Scientific herald of Tchaikovsky National Music Academy of Ukraine最新文献

{"title":"“Every Kind of Art Began to Flourish”: Ukrainian music in the modernist context","authors":"Leah Batstone","doi":"10.31318/2522-4190.2023.136.276554","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276554","url":null,"abstract":"Although Ukrainian musical modernism has yet to receive the scholarly attention it deserves, composers living in Lviv, Kyiv and Kharkiv between 1917 and 1937 produced an abundance of compelling music. Not only is this rich body of work relatively unexplored in terms of its individual contributions to 20th century compositional movements such as impressionism in the works of Vasyl Barvinsky and Mykola Roslavets; expressionism in the works of Borys Liatoshynsky, Jozef Koffler, Mykola Roslavets and Stefania Turkevych; folklorism in the music of Levko Revutsky, Boris Liatoshynsky, Vasyl Barvinsky and Pylyp Kozytsky; and dodecaphony in compositions by Jozef Koffler and Yefim Holyshev, but taken as a whole, the diversity of new aesthetics and styles in which Ukrainian composers engaged reveals a unique openness to all forms of experimentation. Just as modernist movements in the western centers of Vienna, Berlin, Paris, and New York were shaped by local audiences and aesthetics, the Ukrainian impulse to engage with every revolutionary compositional movement while reclaiming a suppressed national past generated its own distinct musical identity. These tendencies towards both diverse experimentation and the regeneration of folk culture have already been identified by scholars of visual art, literature, and theater, and characterize much of the existing literature on Ukrainian modernism. The addition of musical case studies to this narrative of the Ukrainian modern period fills an important lacuna in both Ukrainian cultural and musical history.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116819241","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}

{"title":"Federico Garcia Lorca’s «Canciones Españolas Antiguas»: dialogue of the poet with Flamenco tradition","authors":"V. Melnyk","doi":"10.31318/2522-4190.2023.136.276575","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276575","url":null,"abstract":"The relevance of the study The author’s interaction in his creative work with folklore is one of the main ways of shaping national composers’ musical school. Spanish music culture is not an exception. There was discovering the uniqueness of flamenco culture through the searching of musical personal identity during the end of the XIX–first decades of the XX century. Original rhythms, modes and harmony specialty were inspiring for composers who searched the code of musical national composers’ school. Federico Garcia Lorca was one of them. His work «Canciones Españolas Antiguas» became not only restrained documentation of folkloric finds. His scientific interest was realized there with his own well-known authored style what provoked us to have some doubts about song’s origin. Was that songs stylization or authentic? How high was composer’s influence percent? The answer can be founded only through assesses the knowledge of flamenco tradition. We could find out real author’s creative participation thanks determining authentic flamenco components in the songs. These are the reasons and became the basis of the proposed article. \u0000The main objective of the study is to characterize the collection \"Spanish ancient songs\" by F. D. Lorca as creative project which arose at the intersection of the tradition of flamenco and author's style. \u0000The methodology of study includes historical method (in searching of context and historical background creation of collection «Spanish ancient songs»), biographical method (for clarify details of creation the collection, musical environment what was connected with Lorca’s views on the folk), comparative (for the comparing folkloric sources with author’s variants) structural-functional, system analysis, genre-style what allows to give characteristic of collection and to prove it’ artistic integrity as a song cycle. \u0000Results and conclusions. In the process of studying «Canciones Españolas Antiguas», it became clear that the balance of authenticity and authorial activity in this case can be ascertained only by relying on the knowledge of general folklore paradigms.We found out genres as sources for building the collection which were taken from flamenco culture. The «oriental» intonation nature of melodies saturated with melismas, mostly of a dance nature, is preserved. But the composer does not soften all these characteristic features, trying to bring them to the panEuropean musical standard, on the contrary, he strengthens them by using dissonant harmonies. He brings the rhythmic sophistication of authentic samples to the point of unpredictability thanks to the frequent use of hemiola, accents on weak parts, and syncopation. Impetuous performance and rubato, characteristic of the para cantar form of life (flamenco music focused on the singer), the composer conveys with the help of laconic remarks about tempo, dynamics, articulation, touches.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114302966","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}

{"title":"Christoph Willibald Gluck's soft skills in the case «Opera reform in the XVIII century»","authors":"Ganna Rizaieva","doi":"10.31318/2522-4190.2023.136.276562","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276562","url":null,"abstract":"Relevance of research. The Viennese opera reform in the 18th century, which is closely related to the ideology of the Enlightenment, the activities of Masonic lodges, and the politics of Austrian Chancellor Kaunitz-Rietberg, is still often regarded as a cliché. Not a single domestic study has been devoted to the question of rethinking both the phenomenon of opera reform itself and Gluck's role in it, which determines the article's relevance. In this work, for the first time, the importance of the union of reformers in Vienna for the implementation of the opera reform in the 18th century is emphasized. In overcoming the cliché of \"glucocentrism\", it seems important to look at Gluck as a person, with certain psychological traits (soft skills in modern language) that allowed him to be effective in co-creation with the Viennese reformers and to achieve personal success. All of the above determines the scientific novelty of the work. \u0000The purpose of the article. To trace the history of the so-called Gluck reform and identify the main participants of the case \"Opera reform in the mid-18th century\". To investigate what and how Gluck's soft skills helped him to realize his creative potential in the stormy 18th century - at a time of changing worldview paradigms, and contributed to the formation of his place in the history of music as a \"great opera reformer\". \u0000Methods. To achieve the goal set in the article, a historical (to consider the circumstances of the formation of the request for opera reform and to find out the ways of its solution), cultural (to study the cultural context of the 18th century) and sociological analysis method (to outline Gluck's soft skills) was chosen. \u0000The results and conclusions. From the facts presented in the article, it becomes obvious that the so-called Gluck reform is a successful case of solving the problem of renewing the opera genre, implemented by a team of reformers. The decisive role in this was played by the musical genius and character of Gluck, his character, and the historical context that formed the \"request\" for reform. The composer had soft skills that, according to modern research, help a person work effectively in a team and achieve success. Undoubtedly, Gluck's soft skills discussed in the article were a guarantee of recognition for both the composer himself and the Viennese opera reform. Most of the crucial issues for understanding the phenomenon of opera reform in the 18th century still require further research, including the analysis of reformed operas as integral performances. and determining the role of Masonic lodges in the implementation of music and theater reform in Vienna.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129570157","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}

{"title":"Debussism as a Modernist Phenomenon: statement of the problem, musical approaches","authors":"Serhii Deoba","doi":"10.31318/2522-4190.2023.136.276572","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276572","url":null,"abstract":"The relevance of the study. Among the many artistic definitions aimed at encompassing and understanding the artistic phenomena of the modernist era, the concept of debussism was perceived rather ambiguously and remained incompletely defined during the lifetime of Claude Debussy and after his death. Moreover, it remains so even today, in the 21st century. Therefore, the problem of scientific adaptation of the mentioned concept and its gradual and deep research assimilation seems urgent and one that requires comprehensive attention and a step-by-step solution. \u0000The main objectives of the study are to review available scientific and journalistic sources regarding the ways of formation and features of the development of the phenomenon of debussism as an individual and stylistic phenomenon of the modernist era; trace the biographical and historical circumstances that preceded and accompanied the formation of debussism; and activate the concept of debussism in the interests of further terminological use in the field of domestic musicology. \u0000The research methodology combines historical and comparative methods to trace the moments of emergence and manifestations of debussism's functioning. The method of operationalization of concepts is used in the article to clarify the parameters of the definition of the concept of debussism as well as to formulate its own definition. The system approach ensures the complex interaction of different levels of manifestation of the phenomenon. \u0000Results and conclusions. Based on the study of scientific sources related to the work of Debussy, the author summarizes his analytical observations regarding the specific content of the concept of debussism. The identification of three levels of manifestation (compositional, social, and epochal) aids in understanding debussism's volumetric and multi-vector nature as a complex modernist phenomenon and a revealing marker of contemporary multidimensional culture. When his compositional features were masterfully integrated into the new artistic material of another author, the idea of following Claude Debussy (at all levels) became the real debussism. That is when Claude Debussy's imitation reaches the level of artistic reception. Otherwise, such an imitation is obviously feeble. \u0000The proposed periodization of debussism into lifetime and posthumous stages determines the universal division of the cohort of researchers and composers into those who knew C. Debussy personally (or at least lived with him at the same time) and those who were influenced by him already after the artist's death. Such a division allows us not only to emphasize the importance of practical imitation of compositional and technological techniques but also to confirm as a fundamental fact the impact of Debussy's social relationships on modernist musical culture. Furthermore, such a periodization helps to establish, albeit broadly but objectively confirmed, chronological boundaries for debussism. \u0000Taking into account t","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"105 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127660895","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}

{"title":"Solomia Krushelnytska and Ukrainian artistic emancipation in Galicia","authors":"Lyubov Kiyanovska, Ivanna Komarevich","doi":"10.31318/2522-4190.2023.136.276550","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276550","url":null,"abstract":"Relevance of research. The problem of emancipation in the Ukrainian, particularly Galician musical environment of the end of the 19th and the first half of the 20th centuries is updated in the projection of the phenomenon of creativity of the outstanding opera singer Solomia Krushelnytska. \u0000The purpose of the article. Different approaches to the very phenomenon of emancipation in various European social and cultural traditions are analyzed, the socio-historical context of emancipation as a general trend of European civilization of the given period and its variant in the Ukrainian Galician society is presented. \u0000Methods. In the article comparative, systematic and historical research methods are used. \u0000The results and conclusions. It is indicated how the life style of S. Krushelnytska was formed in the context of a peculiar Galician version of the affirmation of the creative potential of Ukrainian women at the turn of the 19th and 20th centuries. A detailed study of the singer's epistolary, memoirs and scientific research on the issue of the emancipation of Ukrainian women artists made it possible to single out the main principles on which the \"life project\" of S. Krushelnytska as a national artist in the world opera continuum was formed. From the analysis of the views of the singer herself and the observations of her close circle and critics, it emerges, firstly, the integrity of the aesthetic, ethical and nationally oriented beliefs of her worldview, and secondly, the specificity of her \"Apollonian\" psychotype of creativity is determined, which allowed S. Krushelnitsky to overcome the limitations of a certain stage role and to grasp the most diverse repertoire of different national schools and eras, and thirdly, to naturally integrate the national soloist into concert programs with the widest panorama of European music, taking into account socio-historical processes of the past and present.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133404814","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}

{"title":"Mykola Tutkovsky: polyphony of artistic roles","authors":"V. Redya","doi":"10.31318/2522-4190.2023.136.276552","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276552","url":null,"abstract":"Relevance of the study. The proposed research is determined by the realities of the musical society, they are characterized by the active inclusion of collective listening acceptance in the creation of modern musical projects. The lack of a musicological base determined the strategy of understanding the process of communication in music in the perspective of the achievements in the current communication theory. The ideas of the theory of communication developed by American and Canadian scientists Marshall McLuhan, Harold Innis, and John Durham Peters became the theoretical support of the presented considerations. Communicative strategies of the Socratic-dialogic and evangelical-dispersive type receive scientific approval in the research in the musical and communicative sphere. \u0000Main objective of the study is to substantiate of the hypothesis about the nature of musical communication as an act of collective (composer, performer, listener) sound-intonation intentionality, where the creativity or passivity of the reaction of the collective listener directly depends on the performance creativity. The discursive understanding of the role of the collective listener in music is carried out using the complex methodology of scientific knowledge, which combines the methods of theoretical generalization, discourse analysis, comparative studies and empirical observations. \u0000Results. For the first time, the definition of musical communication is formulated as a process that unites its participants with the desire (conscious or not) of spiritual development by immersion in acts of musical and intonation creation. Emphasis is placed on the function of individual intentionality of the musical and performing component in communicative processes. The author's definition of an individual musical and performance style as a system of expressive means corresponding to the specificity of the performer's musical worldview has been spread. This system, while maintaining its integrity, functions as a supporting factor for the re-intonation of various compositional styles and a guarantor of auditory co-intonation in musical communication processes. Empirical testing of the theoretical generalizations presented in the proposed research is based on the personal professional experience of the author.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132688971","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}

{"title":"Opera House in the social communication system of modern Italy","authors":"O. Ponomarenko","doi":"10.31318/2522-4190.2023.136.276568","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276568","url":null,"abstract":"Relevance of the study. Communication processes in the organization of modern cultural projects are becoming increasingly important. In the new economic and sociocultural conditions, various types of communication, in particular in the Italian opera house, are carried out not only in traditional forms, they are undergoing major changes, require new management decisions, significantly transforming its established organizational structure. This issue has been little studied, although, in our opinion, it is important and relevant for characterizing the functioning of the opera house in the social communication system of modern Italy. \u0000The main objectives of the study are to consider the activities of the Teatro San Carlo in the social communication system of the city of Naples. It is expedient to reveal the connection of the theater with the history of the city, to identify special periods of creative life, to clarify not only the influence of external events on the theatrical life, but the opposite effects in this interaction. It is interesting to trace how the opera house operates, what role it plays, how it functions in the modern cultural environment. \u0000The methodology of the research is based on the application of an interdisciplinary method, which, in order to characterize the modern activities of the Italian opera house in the context of social communication, allows using a set of complementary methods — historical-systemic, empirical and sociocultural. The historical-systemic method contributed to the understanding of the communication strategy for promoting the theatrical brand, which influenced the formation and development of the opera house in the musical life of Italy, the appeal to empirical and sociocultural methods made it possible to consider the features of the existence of the opera house as a sociocultural institution in the context of communication relations, the media, financial funds, potential partners (sponsors), as well as with the public. Content analysis of the texts of scientific publications, organizational documents, programs, as well as a survey of Italian specialists and their own observations of projects — all this became the basis for theoretical generalizations and practical developments. \u0000Results and conclusions. The modern Italian opera house is a social institution whose activity in the context of social communication is determined by the formation, support and promotion of the theater's image. The existence of an opera house in the modern market is impossible without a well-established communication strategy for promoting a theatrical brand, taking into account its specifics. In this process, an important role is played by the establishment of relations with the state authorities, the organized public and the media. To support projects and programs, it is necessary to attract monetary, industrial, commercial capital. In order to be interested in the events of theatrical life, the communication work of the theat","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"153 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132881619","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}

{"title":"Alla Zaghaikevych: message to Karol Shymanovsky","authors":"Olena Zinkevych","doi":"10.31318/2522-4190.2023.136.276543","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276543","url":null,"abstract":"Relevance of research connects with the need for an aesthetic assessment of electronic opus. For a long time, their analysis was carried out exclusively from the technological side (spectral analysis, creation of graphic scores, construction of models, exosemantic method, etc.) which led to the conclusion that for most professionals this sphere is still not so much music as technology. But Alfred Schnittke believed that technological analysis cannot reveal any piece of music, and it is more reasonable to analyze the piece according to its philosophical concept. It is significant that it was the works of Alla Zagaykevych that broke the inertia of the technological approach, forcing us to hear in electronic works their aesthetic component. And this is the result of the conscious position of the author, for whom the artistic task is in the foreground. \u0000The purpose of the article is to reveal the artistic concept of one of the bright works of A. Zagaykevych \"Mithe IV: K.S.\" (2011) for violin, electronic recording and real-time processing. This work was not considered in the musicological studies devoted to A. Zagaykevych. Comparative and historical research methods are used in the article. \u0000The results and conclusions. Bright artifacts or meaningful programs with a changing, deformed picture of the world, with an avant-garde narrative strategy, where there is both a historical discourse and an intellectual dialogue with the listener, are often the primary creative impulse for Alla Zagaykevych. Such, for example, is her \"Heroneia\" (2002), which is based on Milorad Pavic’s book \"The Inner Side of the Wind\". Zagaykevych’s pieces inspired by the works of Oleg Lyshega, Mykhailo Semenko, Andri Chuzhy are a tribute to the memory of the outstanding artists. \"Mithe IV: K.S.\" also fits into this series. \u0000The title unambiguously refers to the famous cycle \"Myths\" by Karol Szymanowski. In the perception of A. Zagaykevych, \"Myths\" is a vivid collective expression of the style of K. Szymanowski. As material for her work, Zagaykevich uses fragments from various poems of Szymanovski's \"Myths\" (a table of borrowings is given in the article), but her \"Mithe IV\" does not break up into these fragments, but is perceived as a single musical whole. The reason is in the common properties of A. Zagaykevich's sensitively selected themes of \"Fountain of Arethusa\" and \"Narcissus\", which clearly reveal the affiliation of Szymanovski’s \"Myths\" to the Art of Secession. \u0000The phonosphere of the central section of Mithe IV comes from another opus of Alla Zagaykevych - \"Transparence\" for violin, real-time processing and electronic recording (2006). A similar temporal metamorphosis is characteristic of the semantics of the myth. This section, in contrast to the previous one, is full of confusion. The intensification of anxious agitation also affects the \"natural\" texture layer created by electronics (at the beginning of the piece, it was formed by a sampler synthesis of bird chirping a","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121925148","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}

{"title":"Valentino Sermattei’s Odesa enterprise of 1859–1865 in art and social discourse","authors":"Kostyantyn Batsak","doi":"10.31318/2522-4190.2023.136.276565","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276565","url":null,"abstract":"Relevance of the study implies the V. Sermattei’s management stage activity peculiarities investigation in terms of the opera singers’, the audience and the theatre management interactions, the study of management decisions and other factors that have led to its decline. \u0000The purpose of the article is to substantiate the private Italian company interdependence of the stage activities success and the sources and means of organizing theatrical business in the Odesa city theatre on the example of V. Sermattei’s management. \u0000The methodology includes art critic (to clarify the performing art development peculiarities in Italy), biographical (to investigate the unknown and little-known facts of opera singers’ biographies) and cultural-historical (to reveal the historical processes and cultural phenomena connection and their influence on Italian opera in Ukraine) methods. \u0000The results and conclusions. The entrepreneur V. Sermattei, who ran the Odesa city theatre in 1859-1865, gained experience in organizing the foreign engagement of opera companies and organizing their performances without theatre activities additional financing by the municipal authorities. In such conditions, the impresario had to implement various strategies that allowed him to save his capital. Among the most common are: the expenses for the theatre building decoration and renovation “freezing”, the involvement of poorly trained musicians in the theatre orchestra, and the part of the company opera singers with low vocal quality and acting training engagement, which everything together made him impossible to follow the key contract requirements, in particular, the opera repertoire renewal and expansion. Since the biggest part of that time opera companies expenses was on the prima donnas soprano in a dramatic role engagement (for the particularly popular performances of the G. Verdi’s and his contemporaries’ operas), V. Sermattei focused on a less expensive option of involving prima donnas contralto in the company. This approach made it possible to stage of the period of romanticism composers’ works successfully, restore the Rossini’s repertoire, which for a certain time improved the financial affairs in the theatre and slowed down the decline of the company. However, the crisis in the theatre, which deepened during the last two years of the contract validity, was not stopped even by the invitation of the former European celebrity prima donna T. De Giuli-Borsi for the performances. \u0000The V. Sermattei’s company troubles prompted the city authorities to improve the contract requirements for the next theatre tenants, to introduce a procedure for selecting an impresario on a competitive basis. In the successive theatre activities period public’s pressure on the impresario mechanisms in order to improve the opera companies’ quality and diversify the repertoire, tested during the period of V. Sermattei management, were applied.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123065856","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}

{"title":"Bolivian “Music of the Wind” in guitar works: aspects of artistic implementation","authors":"T. Filatova","doi":"10.31318/2522-4190.2023.136.276574","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276574","url":null,"abstract":"The relevance of the article is to consider Bolivian guitar music as an important component of the modern South American repertoire. On the example of the works of famous composers and performers Alfredo Domínguez, Fernando Arduz, and Jilberto Rojas, connections with the folklore traditions of the country, the poetics of Bolivian \"wind music\", and its timbre specificity have been revealed. \u0000Main objective of the study is to reveal aspects of the artistic embodiment of Bolivian «music of the wind» in academic guitar work. The scientific novelty of the article lies in the introduction of materials about Bolivian musical culture and guitar creativity into domestic musicological circulation. \u0000The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis to study: genre and style elements of Bolivian folk music of Indian and Creole origin in academic guitar work; organology of traditional instruments and timbre characteristics of sound; phenomena of imitation of the voices of nature, the timbres of Bolivian wind, percussion, and string-plucked instruments by modern guitar means of sound production; genealogy of rhythmic structures and their manifestations in the researched works; decorative and visual ritual attribution; correlation of associative-figurative series with timbre connotations, specific genres and intonation and chord patterns; anthropological connections of the sound space of «music of the wind» with the surrounding natural and landscape environment and the state of metaphysical dialogue of man with the surrounding world. \u0000Results and conclusions. In the analyzed compositions («Feria», «Por la Quebrada» by A. Dominguez, «Despedida de Los Chunchos» by F. Arduz, «Guadalquivir» by J. Rojas) various resources of performing guitar technique used to imitate the voices of nature, authentic timbres of ancient Bolivian aerophones quena, erke, сaña, membranophones caja, local chordophones charango, relevant in modern conditions of collective ritual music-making practice. Sound and image connotations are correlated with the voices of Bolivian folk instruments, ritual decorations, plasticity of dance movements, visualization of natural landscapes and attribution of totemic cultures. In the process of defining genre components, the contrasts of juxtapositions were demonstrated: takirari, tonada and Andean huayño, ceremonial Indian ceremonies and sardana dance of Iberian origin, metric fluctuations of Creole and Indian rhythms, melodic movements of pentatonic nature with melismatic ornaments of the Andean type. Linguistic and genre characteristics of guitar works were investigated taking into account the anthropological experience of Bolivian scientists studying their musical and ceremonial culture, which in particular determined the search for the historical roots of musical phenomena among the exhibits of archaeological museums, exhibits of musical instruments, and artifacts of the life of indigeno","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115872735","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}