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

{"title":"Edward MacDowell's First piano concerto: at the origins of American genre history","authors":"O. Antonova","doi":"10.31318/2522-4190.2023.136.276573","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276573","url":null,"abstract":"The relevance of the study. It consists in considering the concerto in A minor op. 15 by Edward MacDowell not only in the context of the author's artistic evolution, but also as the beginning of the history of the American branch of the genre. Written in 1882, it became the composer's first large-scale work and, at the same time, the first piano concerto composed by an American. \u0000The main objective of the study is to identify the genre models by which MacDowell created his First Concerto, and to mark the composer's intended prospects for the further development of the American piano concerto. \u0000The methodology includes biographical (to find out the circumstances of MacDowell's life and education in the European period), comparative (to reveal the continuity of the concert in question in relation to previous samples of the genre), as well as structural-functional, genrestylistic and intonational-dramatic methods (for a comprehensive analysis of the work). \u0000Results and conclusions. It is emphasized that MacDowell's First piano concert was influenced by the European traditions learned by the young composer during his years in France and Germany. The vicissitudes of MacDowell's education are traced in detail, the names of his teachers and musicians with whom he communicated directly and whose work he admired are indicated, and his repertoire as a pianist is given. The compositional and thematic organization of the First piano concert is analyzed, attention is focused on the figurative and stylistic origins of this music, on the genre models that served as a reference point in MacDowell's work. The ratio of instrumental parts and methods of soloing are highlighted separately. It is concluded that when writing the concert, the novice composer strongly relied on the developed European tradition of interpretation of the genre. In particular, the investigation noted the parallels in the structure of the cycle with the Schumann’s and Grieg’s concertos, revealed the influence of Liszt's pianism on the features of the solo part, and emphasized the striving to balance the sound of the piano and the orchestra, mainly through their alternate juxtaposition. A certain eclecticism of the figurative and stylistic coloring of MacDowell's concerto is indicated (SaintSaëns’s scherzo traits, Mendelssohn’s peacefulness, Liszt’s imposingness, Beethoven’s effectiveness), the similarity of some harmonic turns with Liszt’s and Wagner’s writing styles is noted, the continuity of MacDowell’s motivic and contrapuntal work in relation to the instructions from his teacher Raff is substantiated. These findings highlight that, despite the well-perceived influences and the borrowing of quite specific compositional and dramaturgical techniques, the music of MacDowell's First piano concerto already clearly shows an individual authorial principle, which manifests itself in a number of pianistic techniques, in a masterful combination of contrasting images, in the balancing between simpl","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":"122253057","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":"The Phenomenon «the Life during the War» in the Maurice Ravel’s Piano suite «Tombeau de Couperin»","authors":"Valeriya Zharkova","doi":"10.31318/2522-4190.2023.136.276571","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276571","url":null,"abstract":"Relevance of the study. The relevance of the article is determined by the appeal to the controversial issues of understanding the artistic concept of Maurice Ravel’s piano suite “Tombeau de Couperin”, which was written during the First World War (1914–1917). In this work the intellectual and emotional currents that filled the life of Maurice Ravel at that time are concentrated. However, discussions about the content of the suite arose literally from its first performance by Marguerite Long in Paris in May 1918. The solution of the “paradox of inconsistency” of the combination in the suite of tragic dedications and the manifest semantic reference to the enlightened and clear French music of the 18th century is a mature task of modern musicological science. \u0000The main objective of the study is to reveal the specifics of the formation of semantic layers in the piano suite “Tombeau de Couperin” as a reflection of the spiritual life of Maurice Ravel during the First World War. \u0000The scientific novelty consists in revealing the specifics of the connections of the piano suite “Tombeau de Couperin” with the contemporary cultural and historical context, the dominant characteristics of which were determined by the First World War. For the first time in Ukrainian Ravelianism, the composition “Tombeau de Couperin” is studied in detail as a holistic phenomenon that was determined by the emotional and intellectual markers of M. Ravel’s spiritual life as a dandy composer in the conditions of the tragic historical turn. In order to justify this position, for the first time cross-lado-intonation connections between all parts of the cycle were discovered. \u0000The methodology of the article is based on historical, comparative, genre-stylistic, intonation and phenomenological methods of analysis. \u0000Results / findings and conclusions. The artistic concept of the work is extremely complete. The first semantic layer is formed by spiritual ties with national traditions, whose representative is Francois Couperin. The second semantic layer forms a kind of tomb-crypt (tombeau-tombe), which hides the most tragic impressions in the composer’s life. Indescribable experiences of the composer, which never came to the surface of his behavior or correspondence with friends, are reflected in the music of “Tombeau de Couperin” through personal accents in the interpretation of the harmonic, textural, latotonal, rhythmic features of the selected dance genres, as well as the autobiographical expression manifested in the dedications content. \u0000Maurice Ravel felt himself a part of history and let a new terrible reality pass through his heart without a note, finding its proper place in the dandy world picture. Remaining faithful to the categories of beauty and taste, he combined his spiritual streams into a unique “phenomenon of life during the war”, which will fill the genre of the ancient suite with modern and personal meanings. \u0000Ravel turns to the model of the ancient dance suite, which he i","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"199 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":"114557238","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":"The Role of patrons in the activities of the Galician musical society in Lviv in 1838–1914","authors":"T. Mazepa, Oksana Pysmenna","doi":"10.31318/2522-4190.2023.136.276557","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276557","url":null,"abstract":"Relevance of the study. The issue of public patronage in musical, cultural, and educational societies, and in particular in the Galician Music Society, unfortunately, has not received proper scientific coverage in the modern art historical and humanitarian discourse. The functioning of various societies as a respectable and prestigious institution depended on the human potential of its active and helpful members. \u0000The purpose of the study. The purpose of the presented study, based on archival sources, documents from the private archive of Leszek and Teresa Mazepа, is to identify the role of patrons in the activities and development of the Galician Music Society. \u0000The research methodology has a complex interdisciplinary nature and is based on the combination of the principles of cultural, art history, historical, aesthetic, archive-bibliographic, sociological, comparative research. \u0000The results and conclusions. Based on archival documents, the article analyzes and systematizes the structure of the Galician Music Society, identifying its active, auxiliary, and honorary members, patrons, and the composition of its directorates and supervisory boards. On this basis, the role and importance of patrons in the activities of the GMS is presented. The democratically organized GMS brought together representatives of different nationalities and animated the musical life of Galicia. The number of full (active) members primarily determined the concert-performance, educational and outreach activities of the Society, as they constituted the main artistic and pedagogical core of the Society. The members who surrounded it with their patronage (patronage) were the auxiliary members. Among them were representatives of various social and national strata: aristocrats, officials of various levels, intellectuals (professors, teachers, doctors, lawyers, writers, artists, etc.), clergy, bourgeoisie, merchants, and landowners. The auxiliary members provided the GMS with material (in the form of material and monetary donations, scholarships, and donations) and organizational support, appropriate external representation, and even its social status. Thanks to the supporting members, the cultural policy of supporting and promoting the artistic activities of the important music center for Galicia, which was the GMS, and preserving its positive cultural impact on society was implemented. Thanks to its supporters, the GMS was able not only to develop its artistic activities and expand its infrastructure, but also to strengthen its reputation and become competitive in the field of music distribution. Thanks to their help and patronage, the GMS has been able to develop its activities, build its reputation and become competitive in the field of music distribution.","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":"130041170","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":"Locations of the first opera performances: from elitism to general availability","authors":"Yurii Chekan","doi":"10.31318/2522-4190.2023.136.276560","DOIUrl":"https://doi.org/10.31318/2522-4190.2023.136.276560","url":null,"abstract":"Relevance of the study. The object of research in the history of music usually is the spiritual component of artistic culture, it's genre- and style-centric processes of the art itself. Specific conditions of artistic artifacts's existence, locations where the premiere and subsequent performances took place, draw less scientific attention. At the same time, without taking this information into account, the musico-historical aspects of the past appear devalued and deformed; certain things remain not understood completely, certain moments fall out of sight. \u0000The purpose of the study. It is extremely important to study the components of the infrastructure of musical life as a way of existence of musical culture. The opera theatre is one of the basic components of the infrastructure of the musical life of modern Europe. This study is based on generalization and system analysis methods. Attention is focused on the parametric characteristics of the locations of the first opera performances, where the requirements for future opera houses were formed. In particular, performances that took place in adapted palace premises (\"Euridice\" by Peri — Florence, Palazzo Pitti, Sala delle Commedie; \"Orpheus\" by Monteverdi — Mantua, Palazzo Gonzaga, chambers of Margarita Gonzaga d'Este; \"Saint Alexius\" by Landi — hall of the palace Barberini alle Quattro Fontane) and court theaters mainly of the Renaissance type (\"Il rapimento di Cefalo\" by Caccini — Florence, Teatro degli Uffizi; \"Ariadne\" by Monteverdi — Mantua, temporary theatre on the Cortile della Cavallerizza). \u0000The results and conclusions. It is emphasized that the implementation of the essential functions of the opera genre in the New European culture (the development of the anthropo-dimensional space by musical means, the creation of generalized stylistic norms of opus music and ensuring the stability of the formed tradition) is possible under the condition of provided reach and continuous professional development. It is noted that the reach is determined, firstly, by the quantitative and qualitative characteristics of the audience and, secondly, by the significant volume of body of the texts. Both of these factors, being prepared in the locations of the first opera performances, were fully developed and realised in the following period, marked by the appearance of publicly accessible opera houses, the first of which was the San Cassiano theater in Venice (1637).","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"58 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":"114162775","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":"Piano music by Viktoria Poleva: Experience of performing embodiment","authors":"Iryna Starodub","doi":"10.31318/2522-4190.2022.135.270999","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.270999","url":null,"abstract":"Relevance of the study. The main characteristic identifiers of Victoria Poleva's compositional style are considered, in particular, the dominant piano component of the music worldview, which translates the main ideas and meanings in the spiritual and instrumental genres of oeuvre. The actual factors of the special study of the meaningfulness of the texture embedded in the piano within the style of \"sacred minimalism\" are highlighted. The main performance specifics of the works were found to be close to the correct understanding in the construction of the interpretive version. The piano work of the composer has not been scientifically studied, the lack of competent analytical works prompts the study \"Music for the Piano\" (author's name), which is a sought-after and popular repertoire. Scientific investigations of this matter will reveal one of the bright styles of modern music art in the field of musicology and cultural studies. For the first time in home-bred art history, the main stylistic guidelines, image-emotional, programmatic priorities were identified, and the majority of piano music material was examined and analyzed. The chosen aspect of the research is under the spotlight of modern, global, concert life. \u0000The main objective of the study. The purpose of the article is to reveal the artistic meanings-messages of the composer, the peculiarities of their concert performance, the role of meaningful interpretation of piano reception. \u0000The methodology. Empirical research method was used from the experience of numerous performances of Viktoria Poleva's works, the analytical method reveals the essence of the actual problem; the comparative method consists in comparing the interpretive versions of pianists' performance live, and by comparing them in video and audio recordings, it allows presenting modern performance trends; the source method in the form of archival notes, newspaper publications, posters, work with manuscript scores argues the basis of the outlined aspect; relying on citations during communication with the author brings the research result closer to reliability. \u0000Results and conclusions. It has been proven that the author's philosophical and artistic messages hit the listener's reactions-impressions through her performing skills during live music performances. The top priority role of a pianist’s training is emphasized. The importance of world performances of compositions that reflect the author's spiritual quest is explained in terms of restoring the man’s balance and harmony in response to the today’s cruel challenges. The author substantiates the means of music expressiveness in the piano presentation, which serve to achieve the goal-affect, as the main idea of focusing on powerful manifestations of aesthetic impression. Attention is focused on special, technical and artistic piano techniques that enhance sound effects, and with the help of which the main essence of the composer's ideas is expressed. Significance. The piano mus","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128617344","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":"Interpretitve principles of stage implementation of Frank Marten’s Oratorio “The Magic Potion” in the Theater St. Gallen","authors":"Daria Kozyk","doi":"10.31318/2522-4190.2022.135.271012","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.271012","url":null,"abstract":"Relevance of the study. Among the stylistic diversity of composer and vocal practice of the 20th century, which has been thoroughly studied in domestic musicology, the practitioner finds several little-known personalities of the music culture of Western Europe. Amid such names lies the figure of the Swiss composer Frank Martin (1890–1974). He is the author of oratorios Golgotha, In terra pax, Requiem, orchestral and chamber works. His works came from a period of active innovation and experimentation in music. The composer's writing is marked by the synthesis of dodecaphony and the classical functional tonality' system. \u0000The analysis of the embodiment of contemporary oratorio-opera on the stage is always of particular interest for contemporary interpretation. This also applies to the staging of F. Martin's works, which are not widely known, and therefore have not been studied at all. Thus, the relevance of the topic lies in the conceptualization of F. Martin's insufficiently explored oratory work, which deserves to be introduced into the scientific circulation of domestic musicology and the study of staging. \u0000Main objective(s) of the study is to substantiate the concept F. Marten’s «The magic potion» in the aspects of genre-stylistic and performing tasks of its stage realization. \u0000The object of study is F. Martin's vocal and choral works; its subject is the stylistic principles of the oratorio-opera The Magic Potion in the aspect of performing tasks of its stage realization. \u0000The methodology. Research methods are determined by the material and subject of research: historical — reveals the features of the context of socio-cultural life of Switzerland in the war and postwar years; biographical — contains information about the life and work of the composer; function and structure method — helps to determine the intonation structure of the work through the functions of i m t; stylistic — reveals the specifics of the artist's thinking «as an artistic unity» (according to S. Skrebkov). \u0000Results and conclusions. Using the original source of the medieval epic — the legend of Tristan and Isolde, — the composer sharpened the conflict of literary model (Joseph Bédier, Roman de Tristan et Iseut), taking the narrative into a more realistic channel that is focused on the feelings of the heroes. Following the tradition of ancient tragedies, in which the choir played the role of the engine of the plot, the composer transferred the function of narrative to an ensemble of twelve voices, part of which are the main characters of the plot. F. Martin designed The Magic Potion as a secular oratorio, without the ability to perform music as a grand opera, but did not exclude the possibility of a stage embodiment where the main characters would be portrayed by soloists that don't belong to the choir. An in-depth analysis of one of the contemporary stage performances of the St. Gallen creative team has shown current trends in contemporary vocal performance. \u0000Opera as a form","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115402806","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":"“Ukrainian wave” in the context of music life in modern Switzerland","authors":"O. Vardanyan","doi":"10.31318/2522-4190.2022.135.270997","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.270997","url":null,"abstract":"Relevance of the study. The struggle of the Ukrainian people for freedom and independence has caused a great international wave of sympathy and, at the same time, interest in Ukraine and its artistic heritage. Intensification of cultural communication with other countries actualizes the need to understand the mechanisms of cultural life in Europe, the USA, other countries of the West and East. The study of the audience of classical music concerts is important because the listener is the final consumer of the music product. Studying the mechanisms of organizing a large international festival on the example of Lucerne Festival is important and promising. \u0000Main objectives of the study. To highlight the problem of perception of Ukrainian music by the Swiss public and to describe the ways to overcome it in the context of the mechanisms of organization of musical life in Switzerland. \u0000Methodology. The research is based on general scientific empirical (observation, description) and theoretical (generalization, comparison) methods. Statistical and sociological methods are used to identify patterns in the change of preferences of the European public in recent years. \u0000Results and conclusions. The research summarized the experience of foreign scientists in studying the problem of audience aging. Some theories such as the theory of generations and the cohort effect are highlighted. Approaches to attracting new generations to the audience of classical music concerts are generalized. Problem areas in the perception of Ukrainian art by the European audience are identified and ways to overcome the problem are proposed. \u0000Prospects for further research. The actual lack of research on the third link of the triad \"composer — performer — listener\" and the relevance of the object promotes further research in this area. Particular importance is the focus on foreign listeners, the search for ways to \"translate\" the meanings underlying the Ukrainian artistic product.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121271851","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":"Padre Martini’s fugue theory in the projection on Maksym Berezovsky’s work","authors":"Olha Shumilina","doi":"10.31318/2522-4190.2022.135.271001","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.271001","url":null,"abstract":"Relevance of the study. The theoretical views on the fugue of the famous Italian composer and teacher J. B. Martini are presented in the treatise \"Esemplare, o sia saggio fondamentale pratico di contrappunto fugato\" (1775). This treatise, well-known in Italy and little-known in Ukrainian scientific circles, systematizes the principles of teaching fugue counterpoint, which were the basis of Padre Martini's pedagogical system. The extrapolation of the main provisions of the treatise to the work of Maksym Berezovsky, who studied the basics of counterpoint with Padre Martini, gives grounds for identifying a group of choral concerts written under the influence of the Italian maestro's pedagogical method. This can become an argumentative basis for dating these works and clarifying the periodization of M. Berezovsky's work. \u0000Main objective of the study is to review the main provisions of J. B. Martini's treatise on the theory of fugue counterpoint through the prism of their reception in the spiritual works of M. Berezovsky. \u0000 Methodology. The methodological basis consists of general scientific methods: study and generalization, abstraction and formalization, system analysis and synthesis. \u0000The results and conclusions. The main provisions of the second part of the treatise on fugue counterpoint by J. B. Martini have been studied. It is indicated that the treatise was written as a study guide to help young composers in creating choral music, with an explanation of the specific features of fugue counterpoint and the principles of its composition, with annotated samples of choral fugues of different numbers of voices — from two to eight, as they grow. Spiritual concertos of M. Berezovsky, written under the influence of the main ideas of the fugue counterpoint theory of Padre Martini, were determined, and they turned out to be two choral concerts of the Ukrainian artist. The study of the theoretical provisions of the treatise took place in the projection on the peculiarities of the composition of the final fugues. The main attention was paid to the articles of the Italian teacher about the theme of the fugue, methods of contrapuntal work with the initial material and methods of polyphonic formation. The influence of the main theoretical provisions of Padre Martini's fugue counterpoint treatise on the composition of the final fugues in M. Berezovsky's two-choral concerts was revealed. The time of writing of these concerts has been clarified, the version regarding their appearance in the early period of creativity under the influence of the traditions of Partes polyphony has been refuted. The importance of auditory perception in the attribution of the style of M. Berezovsky's two-choral concerts is indicated, which turned out to be extremely distant from the party polyphony, where this performance composition was extremely widespread.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117186218","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":"The timbre composition of Claude Debussy’s “Prélude à l’Après-midi d'un faune”: stylistic aspect","authors":"Oleksandr Zharkov, Iryna Kokhanyk","doi":"10.31318/2522-4190.2022.135.271008","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.271008","url":null,"abstract":"Relevance of the study. In the 20th–21st centuries art music the timbre component determines the processes of form creating, features of composition and dramaturgy, and becomes an essential component of a composer’s individual style system. This makes it necessary to distinguish and to define the concept of timbre composition, to study its functions in forming the text of a music work. \u0000The purpose of the article is to study the timbre composition of “Prélude à l’Après-midi d’un faune” by Claude Debussy in the aspect of the composer’s individual style. \u0000Methods. The methods of system and functional analysis are used, as well as the stylistic method, which gives possibility to determine the specific features of the timbre composition in the work. \u0000The results and conclusions. The analysis of Debussy’s “Prélude à l’Après-midi d’un faune” score proves that the timbre composition clarifies the composer’s intention. The logic of the orchestral timbres changes is aimed at embodying the concept of dissolution, a gradual departure from the subjective through the dramaturgic idea of abandoning timbre solos (pure timbres), from the coloristics of one color to the diversity of all colors and shades, through the movement from pure timbre to doublings and mixes. The uniqueness of the composer’s timbre strategy is the chain of solos (flute — oboe — clarinet — violin — flute), which provides a colorful timbre development of the theme and the entire themes of the piece. \u0000At the same time, the timbre composition deepens the three-part structure of the work. It is the timbre design that strengthens the gestural affinity of the themes and the gestural connections between the sections of the work. The study of the text confirms that the timbre composition–its exquisite structure, multilevel symmetry and perfection of proportions–reflects the main features of Debussy’s composing style. Even today, this work remains a source of inspiration for musicians of the 20th–21st centuries, who develop the timbral possibilities of sound, coloristic sound, and constructivism in the creating of music form. The experience of analyzing the timbre composition of “Prélude à l'Après-midi d'un faune” can be useful when studying modern art music works.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122728103","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":"Is the collective listener a passive recipient or a creator of ideas? (about the intentional dimension of music performance","authors":"Olha Katrych","doi":"10.31318/2522-4190.2022.135.270993","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.270993","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. \u0000The 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":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131115546","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}