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

{"title":"“Madrigāls” by Peteris Vasks: ways to renew the genre tradition","authors":"Mariia Tytova","doi":"10.31318/2522-4190.2022.135.271009","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.271009","url":null,"abstract":"The relevance of the study lies in highlighting the main principles of updating the ancient genre tradition with modern means in «Madrigāls» for mixed choir a сappella by the Latvian composer Peteris Vasks. \u0000The main objective of the article is to reveal the ways of updating the genre tradition and expressive means of music in «Madrigals» by Peteris Vasks for the a cappella choir. \u0000The methodology includes methods of historical, comparative, structural and functional analysis for: tracing the history of the emergence and development of the madrigal genre and identifying the peculiarities of its existence in different historical periods; establishing the constructive features of the music fabric and its interaction with the poetic foundation; tracing the vectors of renewal of genre traditions in this work. \u0000Results and conclusions. In the studied choral work of P. Vasks, the lines of continuity of the leading genre of the Renaissance era are determined and the ways of renewing the genre tradition are established. In «Madrigāls» the composer uniquely implements the main principle of the genre: the direction of the entire set of expressive means towards the display of the verbal text. Using modern techniques of composer writing, he emphasizes as the main artistic image of the miniature the main symbol — «time», it is this that is revealed both at the poetic and music levels. The music embodiment is based on the interaction of various techniques of composition: aleatory moving voices and effectively formed sonoric bunches. In connection with the word and the poetic primary source, a musical-symbolic sound picture is formed, the content of which unfolds in time, gradually and steadily rushing to the main final thought in the code of the work. \u0000Thus, working with a genre that has a centuries-old history, Peteris Vasks does not seek to preserve its usual outlines. The composer does not reproduce the established model of the genre, but interprets it, offers an updated version of the prototype of a certain genre, the primary invariant of which he sometimes deeply hides, and sometimes brings to the surface. This gives rise to many associations and at the same time surprises in how the modern arsenal of sound organization of huge choral arrays is organically combined with the «genre memory» of music art, and also opens up a wide perspective of research into other genres with their stable components and author’s innovations.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"58 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":"132625357","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":"Violin concerto by Gian Carlo Menotti: at the intersection of opera and instrumental genres","authors":"O. Antonova","doi":"10.31318/2522-4190.2022.135.271007","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.271007","url":null,"abstract":"The relevance of the study is to study the instrumental works by G. С. Menotti, known worldwide primarily as an opera composer. His four concerts, unfortunately, did not receive such recognition as his operas, unfairly remaining in the shadow of the latter. The Violin Concerto, which was recorded only twice in the first 44 years after its premiere in 1952, is no exception. Performing interest in this work intensified in the late twentieth century, but scientific research is still isolated, and they do not cover the question: whether the interpretation of a purely instrumental genre influenced the opera aspirations and skills of the composer and if so, how? \u0000The main objective of the study is to trace the interaction of opera and instrumental principles in Menotti's Violin Concerto and to identify the peculiarities of the interpretation of the chosen genre due to such interaction. \u0000The methodology includes historical (to consider circumstances of the creation and the performance of the concerto), comparative (to identify common features in the theme and compositional organization of the concert and the opera \"Amal and Night Guests\"), as well as structuralfunctional, genre-style and intonational-dramatic methods (for a comprehensive analysis of the work). \u0000Results and conclusions. Menotti's Violin Concerto is considered in the aspect of opera influences due to the author's many years of experience in the field of theatrical music. The lack of dissemination of the work in the world of violin was stated, the names of its performers were given — from the premiere to the present. The structure and figurative content of the concert are characterized, the ratio of typical and atypical genre features is indicated, the presence of elements of end-to-end tonal and thematic development within the cycle is emphasized. The properties of music themes, which reflect the typical for Menotti operas mixed type of vocal intonation with a combination of cantilena and declamatory phrases, are analyzed. The figurative-thematic connection between the concert and opera works of the composer is traced, in particular, by comparing certain episodes of the Violin Concerto and the opera «Amal and Night Guests». Theatrical influences at the compositional and dramaturgical level, such as «cadre» fragmentation of sections and frequency of their changes in the opening and closing movements of the concert, proximity to the end-to-end opera stage in the middle part, are revealed. An analogy between the ratio of solo and orchestral parts in concert and in Menotti's operas is made. Emphasis is placed on the leading role of the violin solo in the concert, which is determined by the exposure of most music themes in its part, virtuosity of presentation, the presence of a large number of purely solo episodes, including two cadences. At the same time, it is noted that the originality of Menotti's concert is not only due to opera influences, but also to the dedicate the work for a specific","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"31 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":"116415506","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":"Functions of Music Festivals in Modern Italy: “Rossini Opera Festival”","authors":"O. Ponomarenko","doi":"10.31318/2522-4190.2022.135.271014","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.271014","url":null,"abstract":"The relevance of the study. Considering the music festivals of modern Italy, it is important to identify their functionality and influence on the development of the cultural life of the country as a whole. This issue has been little studied, although, in our opinion, it is important and relevant for characterizing the festival movement in Italy. \u0000Main objectives of the study is to describe the International Opera Festival “Rossini Opera Festival: ROF”, its main functions. \u0000The methodology is based on the use of the inductive method, which, to characterize the festival process in the cultural life of Italy, involves the study of individual festival projects and provides for the use of a set of complementary research methods — historical-analytical, empirical and sociocultural. The historical-analytical method contributed to the understanding of the logic of the formation and development of the festival, the appeal to empirical and sociocultural methods made it possible to consider the features of the organization of the festival in the context of social relations in the system of music life in modern Italy. \u0000Results and conclusions. As an instrument of dialogue between civilizations, music is still today a fundamental lever of economic growth, able to interact with all other values: artistic heritage, cultural and tourism industry, environment and landscape. Through an integrated plan of structural interventions, services for citizens and businesses of the city, music in Pesaro becomes an engine of development, creative enrichment of cultural heritage and synergy between culture, tourism, society and education. The \"Rossini Opera Festival: ROF\" is a truly local indie phenomenon that draws a prepared and interested audience to Pesaro. Music as a means of dialogue between civilizations today contributes to economic growth, interaction with all other values of the region: historical and artistic heritage, cultural, tourism industry, landscape. Impressive is not only the scale of the project, but also the effectiveness of cooperation between cultural, financial, state institutions participating in its organization. Together they have developed a formula for holding Italian festivals, which provides a high result — the revival of the cultural and economic development of the region thanks to tourist flows, changing the image of cities (creating new infrastructure), interaction between public and private institutions, local authorities, professionals and art lovers. As an inseparable component of human culture, music always, in all its manifestations, acts as its memory, as a memory of history, a reminder of past events and their participants.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"27 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":"117241848","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":"A listener in a musical work","authors":"V. Moskalenko","doi":"10.31318/2522-4190.2022.135.270992","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.270992","url":null,"abstract":"Relevance of the study. The development of musical culture takes place in the commonwealth of creative processes of the composer, musician-performer and listener. At the same time, to the last of the listed categories is not given enough attention in modern musicology. This especially applies to music-theoretical explorations of the music listener's participation in the formation of the semantic space of a musical work. The focus is on the category of the mass (average) listener, the vast majority of whom do not know much about music. \u0000The purpose of the article is to consider the function of the average music listener in the integral communicative structure of a musical work, which is expressed by the sequence: composer — performer — listener. \u0000The methodology. The theoretical position proposed in the article is based on the key points of the concept of musical interpretation by V. G. Moskalenko. It is about the understanding of intonation, the music-intonation triad, in which the movement of musical thinking from the intonation model to the intonation-result is symbolically presented, as well as three types of the text of a musical work. To analyze the creative function of the listener in the semantic field of a musical work, a musical-genetic approach is used, which is indicative of the movement of musical thought from its ancestral foundations to the final result. In this aspect, the following are developing: A) M. Mykhaylov's theoretical approach regarding intonation bases of creative activity of musical thinking; B) terminological differentiation of the principle of musical intonation in relation to the composer, musician-performer and listener. \u0000Results and conclusions. The formation of the semantic space of a musical work is considered in the trinity of the creative action of the composer, musician-performer and listener. In the category of music listeners, two types are distinguished: professional and average (mass) listener. The focus is on the average listener. The research uses the musical-genetic method, which involves the sequential movement of musical or cognitive thought from the ancestral foundations through the stage of formation to the final result. Three groups of texts of a musical work are identified, which are informants about its artistic identity: sheet music, text-sound and psychological text. The role of the psychological text in the formation of the semantic field of a musical work is emphasized. In the development of M. Mykhaylov's intonation concept of musical thinking, the effect of the three-link structure of the formation of the musical thought of the composer, the musician-performer, and the average listener is separately traced. The importance of the relatively independent function of the average listener in the social \"biography\" of the interpretive life of a musical work is emphasized, which ultimately affects the variant renewal and even the development of its semantic field. The conclusion is made about the ","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":"131204062","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":"Musical history: a new “Access code” (Zharkova V. History of Western music: Homo Musicus from Antiquity to Baroque: Textbook for students of all specializations of music institutions of higher education of III–IV Levels accreditations. Kyiv : Arthuss, 202","authors":"I. Drach","doi":"10.31318/2522-4190.2022.135.271016","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.271016","url":null,"abstract":"","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":"130609468","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":"First opera about Artificial Intelligence: Miroslav Srnka “Singularity”","authors":"Adelina Yefimenko","doi":"10.31318/2522-4190.2022.135.271004","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.135.271004","url":null,"abstract":"Relevance of the study. Scientists have been working on the research and practical implementation of artificial intelligence (AI) since the middle of the last century. In 2021, this research area celebrated a series of anniversaries that highlight an 85-year history of the impact of artificial intelligence on human consciousness. Various historical stages of the development of artificial intelligence in science, technology and culture are considered. In 2021, the first opera dedicated to this topic appeared. The Czech composer Miroslav Srnka tried to disguise the seriousness of the problem in the genre of opera-comedy, opera-farce. Through the prism of the game, the artist warns against the danger of the future mastery of AI by the human brain. Not only scientists from all branches of science, but also musicians are asking Facebook, Google and other megacorporations about the ultimate goal of billions of dollars invested in AI R&D. \u0000Main objectives of this study are 1) to outline the chronology of the historical stages of artificial intelligence research; 2) to present the problems of AI in different fields of science and culture; 3) to analyze the first opera created in 2021 about artificial intelligence. Miroslav Srnka's A Space Opera for Yuong Voises is a musician's reflection on the problem of the hypothetical future of humanity in the era of transhumanism. \u0000Research methodology. The work uses a complex application of historical, comparative and textological approaches and methods to reveal the specifics of the embodiment of non-musical modern electronic technologies in the genre of opera. \u0000The results of directorial artifacts. In the Science-Fiction-Opera of the Czech composer Miroslav Srnka the experience of digital communication of people in the future and the problems of the hypothetical future of humanity in the era of transhumanism, are presented like in a 'distorting mirror'. Ten years ago, a systematic survey of four different expert groups has been made which included more than 550 scientists. The results were published in a collection of articles by futurists Nick Buström and Vincent C. Müller (researchers at Oxford and Eindhoven University of Technology) named “Future Progress in Artificial Intelligence: A Survey of Expert Opinions”. When asked how soon mankind will master powerful AI, the average response rate of experts showed that 50% of the scientists answered positively to the likelihood of a strong AI availability in the period from 2040 to 2075. We therefore have a good chance to become witnesses of the hypothetical future predicted by futurists, science fiction writers and the authors of the opera “Singularity”, if we believe in the myth of the singularity. However, a large group of scientists rejects the hypothesis of the initiator of the opera “Singularity”, Ray Kurzweil that “The Singularity is Near” and doubts that the future of the singularity can be predicted. The opera “Singularity” is the first musical and theatrica","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"23 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":"117038831","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":"Luciano Berioʼs “Folk Songs”: Reconstruction of the Idea in the Context of Creativity","authors":"Oksana Garmel","doi":"10.31318/2522-4190.2022.134.269624","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269624","url":null,"abstract":"Relevance of the study. Luciano Berio’s vocal cycle «Folk Songs» for mezzo-soprano and seven instrumentalists (1964) was considered for the first time in Ukrainian musicology. The relevance of the research is determined by the imbalance between the high degree of performance demand of the work in the modern cultural space and the insignificant activity of its musicological study.\u0000The purpose of the study. The purpose of the article is to reconstruct the creative idea of the vocal cycle «Folk Songs» by Luciano Berio in the context of the composer's searches, their mutual influences and interaction.\u0000Methods. The article uses historical, cultural and biographical methods (to study the stages of the formation of the idea of the work in the context of the composer’s creative biography), source studies (to find the sources of multinational folk songs that became the basis of the vocal cycle), methods of comparison and analogy (to propose a hypothesis about the origins of the creative idea of «Folk Songs») and the method of theoretical generalization.\u0000The results and conclusions. The biographical context and stages of creation of Luciano Berio’s «Folk Songs» are studied in detail, the sources of folk songs from five countries of the world (USA, France, Italy, Armenia, Azerbaijan) used by composer in the vocal cycle are determined. The main features of the formation of the unity of the cycle are considered: the general logic of the construction, the content of the texts, the composition of the instrumental ensemble, metro-rhythmic features. A hypothesis is proposed about the combined influence of the performing skills of Cathy Berberian and the linguistic and stylistic features of John Cage’s «Aria» (1958) on the formation of the idea of Luciano Berio’s «Folk Songs». The manifestation in the vocal cycle of Luciano Berio’s interest in the linguistic (phonological) aspect of creativity, which became active in his work from the 1950s, is emphasized. Based on the results of the research, it is proposed to perceive and realize «Folk Songs» as a link of two «lines» of Luciano Berio’s creative interests, manifested in his work — interest in multinational folklore and phonological features of different languages. Vocal cycles created in the 21st century based on the model of Luciano Berio’s «Folk Songs»: «Ayre» by Osvaldo Golijov, «Worksongs» by Samuel Blaser and «Chanzuns Popularas Romanchas» by Oscar Strasnoy were identified. These works indicate possible prospects for the continuation of the research topic.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123126729","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":"Ambros Rieder (1771‒1855) and the Art of Preluding","authors":"Stephan Lewandowski","doi":"10.31318/2522-4190.2022.134.269621","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269621","url":null,"abstract":"Ambros (or Ambrosius) Mathias Rieder (1771‒1855) is perhaps one of the most underrepresented personalities of the music centre Vienna in the late 18th and first half of the 19th century in contemporary musicological and music-theoretical discourse. Both his achievements as a composer and in the field of music theory are remarkable. In particular, Rieder is to be valued and appreciated as a preserver of the tradition of prelude playing, which became increasingly less important in the late 18th and early 19th centuries. In the course of his life, he not only wrote several theoretical-practical textbooks dealing with this tradition, but with his own compositions he also provided excellent examples for the implementation of the rules presented in his theory books. With his “fugal preludes”, Rieder furthermore made a weighty contribution to the development of the genre. \u0000With the help of the music theory presented in Riederʼs Anleitung zum Präludiren auf der Orgel oder dem Piano-Forte, Op. 84, Vienna, undated [1826], this text examines the Präludien und Fughetten für die Orgel oder das Pianoforte, Op. 82, Vienna 1826 with regard to harmony, counterpoint and form-determining modulation processes. An almost striking, rarely found interlocking of theory and compositional practice is revealed. Further and more comprehensive studies on this topic are desirable.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121372430","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":"Volodymyr Zahortsev: assembly Point (Voitenko, Oleksiy (ed.). In memoriam. Composer Volodymyr Zahortsev. Articles. Letters. Memoirs. Materials for biography. Kyiv: \"Phoenix\" Publishing House, 2021)","authors":"V. Vyshynskyi","doi":"10.31318/2522-4190.2022.134.269655","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269655","url":null,"abstract":"","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133728173","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":"Music Theory System: Phenomenon or Phantom?","authors":"Iryna Tukova","doi":"10.31318/2522-4190.2022.134.269570","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269570","url":null,"abstract":"Relevance of research connects with contemporary state of Ukrainian musicology. Abandoning the guidelines inherited from the Soviet era requires Ukrainian musicologists to rethink a number of positions. In this context, one of the important steps is to correlate the terminology prevailing in Ukrainian musicology with the one that is commonly used in European and American space. One of such specific concepts, which have been established in Ukrainian musicology since the Soviet period, is the music theory system. Its theory was most actively developed in the 1970s and 1980s and entered both scientific circulation and the educational process. At the same time, there is no analogue of this concept and its corresponding theory in European and American musicology. The article is dedicated to analyze of music theory system concept and correlate it with concept of music theory history. \u0000The purpose of the article is researching the existing concepts of music theory system, to reveal their originality and correspondence to modern views on the history of Western European music theory. \u0000Methods. In the article comparative, systematic and historical research methods are used. \u0000The results and conclusions. In Ukrainian musicology original concepts of music theory system presented by I. Kotlyarevskyi and G. Viranovskyi, in Russian musicology such concept was developed by Yu. Kholopov and his scientific school. A detailed study of various approaches to music theory system showed, firstly, their inconsistency among themselves. From the analysis of the researches of G. Viranovskyi and I. Kotlyarevskyi, it follows that both authors have in common the chosen systematic method and the idea of the integrity of music theory system of a certain era. However, both the understanding of the structure of the music theory system and the analytical approaches different. Secondly, the characteristics of music theory systems proposed in the studios of G. Viranovskyi and I. Kotlyarevskyi contradict the currently known factual material. In the case of Viranovskyi, a kind of classical-centric view prevails; in the work of Kotlyarevskyi, the emphasis is mainly on the study of the history of the development of pitch organization indicative for Western European practice. Thirdly, the moscow school investigates purely the history of music theory, the systematic approach is applied only to the generalization of the work of individual authors. The perspective of the study of proposed in the article topic can be seen in the appeal to methods of researching the history of music theory approved by European and American scientific practice, their inclusion in circulation in Ukrainian musicology.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134115537","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}