to the aesthetic block of Confucius’ teaching is not the question of the style of art, but the degree of influence that it has on the formation of the five moral qualities. As for questions directly about the style of artistic creation, Chinese scholars believe that they were first addressed by a contemporary and follower of Confucius, literary theorist Liu Xie, in whose works for the first time in the history of Chinese culture the word “style” was used. We note that in both Europe and China the studies of ancient thinkers have become the foundation for centuries and millennia that determined the essential parameters of the worldview of peoples and civilizations and stimulated the development of human thought. So nowadays style is similarly understood as a certain set of features that characterize either a particular person or the results of his activities. As for a narrower understanding of style (in our case – vocal style), it historically developed much later, which was preceded by a long evolution of vocal art and the accumulation of relevant scientific works. In addition, it is necessary to take into account the specific of vocal performance, the essence of which involves working with verbal texts, their artistic representation, and, conseque
{"title":"“Vocal style” in Western European and Chinese art history: a comparative analysis","authors":"Yi. Zhou","doi":"10.34064/khnum1-57.18","DOIUrl":"https://doi.org/10.34064/khnum1-57.18","url":null,"abstract":"Background. The category of style is one of the most used in modern musicology. This is due to objective reasons: the attention of the “consumer” of a cultural product is mostly not focused on its author recently. The coexistence of individual performance versions of composer’s works is one of the reasons that problems of stylistic attribution of musical art do not lose their relevance. In different areas of musical practice these problems are interpreted in different ways and get various degrees of theoretical understanding. The area of vocal art deserves special attention. An analysis of specialized literature suggests that the ever-increasing number of appropriate studies has not yet influenced the crystallization of the definition of “vocal style” in the scientific sense. This is due to the fact that the meaning of the term “vocal style” has many dimensions that reflect technological, aesthetic, historical, individual and national parameters of creativity. This resulted in the purpose of proposed article – to identify the singular and general in the interpretation of the category “vocal style” in Western European and Chinese art discourse. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. The word style first appeared in ancient Greece, where it was called a tool for writing on wooden tablets covered with wax. Later, the word style began to be used to describe not only human activity, but himself. At the same time, there is no case in Confucius’s “Analects” of using this definition. Central to the aesthetic block of Confucius’ teaching is not the question of the style of art, but the degree of influence that it has on the formation of the five moral qualities. As for questions directly about the style of artistic creation, Chinese scholars believe that they were first addressed by a contemporary and follower of Confucius, literary theorist Liu Xie, in whose works for the first time in the history of Chinese culture the word “style” was used. We note that in both Europe and China the studies of ancient thinkers have become the foundation for centuries and millennia that determined the essential parameters of the worldview of peoples and civilizations and stimulated the development of human thought. So nowadays style is similarly understood as a certain set of features that characterize either a particular person or the results of his activities. As for a narrower understanding of style (in our case – vocal style), it historically developed much later, which was preceded by a long evolution of vocal art and the accumulation of relevant scientific works. In addition, it is necessary to take into account the specific of vocal performance, the essence of which involves working with verbal texts, their artistic representation, and, conseque","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":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129520081","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}
Theoretical Background. The concept of stage text is actualized in musical science in the context of a variety of samples of director’s theater, in which the stage decision may dissonant or act as a counterpoint to the original musical (ie compositional) text of the work. Sometimes the musical score is only the starting point for the director’s version. T. Grigoryants (2007), M. Kosilkin (2017), M. Kuklinska (2018; 2020) turn to the analysis of the stage text. Among the parameters that M. Kosilkin draws attention to are psychological types (2017: 85), which are embodied through facial expressions and gestures, plasticity and movements, the appearance of the character; and a set of pictorial means – costumes, objects and decorations. Unlike traditional opera, the director of a Broadway musical of the XXI century (especially on modern plots), as a rule, does not face the problem of modernization of stage means or compliance of the stage solution with the expectations and inertia of the audience. However, within this genre it is important to understand what aesthetic tasks are solved by this or that production and what happens in the dynamics of the stage life of the musical, whether the elements of the stage text are written in the score, or, conversely, the director is required to find a solution. Objectives. The aim is to identify the features of the stage text of the musical «Next to normal» – its main components and functions in relation to the musical score. In accordance with the purpose, such methods are used as comparative (to compare the composer’s and stage texts), structural and functional (to identify individual elements of the stage text and their role in revealing the plot and dramaturgy of the whole). Results and Discussion. Unlike directorial experimentalism in the field of opera, where the score may lose “its leading role, giving way to the leadership of a musical performance” (Kuklinskaya, 2020), the Broadway musical «Next to normal» illustrates the unity of the composer and director who seek to be understood by the public. Last but not least, this is due to the fact that some elements of the plot are so cinematic that they seem to be inaccessible for the implementation of purely musical and stage means. Thus, the stage realization of the image of a ghost, various «flashbacks» (№ 5), the delimitation of frames of parallel action (№ 16), the release of Diana’s consciousness during ECT (№ 18) is extremely difficult. However, the director manages to do it with minimal means, without involving special effects. Among the most important tools for creating stage text are: ● two-level stage with different sectors allows to implement fast spacetime switching while maintaining the dynamics of action and embody the idea of parallel action, a combination of real and imaginaryevents; ● the light – directed to the relevant sector of the scene, emphasizes a particular character or pair of characters, focusing the teacher’s attention on a particu
理论背景。舞台文本的概念在音乐科学中是在导演戏剧的各种样本的背景下实现的，在这些样本中，舞台决定可能与作品的原始音乐(即作曲)文本不协调或作为对位。有时候，配乐只是导演版本的起点。T. Grigoryants (2007)， M. Kosilkin (2017)， M. Kuklinska (2018);2020)转向舞台文本的分析。M. Kosilkin关注的参数包括心理类型(2017:85)，这体现在面部表情和手势、可塑性和动作、角色的外观;还有一套形象的手段——服装、物品和装饰品。与传统歌剧不同，二十一世纪百老汇音乐剧(尤其是现代情节)的导演通常不面临舞台手段的现代化问题，也不面临舞台解决方案与观众的期望和惯性的遵从问题。然而，在这种类型中，重要的是要了解这个或那个作品解决了什么审美任务，以及音乐剧的舞台生活动态中发生了什么，舞台文本的元素是否写在乐谱中，或者相反，导演需要找到解决方案。目标。目的是确定音乐剧“接近正常”的舞台文本的特征-其主要组成部分和与乐谱相关的功能。根据目的，这些方法被用于比较(比较作曲家和舞台文本)，结构和功能(识别舞台文本的单个元素及其在揭示整体情节和戏剧方面的作用)。结果和讨论。与歌剧领域的导演实验主义不同，在歌剧领域，配乐可能会失去“主导作用，让位于音乐表演的领导”(Kuklinskaya, 2020)，百老汇音乐剧“近乎正常”说明了作曲家和导演的团结，他们寻求被公众理解。最后但并非最不重要的是，这是因为情节的某些元素过于电影化，以至于它们似乎无法通过纯粹的音乐和舞台手段来实现。因此，鬼魂形象的舞台实现，各种“闪回”(第5次)，平行动作框架的界定(第16次)，戴安娜在ECT(第18次)期间意识的释放是极其困难的。然而，导演设法用最小的手段做到了这一点，没有使用特效。创造舞台文本最重要的工具是:●具有不同区域的两层舞台允许在保持行动动态的同时实现快速的时空切换，并体现平行行动的想法，真实和虚构事件的结合;●光线——指向场景的相关部分，强调一个特定的人物或一对人物，将教师的注意力集中在一个特定的动作平面上;另一种方法-甚至照明的不同部门的场景，针对;●简洁的道具(三明治、垃圾桶、蜡烛蛋糕、照片、盒子)——将隐藏的潜台词暴露出来，揭示潜藏在音乐文本中的人物心理特征，即对特定事件进行物化、规范的功能;●手势——角色的头部和身体的转动表明他们与鬼魂的“关系”。因为对戴安娜来说他是真实的，所以她总是求助于他。其他角色表现得好像加布不在舞台上，只有在转折点他们才开始看到他(丹在№37);闪回的想法(戴安娜对她和丹的婚姻的回忆)——通过一个手势实现——一个女人伸出手去拥抱她的丈夫，但抓住了空虚;●人物的舞台动作和布景——过度的手势和奇怪的动作让戴安娜发疯;舞蹈和编舞元素(Dr. Madden, Diana和Gabe)，在手术台上滑冰(Gabe，医生)突出了情节的不真实元素;主角与盖比的拥抱表明，她更喜欢一个幽灵世界，而不是真实的世界(她的丈夫丹);●布景——极简主义风格——由关键物件组成——餐桌象征着古德曼家，手术室象征着医院，一张舒适的椅子象征着心理治疗;●服装——导演最不应该关注的，因为家庭情节主要集中在日常服装上(牛仔裤、毛衣、衬衫等);在这个背景下，加布和戴安娜的舞蹈脱颖而出，他们都是白色的(№4)，这给了行动一个隐藏的潜台词;白色也可以被看作是疯狂的象征(戴安娜在医院的衬衫)。结论。在音乐内容上，这部作品深化了戴安娜形象的悲剧，即她选择了一个幽灵般的男人而不是一个真实的男人。
{"title":"Stage text of the musical «Next to normal» in Michael Grief’s production","authors":"Jian Liu","doi":"10.34064/khnum1-57.13","DOIUrl":"https://doi.org/10.34064/khnum1-57.13","url":null,"abstract":"Theoretical Background. The concept of stage text is actualized in musical science in the context of a variety of samples of director’s theater, in which the stage decision may dissonant or act as a counterpoint to the original musical (ie compositional) text of the work. Sometimes the musical score is only the starting point for the director’s version. T. Grigoryants (2007), M. Kosilkin (2017), M. Kuklinska (2018; 2020) turn to the analysis of the stage text. Among the parameters that M. Kosilkin draws attention to are psychological types (2017: 85), which are embodied through facial expressions and gestures, plasticity and movements, the appearance of the character; and a set of pictorial means – costumes, objects and decorations. Unlike traditional opera, the director of a Broadway musical of the XXI century (especially on modern plots), as a rule, does not face the problem of modernization of stage means or compliance of the stage solution with the expectations and inertia of the audience. However, within this genre it is important to understand what aesthetic tasks are solved by this or that production and what happens in the dynamics of the stage life of the musical, whether the elements of the stage text are written in the score, or, conversely, the director is required to find a solution. Objectives. The aim is to identify the features of the stage text of the musical «Next to normal» – its main components and functions in relation to the musical score. In accordance with the purpose, such methods are used as comparative (to compare the composer’s and stage texts), structural and functional (to identify individual elements of the stage text and their role in revealing the plot and dramaturgy of the whole). Results and Discussion. Unlike directorial experimentalism in the field of opera, where the score may lose “its leading role, giving way to the leadership of a musical performance” (Kuklinskaya, 2020), the Broadway musical «Next to normal» illustrates the unity of the composer and director who seek to be understood by the public. Last but not least, this is due to the fact that some elements of the plot are so cinematic that they seem to be inaccessible for the implementation of purely musical and stage means. Thus, the stage realization of the image of a ghost, various «flashbacks» (№ 5), the delimitation of frames of parallel action (№ 16), the release of Diana’s consciousness during ECT (№ 18) is extremely difficult. However, the director manages to do it with minimal means, without involving special effects. Among the most important tools for creating stage text are: ● two-level stage with different sectors allows to implement fast spacetime switching while maintaining the dynamics of action and embody the idea of parallel action, a combination of real and imaginaryevents; ● the light – directed to the relevant sector of the scene, emphasizes a particular character or pair of characters, focusing the teacher’s attention on a particu","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":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131767197","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 focuses on characterizing compositional and structural peculiarities of piano concertos by F. Chopin. The research emphasis is laid on the revealed fact that the corresponding “composing center” means (V. Kholopova) function as fundamental issues in terms of creating their interpretational versions, thus, joining analytical procedures performers of the above pieces have to follow. With a view to objectivize data concerning the composing component of the Concertos e-moll and f-moll by F.Chopin, the article presents an actual comparative analysis of various perspectives as for the functional means, represented in the socalled note “schemes” of the both Concertos. It is highlighted that on the basis of the aesthetics and poetics of the style brilliant (J. N. Hummel, F. Kalkbrenner), in his Concertos F. Chopin demonstrates an individual innovative exceeding (M. Tomashevsky) of those existing standards of representing the concerto form, turning to the national character genre topicality, reconstructing that peculiar texture configuration type that makes the piano a musical instrument of a selfsufficient status. In accordance with the objective of the present research being to reveal the nature of the “composing center” means in Concertos by F. Chopin, first, the article concentrates on those life and creativity circumstances which served as determinants that had brought those musical pieces to life. It is highlighted that, on the one hand, his Concertos close the initial period of F. Chopin’s creative activities, where piano and orchestra music was dominant. On the other hand, for F. Chopin the early 1830s were the time of saying farewell to Poland, which was reflected in the deeply personal nature of the content of the both Concertos which appeared under the influence of the author’s feeling for K. Gladkovska and D. Pototska (it is the latter that the Concerto f-moll was dedicated to). It is found out that it is F. Kalkbrenner that the Concerto e-moll by F. Chopin is dedicated to, which, therefore, demonstrates his link to the epoch, to which Chopin was actually saying farewell, as well. In the present article, the subject-matter of the research is points of view of famous musicians and scholars-chopinists concerning the content and the form of the above-mentioned Concertos by Chopin. In this connection, the object of the work is our extrapolation of these data onto interpreting the composing center means as an ingredient of the corresponding performance analysis of the above pieces. Applying elements of general scientific (historic-genetic, deductive, comparative) and specific musicological (genre, style, texture, theme) gnoseological methods, we arrive at the conclusion that stylistically the composing means of the both Concertos by F. Chopin demonstrate a dual quality. On the one hand, they more than meet the requirements of the model of the modern at that time concerto virtuoso style of the epoch of transferring from Classicism to Rom
本文着重分析肖邦钢琴协奏曲在作曲和结构上的特点。研究的重点是揭示了这样一个事实，即相应的“创作中心”手段(V. Kholopova)在创造其解释版本方面起着基本问题的作用，因此，上述作品的表演者必须遵循的分析程序。为了客观化肖邦《e-moll协奏曲》和《f-moll协奏曲》的作曲成分数据，本文从各个角度对这两部协奏曲的功能手段进行了实际的比较分析，这些功能手段体现在这两部协奏曲的所谓音符“方案”上。重点指出，肖邦在其协奏曲中，在风格辉煌(J. N. Hummel, F. Kalkbrenner)的美学和诗学基础上，对现有的协奏曲形式表现标准进行了个人创新超越(M. Tomashevsky)，转向民族性体裁的话题性，重构了使钢琴成为一种自给自足的乐器的特殊织构类型。根据本研究的目的是揭示肖邦协奏曲中“创作中心”手段的本质，首先，文章集中在那些作为决定因素的生活和创造环境上，这些环境使这些音乐作品栩栩如生。值得强调的是，一方面，他的协奏曲结束了肖邦创作活动的最初阶段，在这个阶段，钢琴和管弦音乐占主导地位。另一方面，对肖邦来说，19世纪30年代早期是告别波兰的时期，这反映在这两部协奏曲的内容中，这两部协奏曲的内容是在作者对K.格拉德科夫斯卡和D.波托斯卡的感情的影响下出现的(《f-moll协奏曲》是献给后者的)。人们发现，肖邦的《e-moll协奏曲》是献给卡尔克布伦纳的，因此，这表明了他与肖邦实际上也在告别的时代的联系。在本文中，研究的主题是著名音乐家和学者对肖邦上述协奏曲的内容和形式的看法。在这方面，本作品的目的是我们将这些数据外推，以解释构成中心的手段，作为上述作品相应性能分析的组成部分。运用一般的科学(历史-遗传、演绎、比较)和特殊的音乐学(体裁、风格、织体、主题)的方法，我们得出结论，肖邦的两部协奏曲在风格上表现出双重性质。一方面，它们完全符合当时古典主义向浪漫主义过渡时代的现代协奏曲大师风格模式的要求，另一方面，它们是自巴赫开始的钢琴协奏曲形式存在了许多世纪以来形成的传统的发展。F. Couperin和W. A. Mozart，他们随后为重建协奏曲钢琴风格在现代世界的实践而努力。在作曲结构上，两部协奏曲都是按照古典主义曲式的三段式循环模式构建的，相应的部间节奏关联比为“快-慢-快”。然而，肖邦这种形式的内容完全是个人的，集“单一的表演”和“深刻的诗意表现力”、“精湛的技艺”和“浪漫主义”于一体(托马舍夫斯基)。本文强调，现有的关于肖邦协奏曲的观点在许多方面是相当多样化的。有些作家，尤其是于。克里姆里廖夫指出，肖邦在这里展示了某种作曲风格的“不成熟”，同时也承认，天才的天赐之物存在于“细节”之中。作者特别强调了协奏曲音乐语言的民族特色来源，其中波兰音乐词汇被证明是占主导地位的，这是特别典型的类型的最后组成部分(克拉科维恩)。目前，上述关于这两部协奏曲的观点似乎相当片面，这是托马舍夫斯基先生专著的重点)。这位波兰作家认为肖邦的协奏曲是世界钢琴协奏曲文学的杰作，尤其是其中的慢速部分。正是在这里，肖邦钢琴的表现语义和技术创新得以集中，虽然与管弦乐伴奏相对应，但却独具一格，自给自足。《协奏曲》是肖邦最后一部钢琴管弦乐曲，此后他只创作了钢琴独奏，这并非巧合。 “创作中心”的手段,发现的协奏曲,成为创建基本texture-polyphonic复杂的基于polygenre本体和重叠的技术(s . Shkolyarenko),这意味着造型乐团钢琴声音和颜色,仅仅使用这个工具的资源。这两首协奏曲都是以钢琴为主导的，肖邦本人也认为在弦乐四重奏的伴奏下演奏是合理的，从而强调了钢琴组成部分的自给自足。然而，这并不意味着管弦乐队的重要性有任何降低，这意味着在这两部协奏曲中都表现得很熟练，这证明了人们普遍认为肖邦在管弦乐队作曲方面不够精通的观点是错误的。正是在这两部协奏曲的管弦乐队中，主题发展的过程，使钢琴成分根据双重展示的原则，作为古典音乐会的一个属性“比赛”发生。对这两部协奏曲的创作、戏剧特点进行分析，旨在揭示它们的表演潜力。本文认为，这些名作的主题材料的多体裁情态、多织体、背景与凸出的特殊关联比例等特点，产生了相应文本内容表现方式的不同版本，这是由以下两个来源——肖邦作者的来源和演绎表演者的来源——的辩证关联所决定的。本文强调，对于演奏钢琴家来说，肖邦协奏曲的表现内容和作曲技巧的多样性创造了一种单独重建和复兴作曲手段的方式，并补充了各种作者和编辑的指导和评论。后者在创造“创作中心”手段的集群方面形成了一个整体的统一体，构成了肖邦钢琴协奏曲的内容和形式的阐释反思和演奏者实现的另一个组成部分，为本文的主题构建了我们进一步研究的视角。
{"title":"Piano concertos by F. Chopin: “composing center” means","authors":"P. Knysh","doi":"10.34064/khnum1-57.17","DOIUrl":"https://doi.org/10.34064/khnum1-57.17","url":null,"abstract":"The article focuses on characterizing compositional and structural peculiarities of piano concertos by F. Chopin. The research emphasis is laid on the revealed fact that the corresponding “composing center” means (V. Kholopova) function as fundamental issues in terms of creating their interpretational versions, thus, joining analytical procedures performers of the above pieces have to follow. With a view to objectivize data concerning the composing component of the Concertos e-moll and f-moll by F.Chopin, the article presents an actual comparative analysis of various perspectives as for the functional means, represented in the socalled note “schemes” of the both Concertos. It is highlighted that on the basis of the aesthetics and poetics of the style brilliant (J. N. Hummel, F. Kalkbrenner), in his Concertos F. Chopin demonstrates an individual innovative exceeding (M. Tomashevsky) of those existing standards of representing the concerto form, turning to the national character genre topicality, reconstructing that peculiar texture configuration type that makes the piano a musical instrument of a selfsufficient status. In accordance with the objective of the present research being to reveal the nature of the “composing center” means in Concertos by F. Chopin, first, the article concentrates on those life and creativity circumstances which served as determinants that had brought those musical pieces to life. It is highlighted that, on the one hand, his Concertos close the initial period of F. Chopin’s creative activities, where piano and orchestra music was dominant. On the other hand, for F. Chopin the early 1830s were the time of saying farewell to Poland, which was reflected in the deeply personal nature of the content of the both Concertos which appeared under the influence of the author’s feeling for K. Gladkovska and D. Pototska (it is the latter that the Concerto f-moll was dedicated to). It is found out that it is F. Kalkbrenner that the Concerto e-moll by F. Chopin is dedicated to, which, therefore, demonstrates his link to the epoch, to which Chopin was actually saying farewell, as well. In the present article, the subject-matter of the research is points of view of famous musicians and scholars-chopinists concerning the content and the form of the above-mentioned Concertos by Chopin. In this connection, the object of the work is our extrapolation of these data onto interpreting the composing center means as an ingredient of the corresponding performance analysis of the above pieces. Applying elements of general scientific (historic-genetic, deductive, comparative) and specific musicological (genre, style, texture, theme) gnoseological methods, we arrive at the conclusion that stylistically the composing means of the both Concertos by F. Chopin demonstrate a dual quality. On the one hand, they more than meet the requirements of the model of the modern at that time concerto virtuoso style of the epoch of transferring from Classicism to Rom","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"44 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":"133841063","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}
Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and v
{"title":"Directions of concertmaster activity of Oleksandr Nazarenko","authors":"O.V. Litvyshchenko","doi":"10.34064/khnum1-57.15","DOIUrl":"https://doi.org/10.34064/khnum1-57.15","url":null,"abstract":"Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and v","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"13 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":"121275145","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}
Research objective. The article aims to describe the structural and stylistic components of performing folklorism and consideration regarding the existing definitions of multifaceted concept «performing folklorism», which represents theoretical and methodological tools for deep analysis of stylistics, genre, technical and performing elements and musical features that folklore expresses, their extrapolation to performing interpretative diversity in the context of Ukrainian music art. The methodology of the research is based on the theoretical, historical, comparative and analytical methods. The scientific novelty outlines structural and stylistic components of performing folklorism, which significantly affect the expression of national features in modern Ukrainian performing art. Conclusions. In a concept “performing folklorism” are two ponderable constituents in the dialogic form of intercommunication of these systems: professional academic performing art and folklore in his various palette of expression. Performing interpretation is a main point of arranged and ethnographic folklorism, that present performing folklorism. An important value in the context of modern national performing style belongs to the Hutsul instrumental traditional music, which is the unique artistic phenomenon of the Ukrainian musical culture. In general, the Hutsul genres played an important role in the formation and development of Ukrainian instrumental music, even though the Hutsul performance tradition mostly has an instrumental type of music presentation. The Hutsul region presents a numeral musical tool, ramified genre palette, and original stylish description that is provided due to the whole complex of structural and performing elements (strokes, articulation, fingering principles, timbre descriptions of sounding, dynamic). The outlined lines of the Hutsul folklore are traced in academic performing art. It follows to underline the originality of artistic expression and stylish originality of musical art of the Carpathian region, that predefined by the row of objective structural and style components: 1) maintenance and functioning of archaic elements of musical structure, such as a variant, improvisation, repetition; 2) considerable genre variety of executable music (kolomyjka, hutsulka, Ukrainian dance, hopak, snowstorm); 3) rhythms, as a cementing factor of musically-composition structure; 4) ornamental melodious line. The outlined structural and style components of the Hutsul folklore present wide interpretation multiplicity within the performing folklorism. The ponderable constituent of traditional music is the various system of technically-performing features. On technically-performing and genre-stylish levels, violin traditional art of the Hutsul region presents all system of the musical expressive features, presents traditional professional school of the violin performing art with a clear vector on the maintenance of archaic structures of musical compositions
{"title":"The hutsul music features in the structural and stylistic context of the performing folkloryzm","authors":"Viktoriia Danylets","doi":"10.34064/khnum1-57.05","DOIUrl":"https://doi.org/10.34064/khnum1-57.05","url":null,"abstract":"Research objective. The article aims to describe the structural and stylistic components of performing folklorism and consideration regarding the existing definitions of multifaceted concept «performing folklorism», which represents theoretical and methodological tools for deep analysis of stylistics, genre, technical and performing elements and musical features that folklore expresses, their extrapolation to performing interpretative diversity in the context of Ukrainian music art. The methodology of the research is based on the theoretical, historical, comparative and analytical methods. The scientific novelty outlines structural and stylistic components of performing folklorism, which significantly affect the expression of national features in modern Ukrainian performing art. Conclusions. In a concept “performing folklorism” are two ponderable constituents in the dialogic form of intercommunication of these systems: professional academic performing art and folklore in his various palette of expression. Performing interpretation is a main point of arranged and ethnographic folklorism, that present performing folklorism. An important value in the context of modern national performing style belongs to the Hutsul instrumental traditional music, which is the unique artistic phenomenon of the Ukrainian musical culture. In general, the Hutsul genres played an important role in the formation and development of Ukrainian instrumental music, even though the Hutsul performance tradition mostly has an instrumental type of music presentation. The Hutsul region presents a numeral musical tool, ramified genre palette, and original stylish description that is provided due to the whole complex of structural and performing elements (strokes, articulation, fingering principles, timbre descriptions of sounding, dynamic). The outlined lines of the Hutsul folklore are traced in academic performing art. It follows to underline the originality of artistic expression and stylish originality of musical art of the Carpathian region, that predefined by the row of objective structural and style components: 1) maintenance and functioning of archaic elements of musical structure, such as a variant, improvisation, repetition; 2) considerable genre variety of executable music (kolomyjka, hutsulka, Ukrainian dance, hopak, snowstorm); 3) rhythms, as a cementing factor of musically-composition structure; 4) ornamental melodious line. The outlined structural and style components of the Hutsul folklore present wide interpretation multiplicity within the performing folklorism. The ponderable constituent of traditional music is the various system of technically-performing features. On technically-performing and genre-stylish levels, violin traditional art of the Hutsul region presents all system of the musical expressive features, presents traditional professional school of the violin performing art with a clear vector on the maintenance of archaic structures of musical compositions","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":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124935988","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 choice of the researchtheme and material was determined by the fact that the author of the article played the percussion part in the performance of the symphonic frescos «Taras Bulba» by S. P. Turnieiev in 2016. A true creator seeks to unite in his work the subconscious, intuitive and conscious rational. Thence there is a need to conceptualize the performance of the piece in unity with the composer’s concept and present thought process in the form of scientific reflection. Theoretical Background. The theoretical basis of the research was the works representing three directions in the study of picturesque in musical art: 1) the picturesque principle of composition in an epic symphony: works by I. Alieksieieva, V. Valkova, N. Vynokurova; 2) genre of symphonic picturesque: research by O. Yendutkina (Shyriaieva); 3) history and typology of picturesque and pictorial images of music: Ph.D. thesis by N. Rybak. The purpose of the research is to identify the image features of Ukraine in the symphonic frescos «Taras Bulba» by S. P. Turnieiev in accordance with the specific embodiment of civic lyrics in the work. Methods. The epic drama «Taras Bulba» by L. Toma (after M. Hohol), for the performance of which S. P. Turnieiev wrote music and afterwards created symphonic frescos, is a dialogue in the ‘Great Time’ (Bakhtin’s concept). The proposed symphonic work reflects the national world picture. Therefore, the author of the article refers to the scientific model of I. Romaniuk, adapting it to the character of the musical piece. The latter represents the principle of the Synthesis of the Arts at the newest stage of cultural development. Results. The principle of picturesque in S. Turnieiev’s Symphonic Frescos joins reception of picturesque as a phenomenon and as a concept and manifests itself in different semantic connotations; 1) picturesque as an artifact of fine art (through the fresco of the Virgin, the visual series of the peice); 2) picturesque as an attribute of the performance (through the connection with the music for the drama performance); 3) the picturesque principle as a factor of establishing links between the visual and other types of art (through the poetic word and visual series expressed in music); 4) the picturesque principle of thinking and composition implemented in the epic symphony (interaction of “narration” and show) is implicitly present in the symphonic frescos; 5) the picture of the world in accordance with the definition of I. Romaniuk, who defines this concept in the chosen discourse. S. Turnieiev’s work is interpreted in the cultural context of the «Great Time». The development of culture is possible due to the continuity, which I. Romaniuk considers as a «criterion of the Ukrainian world picture». The formation of continuity in the perception of the national world picture by different generations of the Ukrainians (I. Romaniuk ‘s concept) is carried out through dialogue in the «Great Time» owing to the «Great M
介绍。研究主题和材料的选择是由这篇文章的作者在2016年由S. P. Turnieiev演奏的交响乐壁画“Taras Bulba”的打击乐器部分决定的。一个真正的创造者寻求在他的作品中统一潜意识、直觉和有意识的理性。因此，有必要将作品的演奏概念化，与作曲家的概念相统一，并以科学反思的形式呈现思维过程。理论背景。本研究的理论基础是代表音乐艺术中诗情画意研究三个方向的作品:1)史诗交响曲的诗情画意原则:阿列克谢耶娃、瓦尔科娃、维诺库罗娃的作品;2)交响诗体裁:欧·文多基纳(谢里亚耶娃)研究;3)音乐的画卷与图像的历史与类型学:N. Rybak博士论文。本研究的目的是根据作品中公民歌词的具体体现，识别S. P. Turnieiev的交响乐壁画《Taras Bulba》中乌克兰的形象特征。方法。由L. Toma(以M. Hohol命名)创作的史诗剧《Taras Bulba》是对“伟大时代”(巴赫金的概念)的对话，S. P. Turnieiev为其创作了音乐，随后创作了交响乐壁画。拟作的交响乐作品反映了国家的世界面貌。因此，本文的作者借鉴了罗曼尼克的科学模式，并将其与音乐作品的特点相适应。后者代表了文化发展最新阶段的艺术综合原则。结果。图尼耶夫《交响乐壁画》中的诗情画意原则将诗情画意作为一种现象和一种概念的接受结合起来，表现为不同的语义内涵;1)作为一件艺术品(通过圣母的壁画，该作品的视觉系列);2)作为表演的一种属性(通过与戏剧表演音乐的联系);(3)将诗情画意原则作为在视觉艺术和其他艺术类型之间建立联系的因素(通过音乐中表达的诗意词语和视觉系列);(4)史诗交响曲中所体现的诗情画意的思维和构图原则(“叙述”与表演的互动)在交响乐壁画中含蓄地呈现出来;5)根据罗曼尼克(I. Romaniuk)的定义来描绘世界的图景，他在选择的话语中定义了这个概念。S. Turnieiev的作品是在“伟大时代”的文化背景下解读的。由于连续性，文化的发展是可能的，罗曼纽克认为这是“乌克兰世界图景的标准”。不同世代的乌克兰人(罗曼纽克的概念)对民族世界图景感知的连续性是通过乌克兰人民的“伟大记忆”(巴赫金的概念)在“伟大时代”的对话中形成的。乌克兰的形象从两个角度统一了对祖国的看法:一方面是情感和感官，另一方面是社会-作为对乌克兰人的存在现实的认识，以及他们对日常生活和一个人的内在实体的价值评估。定音鼓(图伦巴)曾经是哥萨克部队不可替代的属性。s。p。Turnieiev说这部作品的主人公是哥萨克人塔拉斯·布尔巴是其中之一这暗示了通过定音鼓的音色将主人公拟人化。另一方面，在更广义的个性化层面上，定音鼓的角色可以被定义为整个哥萨克人的象征性体现，而不是个体的代表。结论。由此可见，所分析作品中的如画，是通过对艺术综合观念的创新体现和对世界心理图景的再现而体现出来的。后者是由乌克兰文化范式的连续性，其价值观和精神地标决定的，同时它与L.范贝多芬的民间歌词产生共鸣。表演的原则，通过音乐说明诗意的词，在S. Turnieiev的作品中与交响乐的概括相结合，由于这一作品被认为类似于贝多芬的概念。与戏剧表演音乐的联系是交响乐壁画创作的基础，通过对构成舞台过程的画面的思考来维持。作品广泛呈现了打击乐器的声音形象。尤其是定音鼓作为人格化的表达发挥了有意义的概念性作用——一方面是哥萨克人作为一个群体，另一方面是塔拉斯·布尔巴作为一个胜利的战士，交响乐壁画的主角。 作为研究展望，本文作者对乌克兰现代作曲家作品中打击乐器的声音形象(在表达和概念方面)进行了进一步的研究。
{"title":"The image of Ukraine in the symphonic frescoes «Taras Bulba» by Sergey Turneev","authors":"Ye.D. Belova","doi":"10.34064/khnum1-57.02","DOIUrl":"https://doi.org/10.34064/khnum1-57.02","url":null,"abstract":"Introduction. The choice of the researchtheme and material was determined by the fact that the author of the article played the percussion part in the performance of the symphonic frescos «Taras Bulba» by S. P. Turnieiev in 2016. A true creator seeks to unite in his work the subconscious, intuitive and conscious rational. Thence there is a need to conceptualize the performance of the piece in unity with the composer’s concept and present thought process in the form of scientific reflection. Theoretical Background. The theoretical basis of the research was the works representing three directions in the study of picturesque in musical art: 1) the picturesque principle of composition in an epic symphony: works by I. Alieksieieva, V. Valkova, N. Vynokurova; 2) genre of symphonic picturesque: research by O. Yendutkina (Shyriaieva); 3) history and typology of picturesque and pictorial images of music: Ph.D. thesis by N. Rybak. The purpose of the research is to identify the image features of Ukraine in the symphonic frescos «Taras Bulba» by S. P. Turnieiev in accordance with the specific embodiment of civic lyrics in the work. Methods. The epic drama «Taras Bulba» by L. Toma (after M. Hohol), for the performance of which S. P. Turnieiev wrote music and afterwards created symphonic frescos, is a dialogue in the ‘Great Time’ (Bakhtin’s concept). The proposed symphonic work reflects the national world picture. Therefore, the author of the article refers to the scientific model of I. Romaniuk, adapting it to the character of the musical piece. The latter represents the principle of the Synthesis of the Arts at the newest stage of cultural development. Results. The principle of picturesque in S. Turnieiev’s Symphonic Frescos joins reception of picturesque as a phenomenon and as a concept and manifests itself in different semantic connotations; 1) picturesque as an artifact of fine art (through the fresco of the Virgin, the visual series of the peice); 2) picturesque as an attribute of the performance (through the connection with the music for the drama performance); 3) the picturesque principle as a factor of establishing links between the visual and other types of art (through the poetic word and visual series expressed in music); 4) the picturesque principle of thinking and composition implemented in the epic symphony (interaction of “narration” and show) is implicitly present in the symphonic frescos; 5) the picture of the world in accordance with the definition of I. Romaniuk, who defines this concept in the chosen discourse. S. Turnieiev’s work is interpreted in the cultural context of the «Great Time». The development of culture is possible due to the continuity, which I. Romaniuk considers as a «criterion of the Ukrainian world picture». The formation of continuity in the perception of the national world picture by different generations of the Ukrainians (I. Romaniuk ‘s concept) is carried out through dialogue in the «Great Time» owing to the «Great M","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"252 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":"129786989","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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