Pub Date : 2022-07-08DOI: 10.24193/subbmusica.2022.spiss1.05
Valeriya Zharkova, Tymur Ivannikov, T. Filatova, Oleksandr Zharkov, O. Antonova
"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relationship between the music and ancient genres is revealed: Gregorian monodies, antiphons, plain chants, motets, madrigals, Easter hymns. The substantive music aspects are researched as projected on the historical genesis and synthesis of stylistic phenomena of different nature. It is researched how much the elements of medieval, renaissance, baroque, romantic and modern musical vocabulary influence the integral system of choral composition artistic means. Keywords: choral music, Samuel Barber, genre traditions, style aspects, chants, motets, madrigals. "
{"title":"Choral Music by Samuel Barber: Genre and Style Aspects","authors":"Valeriya Zharkova, Tymur Ivannikov, T. Filatova, Oleksandr Zharkov, O. Antonova","doi":"10.24193/subbmusica.2022.spiss1.05","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss1.05","url":null,"abstract":"\"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relationship between the music and ancient genres is revealed: Gregorian monodies, antiphons, plain chants, motets, madrigals, Easter hymns. The substantive music aspects are researched as projected on the historical genesis and synthesis of stylistic phenomena of different nature. It is researched how much the elements of medieval, renaissance, baroque, romantic and modern musical vocabulary influence the integral system of choral composition artistic means. Keywords: choral music, Samuel Barber, genre traditions, style aspects, chants, motets, madrigals. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47711237","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}
Pub Date : 2022-07-08DOI: 10.24193/subbmusica.2022.spiss1.09
Victor Slupskyi
"The creative activity of Johann Pezel, the then-known multiinstrumentalist, whose creative path and kind of activity reflects the life and status of the musician of the Baroque era, is analyzed in the article in the context of the development of the German ensemble performance on copper wind instruments of the 17th century. It is noted that the motivation for the appearance of works for the ensemble of copper wind was a purely practical need to replenish the repertoire of urban performers. The works are written considering the technical capabilities of the instruments and follow the specifics of the genre-style tendencies of German instrumental music of the 17th century. The subject matter and methods of analysis should be distributed to the composer’s work of J. Pezel’s contemporaries, who also created music for the ensemble of copper brass, and to include their works in the repertoire of current performers. Keywords: German musical culture of the 17th century, J. Pezel’s music, musician-multiinstrumentalist, ensemble of copper wind instruments, cornet, trombone. "
{"title":"J. Pezel’s Music for the Ensemble of Copper Wind Instruments in the Context of German Tradition of the 17th Century","authors":"Victor Slupskyi","doi":"10.24193/subbmusica.2022.spiss1.09","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss1.09","url":null,"abstract":"\"The creative activity of Johann Pezel, the then-known multiinstrumentalist, whose creative path and kind of activity reflects the life and status of the musician of the Baroque era, is analyzed in the article in the context of the development of the German ensemble performance on copper wind instruments of the 17th century. It is noted that the motivation for the appearance of works for the ensemble of copper wind was a purely practical need to replenish the repertoire of urban performers. The works are written considering the technical capabilities of the instruments and follow the specifics of the genre-style tendencies of German instrumental music of the 17th century. The subject matter and methods of analysis should be distributed to the composer’s work of J. Pezel’s contemporaries, who also created music for the ensemble of copper brass, and to include their works in the repertoire of current performers. Keywords: German musical culture of the 17th century, J. Pezel’s music, musician-multiinstrumentalist, ensemble of copper wind instruments, cornet, trombone. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69202242","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}
Pub Date : 2022-07-08DOI: 10.24193/subbmusica.2022.spiss1.02
Vadym Horbal
"Internal application and social functions of the orchestras of different military formations on the territory of Ukrainian lands during the first half of the XXth century had their own history, including Lviv Region. This Region as the whole Galicia had gone through the numerous political transformations and changes of political systems. Each of such transformation put forward new requirements to the military musical art, thus, to the activity of military conductors. The aim of the article is the analysis of the tasks, demands, social and cultural background of the conditions of work, potential audience, the peculiarities of performance repertoire, professional training of the membership of the orchestra companies and the conductors of the orchestra’s groups of the Regular Army during the first decades of the XXth century. Such investigation based on historical, structural and systemic methods has been made for the first time. The military subunits of Lviv region of the period of Austrian regime (infantry regiments 10, 15, 23, 30, 55, 80) involved in their units Germans, Czechs, Austrians, Hungarians and less numerously presented Russians and Poles (55 and 80 infantry regiments that had their headquarters in Lviv and dislocated partially in Stryj and Zolochiv). Each of them obligatory had their own musical groups: mainly brass or competent symphony orchestra which included numerous Czech musicians and trumpeters as a separate unit. Each orchestra performer, as a rule, played two different instruments (brass and stringed). Their work was supervised by bandmaster and warrant officer – tambour major (who supervised group’s training as a conductor of the orchestra and their preparation to the defile), they were mainly Austrians, Germans and Czechs. Besides applicable military functions the orchestras took part in the civilian ceremonies, divine services and funeral ceremonies, every week at holidays and Sundays they carried out unmounted and hoarse defile along the city with march and light music of European authors under arrangements of their conductors (namely, arrangements of folk songs and dances), performed programs of European classical music in concert halls; and in public places: in park platforms, skating rigs; they also made guest-performance tours to the recreation resorts. In 1918 with the formation of Polish State there were some transformations in musical sphere of Polish Army and the USS Army. The conductors of military orchestras of Lviv region of the first decades of the XXth century faced the vast complex of tasks: the ability to work with the variety of personnel in the open air (in the field), in the square, hoarse defile and unmounted defile) in the covered concert-theatrical, theatrical buildings; mastering, providing, creation and adaptation of the universal repertoires to the real performance, potential and concert conditions, ensuring the training conditions of the new generation to the range of professional orchestras of ac
{"title":"The Challenges of Professional Competence of Lviv Region Military Conductors in the First Decades of the XXth Century","authors":"Vadym Horbal","doi":"10.24193/subbmusica.2022.spiss1.02","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss1.02","url":null,"abstract":"\"Internal application and social functions of the orchestras of different military formations on the territory of Ukrainian lands during the first half of the XXth century had their own history, including Lviv Region. This Region as the whole Galicia had gone through the numerous political transformations and changes of political systems. Each of such transformation put forward new requirements to the military musical art, thus, to the activity of military conductors. The aim of the article is the analysis of the tasks, demands, social and cultural background of the conditions of work, potential audience, the peculiarities of performance repertoire, professional training of the membership of the orchestra companies and the conductors of the orchestra’s groups of the Regular Army during the first decades of the XXth century. Such investigation based on historical, structural and systemic methods has been made for the first time. The military subunits of Lviv region of the period of Austrian regime (infantry regiments 10, 15, 23, 30, 55, 80) involved in their units Germans, Czechs, Austrians, Hungarians and less numerously presented Russians and Poles (55 and 80 infantry regiments that had their headquarters in Lviv and dislocated partially in Stryj and Zolochiv). Each of them obligatory had their own musical groups: mainly brass or competent symphony orchestra which included numerous Czech musicians and trumpeters as a separate unit. Each orchestra performer, as a rule, played two different instruments (brass and stringed). Their work was supervised by bandmaster and warrant officer – tambour major (who supervised group’s training as a conductor of the orchestra and their preparation to the defile), they were mainly Austrians, Germans and Czechs. Besides applicable military functions the orchestras took part in the civilian ceremonies, divine services and funeral ceremonies, every week at holidays and Sundays they carried out unmounted and hoarse defile along the city with march and light music of European authors under arrangements of their conductors (namely, arrangements of folk songs and dances), performed programs of European classical music in concert halls; and in public places: in park platforms, skating rigs; they also made guest-performance tours to the recreation resorts. In 1918 with the formation of Polish State there were some transformations in musical sphere of Polish Army and the USS Army. The conductors of military orchestras of Lviv region of the first decades of the XXth century faced the vast complex of tasks: the ability to work with the variety of personnel in the open air (in the field), in the square, hoarse defile and unmounted defile) in the covered concert-theatrical, theatrical buildings; mastering, providing, creation and adaptation of the universal repertoires to the real performance, potential and concert conditions, ensuring the training conditions of the new generation to the range of professional orchestras of ac","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69202190","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}
Pub Date : 2022-07-08DOI: 10.24193/subbmusica.2022.spiss1.01
Inna Lisniak, T. Cherneta, Iryna Tukova
"The article comprehensively examines antinomies of the amateur performance development in Ukraine of 1930s. The factual basis of the research is the materials of the newspapers, magazines, and musical journals of this period. It is proved that the phenomenon of amateur performance, as one of the most significant phenomena of totalitarian society’s mass culture, consists in its contradictory nature: on the one hand, mass artistic movement, population’s sincere faith and enthusiasm, and on the other, politicization, ideological engagement, fear of physical destruction. The actions of the Soviet authorities in the one of most dramatic periods of the last century for Ukraine – the 1930s – regarding the dissemination and support of musical amateur music are analyzed (for example, regular financial support, awarding of bonuses, patronage, organization of public events, set-up of publishing activities, training systems for amateur performance leaders, which, in general, contributed to raising musical amateur movement in Ukraine to a professional level). At the same time, it is found that amateur performance was one of the tools for shaping the ideology of a totalitarian society. Keywords: Ukrainian culture of 1930s, amateur performance, totalitarian society, politicization of art. "
{"title":"Musical Amateur Performance in Ukraine of the 1930s as the Manifestation of Soviet Totalitarian Ideology","authors":"Inna Lisniak, T. Cherneta, Iryna Tukova","doi":"10.24193/subbmusica.2022.spiss1.01","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss1.01","url":null,"abstract":"\"The article comprehensively examines antinomies of the amateur performance development in Ukraine of 1930s. The factual basis of the research is the materials of the newspapers, magazines, and musical journals of this period. It is proved that the phenomenon of amateur performance, as one of the most significant phenomena of totalitarian society’s mass culture, consists in its contradictory nature: on the one hand, mass artistic movement, population’s sincere faith and enthusiasm, and on the other, politicization, ideological engagement, fear of physical destruction. The actions of the Soviet authorities in the one of most dramatic periods of the last century for Ukraine – the 1930s – regarding the dissemination and support of musical amateur music are analyzed (for example, regular financial support, awarding of bonuses, patronage, organization of public events, set-up of publishing activities, training systems for amateur performance leaders, which, in general, contributed to raising musical amateur movement in Ukraine to a professional level). At the same time, it is found that amateur performance was one of the tools for shaping the ideology of a totalitarian society. Keywords: Ukrainian culture of 1930s, amateur performance, totalitarian society, politicization of art. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47731199","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}
Pub Date : 2022-07-08DOI: 10.24193/subbmusica.2022.spiss1.07
Nataliya Govorukhina
"We propose to study the ways of embodying the poetic text of Goethe’s poem by three composers (F. Schubert, S. Moniuszko, H. Wolf) by analyzing the patterns of the poetic text structural and functional method (repetition, system of repetitions, update) and its relationship with the musical and poetic method at the level of the general structure and individual techniques (duplication, replacement) with the involvement of the comparative method. The need to reveal the meaning and value of a particular technique led to the use of the semantic method. In comparison with other romantic examples – F. Schubert and H. Wolf, which continuously attract the attention of researchers, the composer’s version of S. Moniuszko is involved. As a result of the analysis, we made a conclusion about the relative constancy in all three selected samples of the implementation of repetition both at the level of the entire text (three stanzas), the structure of the stanza, and at the level of keywords (question “Kennst du…”), at that time, the renewal in the poetic text observed in the second and third stanzas of Goethe’s poem, is embodied in different musical and poetic forms — from leveling changes (S. Moniuszko) to their consistent implementation (H. Wolf). The only exception to this is the “chorus”, in which J. Goethe presents variant appeals of the female protagonist to different addressees — composers interpret them identically (the poetic text is renewed and the musical text remains unchanged), which also acts as a constant element of the interpretation of the poetic original source. Keywords: interaction of textual and musical repetition, transformation of the poetic primary source, musical and poetic text, duplication techniques, repetition system, constant and variant principles. "
{"title":"The Principles of Interpretation of the Poetic Primary Source in Ballads by F. Schubert, S. Moniuszhko, H. Wolf on Goethe’s Text «Kennst du das Land»","authors":"Nataliya Govorukhina","doi":"10.24193/subbmusica.2022.spiss1.07","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss1.07","url":null,"abstract":"\"We propose to study the ways of embodying the poetic text of Goethe’s poem by three composers (F. Schubert, S. Moniuszko, H. Wolf) by analyzing the patterns of the poetic text structural and functional method (repetition, system of repetitions, update) and its relationship with the musical and poetic method at the level of the general structure and individual techniques (duplication, replacement) with the involvement of the comparative method. The need to reveal the meaning and value of a particular technique led to the use of the semantic method. In comparison with other romantic examples – F. Schubert and H. Wolf, which continuously attract the attention of researchers, the composer’s version of S. Moniuszko is involved. As a result of the analysis, we made a conclusion about the relative constancy in all three selected samples of the implementation of repetition both at the level of the entire text (three stanzas), the structure of the stanza, and at the level of keywords (question “Kennst du…”), at that time, the renewal in the poetic text observed in the second and third stanzas of Goethe’s poem, is embodied in different musical and poetic forms — from leveling changes (S. Moniuszko) to their consistent implementation (H. Wolf). The only exception to this is the “chorus”, in which J. Goethe presents variant appeals of the female protagonist to different addressees — composers interpret them identically (the poetic text is renewed and the musical text remains unchanged), which also acts as a constant element of the interpretation of the poetic original source. Keywords: interaction of textual and musical repetition, transformation of the poetic primary source, musical and poetic text, duplication techniques, repetition system, constant and variant principles. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69201987","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}
Pub Date : 2022-07-08DOI: 10.24193/subbmusica.2022.spiss1.06
Asmati Chibalashvili, Polina Kharchenko, Igor Savchuk, V. Sydorenko, Ruslana Bezuhla
"The study of transformational processes in contemporary music art under the influence of the fine arts practices is one of the important problems of musical culturology and aesthetics. The study is topical because of the new efforts aimed at understanding and arrangement of the evolution of established aesthetic systems and experiments in music and fine arts in the 20th century and at the beginning of the 21st century, as well as their influence on modern practices of introduction of meaningful elements of painting, graphics, architecture, and multimedia technologies into music creation processes. The aim of the research was to identify current trends in music visualization through the arrangement and generalization of the experience of artists of the 20th — early 21st centuries, who used expressive arts, synthesizing one art into another in their musical compositions, as well as to identify the background of those synthetic ideas and ways to implement them. The scientific research established that the development of synthetic art has its roots in the disposition towards merging arts and versatility. The fine arts practices applied in music has contributed to the expansion and enrichment of artistic means and techniques and has entailed further complication of sound and visual components in the overall concept of the work. It is concluded that the individual creative and personal traits of the artist, who seeks to fully convey the multidimensional figurativeness of the work determine a significant impact on implementing fine arts practices in music. Prospects for further research of the evolution of fine arts practices and audio-visual media in music involve the development of description techniques in the context of the dominance of the visualization factor over music one in artistic perception, as well as the study of the impact of cultural technologization on contemporary music art. Keywords: music, visualization, fine art, artist, interconnection of the arts, synthesis, intermediality "
{"title":"Practices of Visual Arts in the Music of the Twentieth and Early Twenty-First Centuries","authors":"Asmati Chibalashvili, Polina Kharchenko, Igor Savchuk, V. Sydorenko, Ruslana Bezuhla","doi":"10.24193/subbmusica.2022.spiss1.06","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss1.06","url":null,"abstract":"\"The study of transformational processes in contemporary music art under the influence of the fine arts practices is one of the important problems of musical culturology and aesthetics. The study is topical because of the new efforts aimed at understanding and arrangement of the evolution of established aesthetic systems and experiments in music and fine arts in the 20th century and at the beginning of the 21st century, as well as their influence on modern practices of introduction of meaningful elements of painting, graphics, architecture, and multimedia technologies into music creation processes. The aim of the research was to identify current trends in music visualization through the arrangement and generalization of the experience of artists of the 20th — early 21st centuries, who used expressive arts, synthesizing one art into another in their musical compositions, as well as to identify the background of those synthetic ideas and ways to implement them. The scientific research established that the development of synthetic art has its roots in the disposition towards merging arts and versatility. The fine arts practices applied in music has contributed to the expansion and enrichment of artistic means and techniques and has entailed further complication of sound and visual components in the overall concept of the work. It is concluded that the individual creative and personal traits of the artist, who seeks to fully convey the multidimensional figurativeness of the work determine a significant impact on implementing fine arts practices in music. Prospects for further research of the evolution of fine arts practices and audio-visual media in music involve the development of description techniques in the context of the dominance of the visualization factor over music one in artistic perception, as well as the study of the impact of cultural technologization on contemporary music art. Keywords: music, visualization, fine art, artist, interconnection of the arts, synthesis, intermediality \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69201927","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}
Pub Date : 2022-07-08DOI: 10.24193/subbmusica.2022.spiss1.03
Daryna Kupina, Valentina Redya
"Some peculiarities of genre tradition as an artistic category are considered (based on the example of a modern Ukrainian pipe organ music). It was found out that the transformation of the genres are natural process, that directed to preservate the constant traits, that are considered as genre tradition. It has been proved that in Ukrainian organ music European genre traditions are such a set of genre characteristics, that sprout in new organ pieces and reflect the total “organ experience” of European composers. Genre traditions of organ music have external and internal aspects, that come out on structural and functional-dynamic levels. Due to this, genre can be presented as dialectic sum of unchangeable and changeable features. It was revealed that considering the genre tradition as a constant category it can be characterized in three pair of attributes – cult and secular, retrospective and perspective, national and international. The infusion of the primary genre in new minds is accompanied by a waste of power and real contextual links, which are saved in the memory of the genre and are manifested by composers in form of allusions. The embodiment of ancient organ music genre traditions in the new conditions is accompanied by the loss of its real contextual connections and intensification of association links. Considering genre tradition as a dynamic fenomena of European organ art we identificate three types of genre traditions’ interaction – interference, interpolation and inclusion. These ways ensure the productive prolongation of genres in the conditions of modern organ music creativity. The prospects of research of genre tradition as artistic category open ways to the comprehension of the modern musiс’s principles. Keywords: genre, tradition, genre tradition, genre adaptation, organ music, Ukrainian music, modern academical music "
{"title":"\"Genre Tradition as an Artistic Category (On the Example of Ukrainian Organ Music of the Late XX – Early XXI Century)\"","authors":"Daryna Kupina, Valentina Redya","doi":"10.24193/subbmusica.2022.spiss1.03","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss1.03","url":null,"abstract":"\"Some peculiarities of genre tradition as an artistic category are considered (based on the example of a modern Ukrainian pipe organ music). It was found out that the transformation of the genres are natural process, that directed to preservate the constant traits, that are considered as genre tradition. It has been proved that in Ukrainian organ music European genre traditions are such a set of genre characteristics, that sprout in new organ pieces and reflect the total “organ experience” of European composers. Genre traditions of organ music have external and internal aspects, that come out on structural and functional-dynamic levels. Due to this, genre can be presented as dialectic sum of unchangeable and changeable features. It was revealed that considering the genre tradition as a constant category it can be characterized in three pair of attributes – cult and secular, retrospective and perspective, national and international. The infusion of the primary genre in new minds is accompanied by a waste of power and real contextual links, which are saved in the memory of the genre and are manifested by composers in form of allusions. The embodiment of ancient organ music genre traditions in the new conditions is accompanied by the loss of its real contextual connections and intensification of association links. Considering genre tradition as a dynamic fenomena of European organ art we identificate three types of genre traditions’ interaction – interference, interpolation and inclusion. These ways ensure the productive prolongation of genres in the conditions of modern organ music creativity. The prospects of research of genre tradition as artistic category open ways to the comprehension of the modern musiс’s principles. Keywords: genre, tradition, genre tradition, genre adaptation, organ music, Ukrainian music, modern academical music \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"55 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69202207","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}
Pub Date : 2022-07-08DOI: 10.24193/subbmusica.2022.spiss1.08
Maryna Varakuta
"The article deals with the evolutionary processes of development of psalm and ecclesiastical miniature genres in choral music from the Renaissance to the present. It has been found that the wide possibilities of creating liturgical and non-church, concert and stage spiritual works gave the way to the enrichment of canonical канонічних principles of such traditional genre models as psalm and ecclesiastical miniature with individual stylistic features. Accordingly, gaining more and more popularity in church and secular music practice, psalms and ecclesiastical (prayer) miniatures have acquired nmiew qualities – canonical flexibility, genre mobility, openness to style and stylistic syntheses and authorial individualization in both textual and much more in musical aspects. The research methodology is based on historical-typological, genre-stylistic, and analytical methods. The historical-typological method relates to the problems of historical evolution of psalm and ecclesiastical miniature genre models, genre-stylistic and analytical methods allow to come to reasonable conclusions about the peculiarities of prayer texts in choral compositions created by modern Ukrainian composers. Traditions of Ukrainian spiritual music and at the same time the modern tendencies of the musical language are brightly shown in choral compositions. It is noted that the level of correlation between traditional and innovative referrence to psalm and ecclesiastical miniature genre models is determined by the individual creative approach of a certain composer, which requires making references to ecclesiastical texts and creating unique motets on their basis. Keywords: choral genres, psalm genre model, ecclesiastical (prayer) miniature, Ukrainian choral music, canonical texts. "
{"title":"Genre Evolution of the Psalm and Ecclesiastical Miniature","authors":"Maryna Varakuta","doi":"10.24193/subbmusica.2022.spiss1.08","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.spiss1.08","url":null,"abstract":"\"The article deals with the evolutionary processes of development of psalm and ecclesiastical miniature genres in choral music from the Renaissance to the present. It has been found that the wide possibilities of creating liturgical and non-church, concert and stage spiritual works gave the way to the enrichment of canonical канонічних principles of such traditional genre models as psalm and ecclesiastical miniature with individual stylistic features. Accordingly, gaining more and more popularity in church and secular music practice, psalms and ecclesiastical (prayer) miniatures have acquired nmiew qualities – canonical flexibility, genre mobility, openness to style and stylistic syntheses and authorial individualization in both textual and much more in musical aspects. The research methodology is based on historical-typological, genre-stylistic, and analytical methods. The historical-typological method relates to the problems of historical evolution of psalm and ecclesiastical miniature genre models, genre-stylistic and analytical methods allow to come to reasonable conclusions about the peculiarities of prayer texts in choral compositions created by modern Ukrainian composers. Traditions of Ukrainian spiritual music and at the same time the modern tendencies of the musical language are brightly shown in choral compositions. It is noted that the level of correlation between traditional and innovative referrence to psalm and ecclesiastical miniature genre models is determined by the individual creative approach of a certain composer, which requires making references to ecclesiastical texts and creating unique motets on their basis. Keywords: choral genres, psalm genre model, ecclesiastical (prayer) miniature, Ukrainian choral music, canonical texts. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47787461","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}
Pub Date : 2022-07-08DOI: 10.24193/subbmusica.2022.spiss1.04
Volodymyr Kachmarchyk, Nataliia Kachmarchyk
"The article is dedicated to the development of the flute acoustic and tuning systems during the 18th-19th centuries. Based on the analysis of J. J. Quantz's treatise »Versuch einer Anweisung, die Flöte traversiere zu spielen« and the flute of its construction with two enharmonically unequal keys Es and Di s, the intonation and technological features of using pure tuning system in playing an instrument are revealed. Following Quantz’s ideas was another German musician, the Leipzig master instrument maker J. G. Tromlitz. He strongly recommended maintaining the dominant position of the pure tuning system while performing on the flute. The defining stage in the development of the flute design and the establishment of the well-tempered tuning system as the basis of its acoustic features was the reform of T. Boehm. The models of the inverse conical bore flute with open ring keys (1832) and the cylindrical flute with flap keys (1847) created step-by-step give evidence of the evolution of T. Boehm's views on expanding the sound dynamics and improving the intonation capabilities of the instrument. Keywords: Boehm’s flute, pure tuning system, equal temperament, conical flute, cylindrical instrument, acoustic system, key mechanics. "
这篇文章致力于18 -19世纪长笛声学和调音系统的发展。通过对J. J. Quantz的专著《Versuch einer Anweisung, die Flöte traversiere zu spielen》的分析，揭示了纯调音系统在乐器演奏中的音准和技术特点。追随Quantz思想的是另一位德国音乐家，莱比锡的乐器制造大师J. G. Tromlitz。他强烈建议在演奏长笛时保持纯调音系统的主导地位。作为长笛声学特征基础的调律系统的建立和长笛设计发展的决定性阶段是T. Boehm的改革。带开环键的反锥形孔长笛(1832年)和带翻盖键的圆柱形长笛(1847年)的模型逐步创建，证明了T. Boehm关于扩展声音动力学和提高乐器音准能力的观点的演变。关键词:Boehm长笛，纯调音系统，等律，圆锥形长笛，圆柱形乐器，声学系统，关键力学
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Pub Date : 2022-06-30DOI: 10.24193/subbmusica.2022.1.04
A. Belibou
"The subject of this article aims to put in the mirror two fundamentally different musical genres. It is the stylistic difference that seems interesting, so in the following pages, I chose to analyze rock creations that quoted or processed classical music. Rock music, a genre that appeared in the second half of the twentieth century, could not escape the influence of classical music, so, as we will see throughout the paper, there are many rock pieces influenced by classical scores, works that remained in the top of the preferences of rock music listeners. Some of the rock musicians chose to quote classical fragments, others chose to process them, or to be inspired by certain elements of their composition, such as melody, harmony, and rhythm. I believe that this type of comparative analysis is helpful in the case of music education teachers who want to introduce the classical genre in the students' favorite repertoire, through the medium of rock music. Thus, the second objective of this article is to propose an alternative to traditional music auditioning. Keywords: rock, comparative analysis, rock cover, audition. "
{"title":"Proposal of an Alternative Repertoire for Classical Music Audition Through the Rock Genre","authors":"A. Belibou","doi":"10.24193/subbmusica.2022.1.04","DOIUrl":"https://doi.org/10.24193/subbmusica.2022.1.04","url":null,"abstract":"\"The subject of this article aims to put in the mirror two fundamentally different musical genres. It is the stylistic difference that seems interesting, so in the following pages, I chose to analyze rock creations that quoted or processed classical music. Rock music, a genre that appeared in the second half of the twentieth century, could not escape the influence of classical music, so, as we will see throughout the paper, there are many rock pieces influenced by classical scores, works that remained in the top of the preferences of rock music listeners. Some of the rock musicians chose to quote classical fragments, others chose to process them, or to be inspired by certain elements of their composition, such as melody, harmony, and rhythm. I believe that this type of comparative analysis is helpful in the case of music education teachers who want to introduce the classical genre in the students' favorite repertoire, through the medium of rock music. Thus, the second objective of this article is to propose an alternative to traditional music auditioning. Keywords: rock, comparative analysis, rock cover, audition. \"","PeriodicalId":40238,"journal":{"name":"Studia Universitatis Babes-Bolyai Musica","volume":"297 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69200071","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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