Background. The article is dedicated to the piano work of Hsiao Tyzen (1938–2015) – one of Taiwan’s most famous composers. The solo piano compositions of the musician are considered, which make up a significant part of his compositional heritage: three cycles, united under the general name “Poetic Response” – op. 37 (1974), op. 38 (1975) and op. 40 (1977); “The Amazing Grace” (1984), cycle “Memories of Home” op. 49 (1987), consisting of six plays – “Prelude”, “Memory”, “Playground”, “Ancient Taiwanese Melody”, “Elegy”, “Frolicking”; “Farewell Etude”, Op. 55 (1993), “Toccata”, op. 57 (1995), “Dragon Boat Festival”, op. 58 (1996), “Spirit of Taiwan” (1998), “Nana Oh’s Meditation” (1999), “The Angel from Formosa” (1999). This huge layer of music is not sufficiently studied in the performing aspect. The characteristic of the pianistic level of complexity of the compositions under consideration is given, technical and artistic difficulties are revealed. Objectives. The purpose of the study is to identify the main performing tasks in the solo piano compositions of Hsiao Tyzen. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Piano works of Hsiao Tyzen of an early period of art op. 37, 38 and 40, united in the general cycle “Poetic Response”, are devoted to religious themes and include melodies of religious hymns. Combining three diverse piano cycles, the composer builds a kind of complex form of cycles in the cycle. The influence of romanticism in the music of Hsiao Tyzen is felt in his interpretation of melody, harmony, rhythm, tempo and texture. Composers of the twentieth century, especially C. Debussy, influenced the piano compositions of the late period. Since the works created by Hsiao Tyzen have varying degrees of pianistic complexity, it seems important to determine the pedagogical significance of the uncomplicated piano repertoire and the performing tasks that the interpreter of concert compositions faces. The cycle “Memories of Home” op. 49, consisting of six miniatures, is dedicated to the composer’s childhood memories. The main tasks of the pianist in the “Ancient Taiwanese melody” from the cycle “Memories of Home”, op. 49 will be the auditory implementation and development of a touch of legato, the performance of melismatics, the observance of sound balance between hands, the ability to draw a long melodic line, cleverly using a finger swap and moving from one position to another. In the Prelude, the tasks of the performer’s main technical and artistic problems are to accurately reflect dynamic contrasts, the agility of transitions in various textured combinations, the sound realization of polyphony, precise articulation and coordination of small notes in passages. “Memory” requires the performer of the highly professiona
{"title":"Solo piano compositions by Hsiao Tyzen in the aspect of performing problems","authors":"NataliiaYuriyivna Sun","doi":"10.34064/khnum1-57.10","DOIUrl":"https://doi.org/10.34064/khnum1-57.10","url":null,"abstract":"Background. The article is dedicated to the piano work of Hsiao Tyzen (1938–2015) – one of Taiwan’s most famous composers. The solo piano compositions of the musician are considered, which make up a significant part of his compositional heritage: three cycles, united under the general name “Poetic Response” – op. 37 (1974), op. 38 (1975) and op. 40 (1977); “The Amazing Grace” (1984), cycle “Memories of Home” op. 49 (1987), consisting of six plays – “Prelude”, “Memory”, “Playground”, “Ancient Taiwanese Melody”, “Elegy”, “Frolicking”; “Farewell Etude”, Op. 55 (1993), “Toccata”, op. 57 (1995), “Dragon Boat Festival”, op. 58 (1996), “Spirit of Taiwan” (1998), “Nana Oh’s Meditation” (1999), “The Angel from Formosa” (1999). This huge layer of music is not sufficiently studied in the performing aspect. The characteristic of the pianistic level of complexity of the compositions under consideration is given, technical and artistic difficulties are revealed. Objectives. The purpose of the study is to identify the main performing tasks in the solo piano compositions of Hsiao Tyzen. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Piano works of Hsiao Tyzen of an early period of art op. 37, 38 and 40, united in the general cycle “Poetic Response”, are devoted to religious themes and include melodies of religious hymns. Combining three diverse piano cycles, the composer builds a kind of complex form of cycles in the cycle. The influence of romanticism in the music of Hsiao Tyzen is felt in his interpretation of melody, harmony, rhythm, tempo and texture. Composers of the twentieth century, especially C. Debussy, influenced the piano compositions of the late period. Since the works created by Hsiao Tyzen have varying degrees of pianistic complexity, it seems important to determine the pedagogical significance of the uncomplicated piano repertoire and the performing tasks that the interpreter of concert compositions faces. The cycle “Memories of Home” op. 49, consisting of six miniatures, is dedicated to the composer’s childhood memories. The main tasks of the pianist in the “Ancient Taiwanese melody” from the cycle “Memories of Home”, op. 49 will be the auditory implementation and development of a touch of legato, the performance of melismatics, the observance of sound balance between hands, the ability to draw a long melodic line, cleverly using a finger swap and moving from one position to another. In the Prelude, the tasks of the performer’s main technical and artistic problems are to accurately reflect dynamic contrasts, the agility of transitions in various textured combinations, the sound realization of polyphony, precise articulation and coordination of small notes in passages. “Memory” requires the performer of the highly professiona","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"69 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":"126229220","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. Radical reinterpretation of the genre of bagatelles takes place in modern musical culture. Famous Ukrainian composer V. Silvestrov demonstrates such re-examination most consistently. The task of holistic analysis of the genre concept of bagatelles, the unity of philosophical and aesthetic, metaphorical, symbolic, performative dimensions of this phenomenon in its synthetic unity and complementarity is extremely urgent. Literature Review (Theoretical Background). The genre of bagatelles was studied by foreign and Ukrainian scholars (G. Karelova, A. Lunina, N. Ruban, S. Suldina, Y. Furduy, M. Chernyavskaya, E. Antokoletz, M. Eremiášová, F. Sallis et al. As a rule, bagatelles are considered among other small forms (preludes, musical moments, nocturnes and so on), in the context of the creativity of composers (bagatelles of Bartok, Beethoven, Cherepnin, Silvestrov), in connection with certain structural and semantic elements of music. In the framework of this paper special attention is paid to numerous interviews of V. Silvestrov (the book “To Wait for Music” and “ΣΥΜΠΟΣΙΟΝ”) and theoretical investigations of the Ukrainian researcher Y. Furduy, devoted to the rhythmological aspects of the evolution of the piano bagatelles. Objectives. The focus of this publication is the language of metaphors as an element of genre ideas in the creativity of a prominent Ukrainian composer. The aim of the studies is to explicate the synthetic unity of the philosophical and aesthetic, metaphorical, musical and structural dimensions of V. Silvestrov’s bagatelles in the context of his musical Universe, to substantiate the fundamentals and principles of synthesis (using the “Cycle of Cycle” as example of the macrocycle of twenty seven bagatelles). Methods. The triad “philosophical concept – author’s metaphor – elements of a musical language” was first used as a tool for describing and analyzing genre ideas bagatelles in the “Cycle of Cycles”in their inextricable synthetic unity. Theoretical and methodological background of the article are philosophical approaches to the analysis of the universal dimension of culture (problems of the “universals of culture”, the symbolic and metaphorical language of culture, the semantic synthetic unity of culture, music, philosophy). Results and Discussions. The first step of the investigation is the analysis of the diversity of definitions and metaphors for bagatelles. It gives opportunity to evaluate the modern transformations of this genre. Particular attention is paid to the own metaphors of V. Silvestrov (“bagatelle is a musical moment…”). It was reviewed the typological features of the genre in his work: structure, textures, musical vocabulary, style techniques, philosophical foundation, the sphere of existence of the genre. These typological features of the genre are supplemented with philosophical and aesthetic concepts and a corpus of author’s metaphors that are essential for understanding and performance of the Cycl
介绍。在现代音乐文化中，对bagatelles类型进行了彻底的重新诠释。乌克兰著名作曲家西尔维斯特洛夫最能体现这种重新审视。对“小杂耍”体裁概念的整体分析，哲学与美学的统一，隐喻、象征、表演等维度对这一现象的综合统一性和互补性的综合分析迫在眉睫。文献综述(理论背景)。国外和乌克兰学者(G. Karelova, A. Lunina, N. Ruban, S. Suldina, Y. Furduy, M. Chernyavskaya, E. Antokoletz, M. Eremiášová， F. Sallis等)对bagatelles的类型进行了研究。通常，在作曲家(巴托克、贝多芬、切列普宁、西尔维斯特罗夫的小调)的创造力背景下，与音乐的某些结构和语义元素有关，小调被认为是其他小形式(前奏曲、音乐片段、夜曲等)中的一种。在本文的框架内，特别关注了V. Silvestrov的大量采访(“等待音乐”和“ΣΥΜΠΟΣΙΟΝ”一书)和乌克兰研究员Y. Furduy的理论调查，致力于钢琴小奏演变的节奏方面。目标。本出版物的重点是隐喻的语言，作为一个突出的乌克兰作曲家的创造力流派思想的元素。本研究的目的是在西尔维斯特罗夫的音乐宇宙背景下，阐明其小品的哲学和美学、隐喻、音乐和结构维度的综合统一，以证实综合的基本原理和原则(以“循环的循环”为例，以27个小品的大循环为例)。方法。“哲学概念-作者隐喻-音乐语言要素”这一三位一体首先被用作描述和分析《循环中的循环》中不可分割的综合统一体的流派思想的工具。本文的理论和方法背景是分析文化普遍维度的哲学方法(“文化的普遍”问题、文化的象征和隐喻语言问题、文化、音乐、哲学的语义综合统一问题)。结果和讨论。调查的第一步是分析bagatelles的定义和隐喻的多样性。它提供了一个机会来评价这一流派的现代转变。特别注意的是V. Silvestrov自己的隐喻(“bagatelle是一个音乐时刻……”)。从结构、织体、音乐词汇、风格技法、哲学基础、体裁存在范围等方面对其体裁的类型学特征进行了评述。这些体裁的类型学特征补充了哲学和美学概念以及作者的隐喻语料库，这些对于理解和表演《循环中的循环》至关重要。西尔维斯特洛夫的基本比喻变成了与朋友的座谈会(交响乐)的形象，它描述了“琐碎史诗”的微循环创作原则。这个主题领域的一般直觉是“小中有大”的原则。这一原则在作曲家的作品中表现为作者风格和世界观的一个组成部分。根据作曲家的说法，Bagatelle是音乐和音乐手段的最低限度，代表了“音乐的全部”。作者允许译员在“膨胀的宇宙”和“自己家里的音乐”这两个相反的概念之间取得平衡。根据三和弦“哲学概念-作者的隐喻-音乐语言的要素”，考虑的关键位置是盛宴(交响乐)，时间，记忆，沉默。结论。我们的研究结果是隐喻在西尔维斯特洛夫的创作中作为一种不可分割的语义组成部分的体裁概念的表现，而这只有在整个音乐和哲学宇宙的背景下才能真实地揭示出来。交响乐的隐喻是最基本的。它指的是会饮会的哲学概念，它可以成为对小圆的大循环形状的全面解释。为将“塞克勒斯的循环”引入元体类领域，为解释V. Silvestrov的“bagatelles史诗”结构中的开放性元素，为邀请新的“客人”，新的音乐人物进入宇宙而创造的认识论前提。展望未来的研究。隐喻的语言分析的结果，作为一个元素的类型思想的bagatelles提供了机会来解释的地方和角色的“bagatelle史诗”在V.西尔韦斯特罗夫的音乐宇宙，以了解这种类型在现代乌克兰音乐的意义。
{"title":"Language of Metaphors as an Element of the Genre Idea of Bagatelles in the Musical Universe of V. Silvestrov","authors":"K. Motsarenko","doi":"10.34064/khnum1-55.10","DOIUrl":"https://doi.org/10.34064/khnum1-55.10","url":null,"abstract":"Introduction. Radical reinterpretation of the genre of bagatelles takes place in modern musical culture. Famous Ukrainian composer V. Silvestrov demonstrates such re-examination most consistently. The task of holistic analysis of the genre concept of bagatelles, the unity of philosophical and aesthetic, metaphorical, symbolic, performative dimensions of this phenomenon in its synthetic unity and complementarity is extremely urgent. Literature Review (Theoretical Background). The genre of bagatelles was studied by foreign and Ukrainian scholars (G. Karelova, A. Lunina, N. Ruban, S. Suldina, Y. Furduy, M. Chernyavskaya, E. Antokoletz, M. Eremiášová, F. Sallis et al. As a rule, bagatelles are considered among other small forms (preludes, musical moments, nocturnes and so on), in the context of the creativity of composers (bagatelles of Bartok, Beethoven, Cherepnin, Silvestrov), in connection with certain structural and semantic elements of music. In the framework of this paper special attention is paid to numerous interviews of V. Silvestrov (the book “To Wait for Music” and “ΣΥΜΠΟΣΙΟΝ”) and theoretical investigations of the Ukrainian researcher Y. Furduy, devoted to the rhythmological aspects of the evolution of the piano bagatelles. Objectives. The focus of this publication is the language of metaphors as an element of genre ideas in the creativity of a prominent Ukrainian composer. The aim of the studies is to explicate the synthetic unity of the philosophical and aesthetic, metaphorical, musical and structural dimensions of V. Silvestrov’s bagatelles in the context of his musical Universe, to substantiate the fundamentals and principles of synthesis (using the “Cycle of Cycle” as example of the macrocycle of twenty seven bagatelles). Methods. The triad “philosophical concept – author’s metaphor – elements of a musical language” was first used as a tool for describing and analyzing genre ideas bagatelles in the “Cycle of Cycles”in their inextricable synthetic unity. Theoretical and methodological background of the article are philosophical approaches to the analysis of the universal dimension of culture (problems of the “universals of culture”, the symbolic and metaphorical language of culture, the semantic synthetic unity of culture, music, philosophy). Results and Discussions. The first step of the investigation is the analysis of the diversity of definitions and metaphors for bagatelles. It gives opportunity to evaluate the modern transformations of this genre. Particular attention is paid to the own metaphors of V. Silvestrov (“bagatelle is a musical moment…”). It was reviewed the typological features of the genre in his work: structure, textures, musical vocabulary, style techniques, philosophical foundation, the sphere of existence of the genre. These typological features of the genre are supplemented with philosophical and aesthetic concepts and a corpus of author’s metaphors that are essential for understanding and performance of the Cycl","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":"2019-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128769352","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}
In this article we will talk about the interaction of music in fundamentally different areas – academic and non-academic, in which there is an interpenetration of musical language elements, expressive means from one sphere to another is happening, and a brand new quality musical material is produced. This new kind of music we call ‘unionique music’, and the aim of this article is to describe the unionique music phenomena, to base and explain its introduction into the musicology’s use, and to define its place in the musical culture. Under the ‘academic music’ is understood the music of the West European classical tradition, under the ‘non-academic’ – such directions as jazz, rock, and folklore (ethnic). Using the method of functional analysis we examine musical compositions on three levels (composition, intonation and timbre). With the advance of internet technologies we now have an easy access to all kinds of different music that is composed in various styles and traditions. Convenience of communication made it possible for representatives of various nations to get acquainted with the musical languages of other ethnic groups and subsequently apply the elements of these languages to their creative work. This gave the ground for the emergence of a variety of musical directions in which interaction with different musical domains takes place. As a result, we now understand that the new paradigm of musical perception consists in the equality of all music types.
{"title":"UNIONIQUE MUSIC AS A NEW PHENOMENON OF THE MUSICAL CULTURE: ANSWERING THE MAIN QUESTIONS","authors":"I. Paliy","doi":"10.34064/khnum1-55.02","DOIUrl":"https://doi.org/10.34064/khnum1-55.02","url":null,"abstract":"In this article we will talk about the interaction of music in fundamentally different areas – academic and non-academic, in which there is an interpenetration of musical language elements, expressive means from one sphere to another is happening, and a brand new quality musical material is produced. This new kind of music we call ‘unionique music’, and the aim of this article is to describe the unionique music phenomena, to base and explain its introduction into the musicology’s use, and to define its place in the musical culture. Under the ‘academic music’ is understood the music of the West European classical tradition, under the ‘non-academic’ – such directions as jazz, rock, and folklore (ethnic). Using the method of functional analysis we examine musical compositions on three levels (composition, intonation and timbre). With the advance of internet technologies we now have an easy access to all kinds of different music that is composed in various styles and traditions. Convenience of communication made it possible for representatives of various nations to get acquainted with the musical languages of other ethnic groups and subsequently apply the elements of these languages to their creative work. This gave the ground for the emergence of a variety of musical directions in which interaction with different musical domains takes place. As a result, we now understand that the new paradigm of musical perception consists in the equality of all music types.","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128060800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and impeccable technique. Among the outstanding events there are the performances of G. Mahler’s chamber opuses (romances, «Song of the Earth», «Songs of the Dead Children», R. Strauss; Liederabends in Bamberg, Munich and the Metropolitan Opera with F. Liszt’s songs «Three Sonnets of Petrarch», G. Mahler, A. Dupark (including on Heine’s and Goethe’s verses), R. Wagner (Five Songs on Matilda Wesendonk’s verses), B. Britten (Seven Sonnets by Michelangelo). The singer’s attention to the AustrianGerman repertoire is the special trait of such chamber evenings. Analysis of recent publications on the topic. The main material on J. Kaufmann’s creative work is contained in numerous interviews, official site materials, Thomas Voigt’s book called «Meinen die wirklich mich», nonfiction articles and reviews on the performance of, in particular, Liederabends (T. Belova, T. Yelagin, E. Shapinska, Tim Ashley, and Christie Franke). From the studies of chamber and vocal performance (I. Gersamiya, T. Madysheva, T. Lymareva), the classification of dialogue quality (E. Stepanidina) in chamber music is involved. The systematic approach allows (based on G. Tsypin’s research) to identify the phenomenon of J. Kaufmann’s creativity. The purpose of the study is the formulation of the basic parameters of his performing style based on the analysis of J. Kaufmann’s Liederabends. Presentation of the main research material. In «The Winter Way» the singer resorts to such expressive means as a little exaggerated, chanted diction of the initial phrases («Sleep quietly»), radically contrasting dynamics of opera ff and subtle pp («Flood»), extremely slow tempo and filigree breathing («Inn»), «performance on the verge» of sound and silence («Loneliness», «Grey Hair», «Crow», and «Last Hope»). The centre of the performance concept is «Loneliness» (according to the singer himself). K. Frank sees the performance by Kaufmann as a rich spectrum of emotions; many listeners note the introversion of his expression. Concerning the conceptual dimension of J. Kaufmann’s interpretation of “The Winter Way”, the following facts were noted: the integrity and the construction of the performance form; the conscious avoidance of unnecessary expressiveness, monologue quality (the master connects the songs, creating an extended monologue), and artistry. Conclusions of the study. The analysis of Liederabends made it possib
{"title":"Genre Liederabend in creative practice by J. Kauffmann","authors":"H. Yan","doi":"10.34064/khnum1-55.13","DOIUrl":"https://doi.org/10.34064/khnum1-55.13","url":null,"abstract":"Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and impeccable technique. Among the outstanding events there are the performances of G. Mahler’s chamber opuses (romances, «Song of the Earth», «Songs of the Dead Children», R. Strauss; Liederabends in Bamberg, Munich and the Metropolitan Opera with F. Liszt’s songs «Three Sonnets of Petrarch», G. Mahler, A. Dupark (including on Heine’s and Goethe’s verses), R. Wagner (Five Songs on Matilda Wesendonk’s verses), B. Britten (Seven Sonnets by Michelangelo). The singer’s attention to the AustrianGerman repertoire is the special trait of such chamber evenings. Analysis of recent publications on the topic. The main material on J. Kaufmann’s creative work is contained in numerous interviews, official site materials, Thomas Voigt’s book called «Meinen die wirklich mich», nonfiction articles and reviews on the performance of, in particular, Liederabends (T. Belova, T. Yelagin, E. Shapinska, Tim Ashley, and Christie Franke). From the studies of chamber and vocal performance (I. Gersamiya, T. Madysheva, T. Lymareva), the classification of dialogue quality (E. Stepanidina) in chamber music is involved. The systematic approach allows (based on G. Tsypin’s research) to identify the phenomenon of J. Kaufmann’s creativity. The purpose of the study is the formulation of the basic parameters of his performing style based on the analysis of J. Kaufmann’s Liederabends. Presentation of the main research material. In «The Winter Way» the singer resorts to such expressive means as a little exaggerated, chanted diction of the initial phrases («Sleep quietly»), radically contrasting dynamics of opera ff and subtle pp («Flood»), extremely slow tempo and filigree breathing («Inn»), «performance on the verge» of sound and silence («Loneliness», «Grey Hair», «Crow», and «Last Hope»). The centre of the performance concept is «Loneliness» (according to the singer himself). K. Frank sees the performance by Kaufmann as a rich spectrum of emotions; many listeners note the introversion of his expression. Concerning the conceptual dimension of J. Kaufmann’s interpretation of “The Winter Way”, the following facts were noted: the integrity and the construction of the performance form; the conscious avoidance of unnecessary expressiveness, monologue quality (the master connects the songs, creating an extended monologue), and artistry. Conclusions of the study. The analysis of Liederabends made it possib","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115551953","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. The creative work of the bright representative of the Italian opera U. Giordano consists of eleven operas. Despite the fact that the composer is considered a bright representative of verismo, not all his operas belong to this direction. For example, in the late period of his creativity (1910–1920), U. Giordano departs from the traditions of verismo and aims his search for the comedy genre («La cena delle beffe», «Dinner with Jokes»), the genre of opera novels («The King»). But all the same, the main, repertoire operas (as early as «Mala Vita», «Marina», and the mature ones like «Andrea Chenier», «Fedora») are the quintessence of the tradition of verismo. The opera «Siberia» is also considered to be such. The emergence of new productions of the opera in the 21st century gives a reason to appeal to this opus and analyse it in terms of stability of the traits of the composing style of U. Giordano. The purpose of the study is to identify the role of the opera «Siberia» in the context of creativity by U. Giordano. Analysis of recent publications on the topic of the article. U. Giordano’s creative work is systematically presented in the study of M. Morini (1968), where he collected articles not only written by himself, but also by other researchers of the composer’s creative work. Today it is the most complete publication of his letters and reviews on the opera productions. Vincenzo Therenzio reflects on the basics of the style of U. Giordano, Giovanni Ugolini resorts to the analysis of the traditions of verismo in the creative work of the composer. Carmine Ruizzo’s research is devoted to the manifestations of verismo in the creative work of U. Giordano. In relation to creativity (general characteristics) of U. Giordano one should list the encyclopaedic articles and the book by Alan Mallach, which covers the path of the Italian opera on the border of the 20th – 21st centuries from verismo to modernism. Regarding the opera “Siberia”, we should mention the review article by M. Morini and the articles directly devoted to the productions in the «Helikon-opera». We do not find a detailed analysis of the score of the opera in any scientific sources. Statement of the main content of the article. The plot of the opera «Siberia» is the love story of the officer Vasyl and the courtesan Stefana, who, after Vasyl was arrested, follows him to Siberia. The pimp Hleb cannot quarrel the lovers, but after an unsuccessful escape the injured Stefana dies. This tragic story is presented by the composer and librettist (Illik) on the background of the Russian reality, which creates a certain context of the love line of the main heroes. And the interpretation of the plot, and the musical concept in general, corresponds to the guides of the opera creativity of U. Giordano. Thus, generalizing the observations of G. Marqezi, M. Morini, and V. Therenzio, one can determine the following features of the composer’s opera style, among which there is the t
问题的表述。意大利歌剧杰出代表人物佐丹奴的创作作品由11部歌剧组成。尽管这位作曲家被认为是逼真主义的杰出代表，但并非他所有的歌剧都属于这一方向。例如，在他创作的后期(1910-1920)，佐丹诺脱离了真实主义的传统，并致力于喜剧类型(“La cena delle beffe”，“Dinner with段子”)，歌剧小说类型(“the King”)。但同样的，主要的保留剧目歌剧(如早期的《玛拉·维塔》、《玛丽娜》和成熟的歌剧如《安德烈·切尼尔》、《费多拉》)是真实主义传统的精髓。歌剧《西伯利亚》也被认为是这样的。21世纪新歌剧作品的出现给了这部作品一个吸引人的理由，并从佐丹奴创作风格特征的稳定性来分析它。本研究的目的是确定歌剧《西伯利亚》在佐丹奴创作的背景下的作用。分析了最近发表的关于文章主题的文章。佐丹奴的创作被系统地呈现在莫里尼(1968)的研究中，他不仅收集了他自己写的文章，还收集了其他研究作曲家创作的文章。今天，它是他对歌剧作品的信件和评论的最完整的出版物。文森佐·特伦齐奥反思了佐丹奴风格的基础，乔瓦尼·乌戈利尼在作曲家的创作中运用了对真实主义传统的分析。Carmine Ruizzo的研究致力于逼真主义在佐丹奴创作作品中的表现。关于佐丹奴的创造力(一般特征)，人们应该列出百科全书式的文章和艾伦·马拉赫的书，这本书涵盖了20 - 21世纪意大利歌剧从真实主义到现代主义的道路。关于歌剧“西伯利亚”，我们应该提到莫里尼先生的评论文章和直接致力于“Helikon-opera”制作的文章。我们没有在任何科学资料中找到对这部歌剧乐谱的详细分析。陈述文章的主要内容。歌剧《西伯利亚》的情节是军官Vasyl和妓女Stefana的爱情故事，Vasyl被捕后，Stefana跟着他去了西伯利亚。皮条客Hleb无法与这对恋人争吵，但在成功逃脱后，受伤的Stefana死亡。这个悲剧故事是由作曲家兼词作者(伊里克)在俄罗斯现实背景下呈现的，这为主要英雄的爱情线创造了一定的语境。而对情节的诠释，以及总体上的音乐理念，都符合佐丹奴的歌剧创作指导。因此，总结G. Marqezi, M. Morini和V. Therenzio的观察，我们可以确定作曲家的歌剧风格的以下特征，其中有爱的主题在情节的中心，创造明亮和令人兴奋的主要人物肖像的能力，“风格平衡”(V. Therenzio)，对意大利音乐剧传统的依赖，画面和表达的纯洁性的结合，回忆的包含，管弦乐的严肃性，为乐谱提供的民族性(通过结合动作发生的地区的音乐材料)。所有这些都体现在歌剧《西伯利亚》中。在主角Stefana和Vasyl的参与下，对歌剧“西伯利亚”的主要场景进行了分析，并证明了这部歌剧(以及“Fedora”和“Andrea Chenier”)是verismo传统的精髓。结论。在佐丹奴的创作中，歌剧《西伯利亚》占据了突出的位置。它与成熟风格的歌剧(“Fedora”，“Andrea Chenier”)一起，体现了作曲家歌剧风格的典型特征。因此，主人公的形象在音乐特征上是生动的。此外，作者还在发展过程中呈现了Vasyl和Stefana的音乐形象。Vasyl几乎拥有了歌剧的所有主要动机，这些动机经常以一种稍微改变的形式出现在听众面前。通常只是用相似的语调和节奏来提醒他们。值得注意的是，刻画Vasyl形象的音乐材料，在表现力和语调财富上，并不逊于Stefana的女性派对，与G.威尔第的“茶花女”形成鲜明对比，其中主要强调的是主角-紫罗兰。至于歌剧的管弦乐，一般来说，它有一个严格的特点，尽管作曲家包括模拟一种特色乐器的色彩提供。 因此，Stefana死亡场景的鲜明对比是在巴拉莱卡(在管弦乐队中是由曼陀林模仿的)的声音下的民间盛宴的画面。这个乐器象征着在遥远的地方，生命仍在继续。歌剧《西伯利亚》的管弦乐曲谱的特点是质地的透明，大部分材料布置在弦乐器组和木制铜管乐器组中。铜管乐器的音色是罕见的，以及巨大的动态细微差别。使歌剧《西伯利亚》与意大利戏剧的最佳范例相似的特点是语调概念。例如，与威尔第的《茶花女》(La Traviata)的典型相似之处在于，这幅画中所有来自普通人生活的音乐材料都渗透着家庭歌舞的语调和节奏。他们填满了朗诵部分和咏叹调部分。如果说在《茶花女》中，阿尔弗雷德的主题是以华尔兹的方式呈现，以三声部的形式呈现，那么在Vasyl的歌剧《西伯利亚》中，主人公的主题则以四声部的形式(包括12/8声部)为主，这对于浪漫歌曲的构图更有吸引力。与《茶花女》的相似之处在于，主人公阿尔弗雷德不仅要与公众对他选择了一种不值得的生活方式的心爱女人的谴责作斗争，还要与他父亲和家人的个人谴责作斗争。Vasyl也为他心爱的女人而挣扎，她也是一个妓女，但对他来说，Stefana的存在并不重要，问题是她在经济上依赖于另一个男人。对本课题进一步研究的展望。在现代戏剧中(经过长时间的遗忘之后)，导演和表演者都重新对歌剧“西伯利亚”感兴趣，这使得从表演分析的角度来分析佐丹奴的作品成为可能。
{"title":"The opera “Siberia” by U. Giordano in the context of the composer’s creative work","authors":"Tszitao Lyan","doi":"10.34064/KHNUM1-52.05","DOIUrl":"https://doi.org/10.34064/KHNUM1-52.05","url":null,"abstract":"Formulation of the problem. The creative work of the bright representative of the Italian opera U. Giordano consists of eleven operas. Despite the fact that the composer is considered a bright representative of verismo, not all his operas belong to this direction. For example, in the late period of his creativity (1910–1920), U. Giordano departs from the traditions of verismo and aims his search for the comedy genre («La cena delle beffe», «Dinner with Jokes»), the genre of opera novels («The King»). But all the same, the main, repertoire operas (as early as «Mala Vita», «Marina», and the mature ones like «Andrea Chenier», «Fedora») are the quintessence of the tradition of verismo. The opera «Siberia» is also considered to be such. The emergence of new productions of the opera in the 21st century gives a reason to appeal to this opus and analyse it in terms of stability of the traits of the composing style of U. Giordano. The purpose of the study is to identify the role of the opera «Siberia» in the context of creativity by U. Giordano. Analysis of recent publications on the topic of the article. U. Giordano’s creative work is systematically presented in the study of M. Morini (1968), where he collected articles not only written by himself, but also by other researchers of the composer’s creative work. Today it is the most complete publication of his letters and reviews on the opera productions. Vincenzo Therenzio reflects on the basics of the style of U. Giordano, Giovanni Ugolini resorts to the analysis of the traditions of verismo in the creative work of the composer. Carmine Ruizzo’s research is devoted to the manifestations of verismo in the creative work of U. Giordano. In relation to creativity (general characteristics) of U. Giordano one should list the encyclopaedic articles and the book by Alan Mallach, which covers the path of the Italian opera on the border of the 20th – 21st centuries from verismo to modernism. Regarding the opera “Siberia”, we should mention the review article by M. Morini and the articles directly devoted to the productions in the «Helikon-opera». We do not find a detailed analysis of the score of the opera in any scientific sources. Statement of the main content of the article. The plot of the opera «Siberia» is the love story of the officer Vasyl and the courtesan Stefana, who, after Vasyl was arrested, follows him to Siberia. The pimp Hleb cannot quarrel the lovers, but after an unsuccessful escape the injured Stefana dies. This tragic story is presented by the composer and librettist (Illik) on the background of the Russian reality, which creates a certain context of the love line of the main heroes. And the interpretation of the plot, and the musical concept in general, corresponds to the guides of the opera creativity of U. Giordano. Thus, generalizing the observations of G. Marqezi, M. Morini, and V. Therenzio, one can determine the following features of the composer’s opera style, among which there is the t","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":"2019-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124322010","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. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments fr
{"title":"J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students","authors":"S. Prokopov","doi":"10.34064/KHNUM1-52.02","DOIUrl":"https://doi.org/10.34064/KHNUM1-52.02","url":null,"abstract":"Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments fr","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":"2019-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121977854","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 is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date have been deprived of the opportunity to get acquainted with his work. Since the music of Zhang Zhao sounds in many countries of the world, it resonates powerfully in a variety of areas, and in particular, research. To date, the work of the composer is actively studied by Chinese musicologists. However, among the publications, small articles devoted to a narrow range of problems predominate. Large-scale studies devoted to any area of his music have not yet been created. One of the most important topics relating to the composer’s work is the study of his views on musical art. Zhang Zhao’s vision of the further development of Chinese piano art reveals the composer’s worldview, his creative credo. This question is decisive for studying the composer’s musical heritage, defining his genre-style priorities. Objectives. The purpose of the article is to reveal the peculiarities of Zhang Zhao’s artistic worldview in order to promote the fullest possible identification of the ideas of the composer, the disclosure of the artistic concepts of his works. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Important for the disclosure of the creative worldview of the composer is the study of his statements on the ways of further development of musical art. His attitude and vision of his role in this process, the Chinese musician has repeatedly stated in an interview with domestic journalists. According to Zhang Zhao, the main issue that should concern modern composers is the place of the musical art of their country in world culture. Zhang Zhao found in the face of the pianist virtuoso his Yundi Li adherent. The collaboration between the composer and the performer began in 2011. Zhang Zhao took part in a large-scale theatrical performance at the Third Congress of BRICS leaders in Sanya. Then Yundi Li performed on the stage of the concert hall of Zhang Zhao’s play “In the most remote place” and “Chinese piano dream”. Zhang Zhao is committed to the concept of inheritance and the promotion of a culture of national music. The Chinese compare Zhang Zhao with the outstanding leader of the Polish people Chopin, who dedicated his life to the transformation in piano
{"title":"Composer Zhang Zhao: a look at the development of modern Chinese piano music","authors":"Guangqi Zhang","doi":"10.34064/KHNUM1-52.06","DOIUrl":"https://doi.org/10.34064/KHNUM1-52.06","url":null,"abstract":"Background. The article is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date have been deprived of the opportunity to get acquainted with his work. Since the music of Zhang Zhao sounds in many countries of the world, it resonates powerfully in a variety of areas, and in particular, research. To date, the work of the composer is actively studied by Chinese musicologists. However, among the publications, small articles devoted to a narrow range of problems predominate. Large-scale studies devoted to any area of his music have not yet been created. One of the most important topics relating to the composer’s work is the study of his views on musical art. Zhang Zhao’s vision of the further development of Chinese piano art reveals the composer’s worldview, his creative credo. This question is decisive for studying the composer’s musical heritage, defining his genre-style priorities. Objectives. The purpose of the article is to reveal the peculiarities of Zhang Zhao’s artistic worldview in order to promote the fullest possible identification of the ideas of the composer, the disclosure of the artistic concepts of his works. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Important for the disclosure of the creative worldview of the composer is the study of his statements on the ways of further development of musical art. His attitude and vision of his role in this process, the Chinese musician has repeatedly stated in an interview with domestic journalists. According to Zhang Zhao, the main issue that should concern modern composers is the place of the musical art of their country in world culture. Zhang Zhao found in the face of the pianist virtuoso his Yundi Li adherent. The collaboration between the composer and the performer began in 2011. Zhang Zhao took part in a large-scale theatrical performance at the Third Congress of BRICS leaders in Sanya. Then Yundi Li performed on the stage of the concert hall of Zhang Zhao’s play “In the most remote place” and “Chinese piano dream”. Zhang Zhao is committed to the concept of inheritance and the promotion of a culture of national music. The Chinese compare Zhang Zhao with the outstanding leader of the Polish people Chopin, who dedicated his life to the transformation in piano ","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":"2019-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121286166","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 little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is
{"title":"The formation of the chamber-vocal style of Zhu Jian’er: early works","authors":"F. Zhu","doi":"10.34064/KHNUM1-52.12","DOIUrl":"https://doi.org/10.34064/KHNUM1-52.12","url":null,"abstract":"Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134565119","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. The modern choral art as never requires a theoretical understanding of the artistic experience accumulated over the years of its existence and enriched with the latest advances in this field. The bloom of the high professional choral performance in Ukraine shows, first of all, the active development of choral culture in practical terms, but unfortunately, in many theoretical aspects of the choral art there are significant gaps. Since in Ukraine a galaxy of dedicated experts in the field of the choral work function fruitfully, among whom the territory of the Slobozhanshchina region can boast the well-known name of Prokopov Sergiy Mykolayevych – the Honoured Art Worker of Ukraine, Professor, Head of the Choral Conducting Department of Kharkiv National University of Arts named after I. P. Kotlyarevsky, the coverage of the concept of the creative universalism of the famous Ukrainian conductor-choirmaster seems to be of a high relevance. The purpose of the article is to study a wide range of artistic activities of S. Prokopov in the aspect of identifying various vectors of creativity of this talented artist: his performances, scientific works and pedagogical guides, musical and public activities. Analysis of the recent research and publications. The study of each of the directions of the creative activities of the artist is not possible in isolation from the consideration of the main trends in the modern choral art. Ukrainian musicology is on the way of rethinking the classical methodological recommendations and finding new theoretical and practical approaches to the study of many aspects of the choral activity. The recent publications by such scholars as L. Parkhomenko, A. Lashchenko, L. Kiyanovska, A. Martyniuk, L. Yarosevich, O. Batovska, Y. Voskoboinikova and many others confirm the relevance of issues related to the genesis and the further development of the choral art. Research methods. The system analysis of the universe of the creative personality of the artist is the methodological basis of the study. Presenting the main material. Sergiy Prokopov is a well-known conductor-choirmaster, prominent teacher and musical-public figure in Ukraine and abroad. After many years of study, under the influence of the outstanding masters of the conducting-choral art A. A. Miroshnikova, E. P. Kudryavtseva, V. O. Chernushenko and A. V. Mikhailov the main methodological principles of teaching professional disciplines finally formed, and they found their embodiment in the further professional pedagogical activity of S. M. Prokopov. The research of the performing-pedagogical vector of the master’s work made it possible to analyse one of the most important spheres of activity of S. M. Prokopov – the work with children’s choir collectives. We should note that the sound of the choir called “The Spring Voices” is distinguished by the high quality of ensemble work, the most charming features of the children’s voice – ease, charm, and flyin
问题的表述。现代合唱艺术从来都不需要对其存在多年所积累的艺术经验进行理论理解，也不需要对这一领域的最新进展进行充实。乌克兰高专业合唱演出的蓬勃发展，首先显示了合唱文化在实践方面的积极发展，但遗憾的是，在合唱艺术的许多理论方面存在着明显的差距。由于在乌克兰，在合唱工作领域有一群敬业的专家，他们成果丰硕，其中斯洛博zhanshchina地区可以以普罗科波夫·谢尔盖·尼古拉耶维奇(Prokopov Sergiy Mykolayevych)的著名名字而自豪，他是乌克兰的荣誉艺术工作者，哈尔科夫国立艺术大学合唱指挥系的教授，以i.p. Kotlyarevsky命名，对这位著名的乌克兰指挥家兼唱诗班指挥的创造性普世主义概念的报道似乎具有高度的相关性。本文的目的是研究S. Prokopov的广泛艺术活动，以确定这位才华横溢的艺术家的各种创造力载体:他的表演，科学作品和教学指南，音乐和公共活动。分析最近的研究和出版物。对艺术家创作活动的每一个方向的研究，都离不开对现代合唱艺术主要趋势的考虑。乌克兰音乐学正在重新思考经典的方法论建议，并寻找新的理论和实践方法来研究合唱活动的许多方面。最近由诸如L. Parkhomenko, A. Lashchenko, L. Kiyanovska, A. Martyniuk, L. Yarosevich, O. Batovska, Y. Voskoboinikova等学者发表的文章证实了与合唱艺术的起源和进一步发展相关的问题。研究方法。对艺术家创作人格宇宙的系统分析是研究的方法论基础。呈现主要材料。谢尔盖·普罗科波夫是乌克兰国内外著名的指挥家、合唱团指挥、杰出的教师和音乐公众人物。经过多年的研究，在杰出的指挥合唱艺术大师A. A.米罗什尼科娃、E. P.库德亚夫采娃、V. O.切尔努申科和A. V.米哈伊洛夫的影响下，最终形成了专业学科教学的主要方法论原则，并在S. M.普罗科波夫进一步的专业教学活动中得到体现。对大师作品的表演教学载体的研究使得分析S. M. Prokopov最重要的活动领域之一-与儿童合唱团的合作成为可能。我们应该注意到，“春天之声”合唱团的声音以高质量的合奏作品而闻名，儿童声音最迷人的特点是轻松，迷人和飞扬。合唱团的曲目极其广泛和多样，从文艺复兴时期到当代国内外的作品，流派和主题不同，这对业余团队来说是相当困难的。这就是为什么在S. M. Prokopov的指导下，儿童合唱团的专业认可得到了许多国内和国际比赛和合唱节的荣誉奖项的肯定。在继承哈尔科夫合唱学校传统的基础上，普罗科波夫·s·M在领导以i·p·科特利亚列夫斯基命名的KhNUA合唱指挥系学生合唱团的过程中，不仅极大地改变了合唱团的剧目政策，而且修改了教学-教育和音乐会-演出任务的关系。合唱班不仅为未来的合唱指挥专家的专业教育提供了坚实的基础平台。学生合唱团在S. M.普罗科波夫的指导下，是一个成熟的表演集体，他们的力量使演出伟大形式的作品成为可能。在唱诗班的声音方面，在热身阶段，他依靠声音制作的艺术原理，这代表了一种特殊的情感和心理环境，为唱诗班指挥和歌手之间进一步的专业交流提供了条件。这种对合唱练习过程中心理任务复杂性的重视，有助于将歌唱者的情绪、心理状态和技术能力与随后的表演意图相结合和关联。大师作品的关键在于语言和音乐语调之间的特殊关系。表现力作为一种有意识的歌唱，如果没有正确的语调，清晰的发音，在演唱合唱作品的过程中情绪的高涨，是不可能的。s.m.的教学活动。 普罗科波夫继续在课堂上讲授指挥，他依靠的是系统基础、理论立场、优秀教师、合唱团指挥、交响乐指挥家的总结，以及教师、指挥家和指挥-合唱团指挥多年来的自身经验。实际上，他的教学风格具有很高的文化水平、精致的品味和深厚的专业知识以及人文社会科学相关领域的知识。S. М科学活动的兴趣范围。普罗科波夫涵盖了合唱艺术的各个领域。普罗科波夫科学而有条理的著作概述了一系列与合唱表演、合唱教学法和不同发展阶段的指挥-合唱团指挥的培养过程有关的问题。普罗科波夫教授积极负责的人生立场促使他投身于公共教育活动。作为协会哈尔科夫分会“以列昂托维奇先生命名的合唱团”的负责人，在他的倡议下，举办了重要的合唱艺术比赛和节日，这些比赛和节日不仅在乌克兰境内而且在国外都很有名。谢尔盖·尼古拉耶维奇在国际和全乌克兰会议上就合唱艺术的相关问题发表报告，并举办了许多大师班、讲座和音乐会。结论及进一步研究的展望。谢尔盖·普罗科波夫(sergey Prokopov)是全球音乐家的典范。强调一点，他的主要活动方向是不可能的。作为教师、合唱指挥、科学家、天才组织者和音乐公众人物，他的作品是创造性和个人热情的生动例子。该主题进一步发展的前景与深入研究S. M. Prokopov的创作活动的各种光谱有关，他对乌克兰文化发展的个人贡献。
{"title":"Sergiy Prokopov: phenomenon of the creative personality","authors":"Mikhailova N.","doi":"10.34064/KHNUM1-52.01","DOIUrl":"https://doi.org/10.34064/KHNUM1-52.01","url":null,"abstract":"Formulation of the problem. The modern choral art as never requires a theoretical understanding of the artistic experience accumulated over the years of its existence and enriched with the latest advances in this field. The bloom of the high professional choral performance in Ukraine shows, first of all, the active development of choral culture in practical terms, but unfortunately, in many theoretical aspects of the choral art there are significant gaps. Since in Ukraine a galaxy of dedicated experts in the field of the choral work function fruitfully, among whom the territory of the Slobozhanshchina region can boast the well-known name of Prokopov Sergiy Mykolayevych – the Honoured Art Worker of Ukraine, Professor, Head of the Choral Conducting Department of Kharkiv National University of Arts named after I. P. Kotlyarevsky, the coverage of the concept of the creative universalism of the famous Ukrainian conductor-choirmaster seems to be of a high relevance. The purpose of the article is to study a wide range of artistic activities of S. Prokopov in the aspect of identifying various vectors of creativity of this talented artist: his performances, scientific works and pedagogical guides, musical and public activities. Analysis of the recent research and publications. The study of each of the directions of the creative activities of the artist is not possible in isolation from the consideration of the main trends in the modern choral art. Ukrainian musicology is on the way of rethinking the classical methodological recommendations and finding new theoretical and practical approaches to the study of many aspects of the choral activity. The recent publications by such scholars as L. Parkhomenko, A. Lashchenko, L. Kiyanovska, A. Martyniuk, L. Yarosevich, O. Batovska, Y. Voskoboinikova and many others confirm the relevance of issues related to the genesis and the further development of the choral art. Research methods. The system analysis of the universe of the creative personality of the artist is the methodological basis of the study. Presenting the main material. Sergiy Prokopov is a well-known conductor-choirmaster, prominent teacher and musical-public figure in Ukraine and abroad. After many years of study, under the influence of the outstanding masters of the conducting-choral art A. A. Miroshnikova, E. P. Kudryavtseva, V. O. Chernushenko and A. V. Mikhailov the main methodological principles of teaching professional disciplines finally formed, and they found their embodiment in the further professional pedagogical activity of S. M. Prokopov. The research of the performing-pedagogical vector of the master’s work made it possible to analyse one of the most important spheres of activity of S. M. Prokopov – the work with children’s choir collectives. We should note that the sound of the choir called “The Spring Voices” is distinguished by the high quality of ensemble work, the most charming features of the children’s voice – ease, charm, and flyin","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115113175","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 relevance of the topic. The dynamics of cultural development in the 21st century sets for the interpreter-vocalist tasks that require a quick and high-quality response to public inquiries (challenges of the time), on which the performing demand at a particular institution directly depends. MC “The Kharkiv Regional Philharmonic Society” is a concert organization, where, unlike the opera theatre, there are not clearly regulated genre priorities. Therefore, opera, jazz and even pop music organically coexist on the same stage. This genre and style diversity entails the need for the soloist to comply with the performing complex, which includes a number of requirements: the vocal-technical and stage freedom, the mastery of the art of improvisation (working with the audience), the vocal endurance, taking into account the repertory load (during one hour and a half). Last but not least, there are such criteria as the vocal-performing aesthetics, the ability for gender-performing transformation and the vocal-figurative reincarnation in one concert, etc. The purpose of the article is to substantiate the role of the phonopedic method for the development of a singing voice for developing the vocal-performing universalism in the conditions of the competition between genre-performing styles and the trends of the modern vocal culture. Analysis of recent research and publications. A great deal of interesting research and biographical works (I. Arkhipova, P. Domingo, S. Lemeshev, E. Nesterenko, B. Hmyrya, T. Madysheva,) is devoted to studying the specifics of the vocal-performing interpretation. The practicing teachers and scientists (L. Dmitriev, J. Lauri-Volpi, I. Nazarenko, V. Yushmanov) reveal the performing secrets, share their stage experience, meticulously identifying the nature and the possibilities of the voice apparatus, make historical excursions and acquaint with the vocal traditions of the past. However, none of the above scientific sources presents a systematic picture reflecting the vocal-performing process as a complex phenomenon. The author sees the indicated problem as relevant and requiring a multilateral discussion of specialists. The presentation of the main material. As of today, the professional activity of a vocal artist, regardless of the genre direction, faces very high requirements, the most important of which is the interpretative universalism. Its fundamental element is the vocal technique, the possession of which is the basic condition that ensures the singer a long and healthy professional life. However, up to the present, it is the vocal technique that continues to be an area of the open problem of the singing instrument, as a sound-forming object used by vocal performers to realize their artistic intentions and tasks. The key issue of the vocal method and one of the fundamental questions of the theory of the singing art, the psychophysics that controls the phonation process remains its unexplored area. According to V.I. Yushman
{"title":"The role and specificity of vocal-performing universalism (on the example of the activity at MC “The Kharkiv Regional Philharmonic Society”)","authors":"V. Gigolayeva-Yurchenko","doi":"10.34064/KHNUM1-52.13","DOIUrl":"https://doi.org/10.34064/KHNUM1-52.13","url":null,"abstract":"The relevance of the topic. The dynamics of cultural development in the 21st century sets for the interpreter-vocalist tasks that require a quick and high-quality response to public inquiries (challenges of the time), on which the performing demand at a particular institution directly depends. MC “The Kharkiv Regional Philharmonic Society” is a concert organization, where, unlike the opera theatre, there are not clearly regulated genre priorities. Therefore, opera, jazz and even pop music organically coexist on the same stage. This genre and style diversity entails the need for the soloist to comply with the performing complex, which includes a number of requirements: the vocal-technical and stage freedom, the mastery of the art of improvisation (working with the audience), the vocal endurance, taking into account the repertory load (during one hour and a half). Last but not least, there are such criteria as the vocal-performing aesthetics, the ability for gender-performing transformation and the vocal-figurative reincarnation in one concert, etc. The purpose of the article is to substantiate the role of the phonopedic method for the development of a singing voice for developing the vocal-performing universalism in the conditions of the competition between genre-performing styles and the trends of the modern vocal culture. Analysis of recent research and publications. A great deal of interesting research and biographical works (I. Arkhipova, P. Domingo, S. Lemeshev, E. Nesterenko, B. Hmyrya, T. Madysheva,) is devoted to studying the specifics of the vocal-performing interpretation. The practicing teachers and scientists (L. Dmitriev, J. Lauri-Volpi, I. Nazarenko, V. Yushmanov) reveal the performing secrets, share their stage experience, meticulously identifying the nature and the possibilities of the voice apparatus, make historical excursions and acquaint with the vocal traditions of the past. However, none of the above scientific sources presents a systematic picture reflecting the vocal-performing process as a complex phenomenon. The author sees the indicated problem as relevant and requiring a multilateral discussion of specialists. The presentation of the main material. As of today, the professional activity of a vocal artist, regardless of the genre direction, faces very high requirements, the most important of which is the interpretative universalism. Its fundamental element is the vocal technique, the possession of which is the basic condition that ensures the singer a long and healthy professional life. However, up to the present, it is the vocal technique that continues to be an area of the open problem of the singing instrument, as a sound-forming object used by vocal performers to realize their artistic intentions and tasks. The key issue of the vocal method and one of the fundamental questions of the theory of the singing art, the psychophysics that controls the phonation process remains its unexplored area. According to V.I. Yushman","PeriodicalId":388829,"journal":{"name":"Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128250374","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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