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

{"title":"Composer’s Work with Verbal Component in Vocal Opus in Aspect of the Language Levels Theory","authors":"I. Ivanova","doi":"10.31318/2522-4190.2022.134.269586","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269586","url":null,"abstract":"Relevance of research. The composer's work with a verbal source in vocal composition can be viewed from two positions. The first of them concerns the structure of the text, its components and their characteristics, punctuation, the specifics of visual graphics etc. The other position connects with meaning and interpretation. When semantic component is considered, the traditional methods, which were formed mainly on the material of the classical and romantic period, remain basic. For vocal compositions of the 20th –21st centuries composers’ work with the structure of the verbal source becomes indicative. But it is impossible to explain these changes with traditional analytical tools. Therefore, it is necessarily to form original method of vocal compositions analysis, which directs for fixing and explaining such structural changes. \u0000The purpose of the study. The purpose of the article is presentation of analyzing method of composers’ work with a verbal component in a vocal opus based on the linguistic concept of language levels. \u0000Methods. The article uses general scientific and special scientific research methods. Among the general scientific methods descriptive, comparative, systemic are used. Among the special ones structural and functional are used. The structural method gives possible to consider verbal language as a four-level structure that exists due to a combination of located at different levels elements. The functional method is involved to identify the primary function of each of the elements and made by composer changes. \u0000The results and conclusions. A composer has possibility to work with verbal text on four language levels: phonological, morphological, lexical-semantic and syntactic. Each level requires attention to its basic elements: phonemes, morphemes, words and sentences. Accordingly, analyzing the element with which a composer works, we reach a certain language level. It gives for us possibility to understand what is important for the composer: to convey the meaning of the verbal series; to present one word from which all morphemes and phonemes will emerge; to demonstrate extraction of one phoneme, etc. Often composers are not limited to changes at one language level, but move from one to another one. The proposing method of analysis is demonstrated on the examples from vocal works by Ivan Karabits, Ludmila Yurina, Leonid Grabovskyi, Carola Bauckhold.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"7 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":"114976718","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":"Mykhailo Verikivskyiʼs “Five Pieces For String Quartet on Folk Themes”: Principles of Folklore Processing","authors":"Olena Derevianchenko","doi":"10.31318/2522-4190.2022.134.269612","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269612","url":null,"abstract":"Relevance of research. The introduction to the musicological using of the manuscript of M. Verikyvskyi's early work, which was previously only briefly mentioned in the literature, is connected with the current scientific trend of studying little-known pages of the history of Ukrainian music of the era of national liberation struggles of the 20th century. The return of the forgotten artefact of the composer's heritage is intended to contribute to the establishment of more complete and objective picture of the development of genres, stylistic trends, individual authorial style, etc.\u0000The purpose of the study. The purpose of the article is to explore the principles of processing folklore in the M. Verikyvskyʼs cycle \"Five pieces for a string quartet on folk themes\" in the genrestylistic aspect, to find out the extent of the influence of theoretical views and didactic instructions of B. Yavorskyi on the writing of the work, to outline the meaning of the composition in the context of the evolution of the author's creativity and directions development of Ukrainian quartet music of the 20th century.\u0000Methods. The article uses source, genre and style studies, structural and intonationalconstructive methods of analysis of musical work.\u0000The results and conclusions. The composer's notes in the margins of the manuscript are commented in the context of the artist's creative life (1921), social-political and aesthetic-artistic trends of the era, communication with the teacher of composition. The stylistic features of neofolklorism were revealed in the work: appeal to folk archaic and principles of folklore thinking, combination of folk elements with technical and compositional means of the modernist era, subjugation of the folklore theme to an individual artistic idea. The influence of the theoretical and didactic instructions of B. Yavorskyi, M. Verikyvskyiʼs teacher at the Kyiv Conservatory, can be observed on two levels: 1) general aesthetic views on the use of folklore in the composer's work, 2) specific compositional and stylistic techniques in the plane of lado-harmonic processes (the role of the tritone, constructive and modal continuous exposition), dynamization of the metrorhythm, texture, formation. In the composer's creativity, this work initiates the genre of instrumental folklore composition, prepares the appearance of large-scale neo-folkloric compositions (oratorio, symphonic uite, ballet, opera), tests for the first time the model of the five-part suite cycle, built on the principles of contrast, symmetry and concentricity. In Ukrainian quartet music, this opus is located near the origins of the folklore line of development of the genres of piece (folk miniature) and suite.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"609 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":"122942973","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":"Innuendo in Music as an Active Perception Factor","authors":"Boryslav Stronko","doi":"10.31318/2522-4190.2022.134.269580","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269580","url":null,"abstract":"Relevance of the study. A problem, discussed in the article is listener's co-activity in the process of perception music. Communicative aspects of art were deeply and variously studied in many musicologists' works. But item of listener's co-participation in phenomena of tension between potential, most probable way of composer's thought (from one side) and the real sounding of musical composition (from another side) is not completely explored. Phenomena of music is considered as a dialogue among composition and listener's consciousness, in spite of traditional view to music as a composer's monologue only. \u0000Main objective is to reveal the communicative and aesthetic potential of innuendo in music. One of the most significant expedients in this sphere of thinking is innuendo. In the context of recent paper this notion is treated as absence of the most waited music material as a specific mean, which causes more sharp and strong perception of tide of sounds. \u0000Methodology. Methods of this study are: conditional comparative analysis of a music compositions' set; modeling of listener's expectations from music; reconstruction of composers' design, using the author’s experience of composing. These methods were explored in the modeling of listener’s perception of the several music compositions of different styles. \u0000The results and conclusions. Contemporary academic concert music, as a rule, means a division to active music makers (e.g. composer, improviser, performer) and passive listener. However, even in art styles the vivid link between piece of music and public contains hidden interactivity of listener. It may be a relict of co-participation in music performance in the folk and church traditions. There is no real interactivity in art genres because of listener's impossibility to intervene into real sounding structures. But in the context of certain style advanced listener has an opportunity to feel the difference between most probable and real composer's variants of continuation. Listener is presented as a reconstructor of composer's ideas, of course, in cause of his knowledge of present style. \u0000Such expectations of listener belong to functionality in music. Innuendo is effect of pseudodeconstruction, based on the functional expectations system. There are such types of music innuendo as: 1) vertical (absence of expected texture component); 2) horizontal (absence of expected continuation); 3) active (by disruption of expected continuation); 4) passive (absence without disruption); 5) provocative (incompleteness as an occasion to maintain more complete version of present theme). \u0000Absence as a kind of Presence (Heidegger) is an ontological basis of innuendo effect, because it is replaced full Presence as real in the place of expected. Thereby reality of this fragment isn't absolute but one from set of possibilities. Dialogue between \"Listener's Variant\" and \"Composers variant\" is a realization of ontological time's potential, which contains more than one o","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"218 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":"128172161","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":"“Grave: Metamorfozy Na Wiolonczelę I Fortepian” By Witold Lutoslavski: The Role Of Derivation In The Embodiment Of The Idea Of Metamorphosis","authors":"O. Korchev","doi":"10.31318/2522-4190.2022.134.269627","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269627","url":null,"abstract":"Relevance of research. The relevance of the article lies in the empirical study of new phenomena in the field of composition, understanding the essence of the concept of metamorphosis on the basis of its practical detection in the works of W. Lutoslavski, for its further characterization in modern terminological dictionary of theoretical musicology.\u0000The purpose of the study. The aim of this article is to consider the embodiment of the phenomenon of metamorphosis through the prism of derivation in the work “Grave: Metamorphosis for Cello and Piano” (1981) by W. Lutoslavski. The objectives of the presented work are analytical consideration of the compositional features of the structural organization of “Grave”, the definition of leading methods of working with thematic material, characterization of the basic principles of formation of the musical text of this work.\u0000Methods. The article uses system, comparative, genre research methods, as well as methods for a holistic and structural analysis of a musical work.\u0000The results and conclusions. The concept of metamorphosis in the works of Polish composer W. Lutoslawski is considered, on the example of his work for cello and piano “Grave”. By comparing the above opus with W. Lutoslavski’s Muzyka żałobna (1958), the place of the idea of “transformation” in the creative work of the outstanding artist was determined. With the help of holistic analysis, the main means of working with thematic material were identified, which is the basis for the embodiment of the phenomenon of metamorphosis in the thematic material of “Grave”. The relationship between the composer's idea of metamorphosis and the principle of derivation by M. Aranovsky is illustrated on the example of analytical consideration of “Grave”. The paper presents the embodiment of this concept of transformation through the prism of derivation, by analytical consideration of the functioning of borrowed material in the formation of a new compositional whole, its impact on the characteristics of the structural organization of the work.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"6 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":"126433096","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":"Guitar Music of Celso Garrido-Lecca: Modern Projections of Peruan Traditions","authors":"T. Filatova","doi":"10.31318/2522-4190.2022.134.269653","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269653","url":null,"abstract":"The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca.\u0000Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts.\u0000The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative activity; study of genre and style elements of Peruvian music traditions of folk, professional and non-academic origin in their interaction with the academic language of new music; comparison of the genealogy of rhythmic structures and their manifestations in the researched works; correlation of associative-figurative series with timbral connotations, specific genres and intonation and chord patterns.\u0000Results and conclusions. The study of the guitar music of the contemporary Peruvian composer Celso Garrido-Lecca performed by masters of academic art opens interesting pages of the new South American repertoire. Loyalty to the folklore traditions of his country, the study of timbre specificity and aesthetics of the Andean sound, the organology of ancient aerophones and local analogues of the charango, the collective practice of music making, as well as the ethnic language elements of the music of the coastal regions have affected the author's guitar works. Household traditions of Peruvian culture are identified in the sound atmosphere of the new vocabulary of the European model - polytonal “collage” music layers, constructivist modal octatonic arrangements, in the context of serial elements and polystylistic overlays of “foreign” texts.\u0000The genealogy of the rhythms deciphered in the composer's guitar opuses indicates a closeness to specific genre features: the Andean rhythm formulas of the huáyno, the Afro-Peruvian festejo, the ancient figures of the landó, the Creole samacueca, the tondero and the marinera with Iberian roots.\u0000The author resorted to quoting folklore sources in \"Popular Andean Dances\" with their updating with musical means of modern vocabulary; imitated the timbres of Andean flute orchestras in the cycle “Poetics” in the guitar parts; introduced the Andean charango of the Ayacuchan model into the scores of the orchestral versions of his suites; in the part of the instrumental duet of charango and guitar. In Celso Garrido-Lecca's guitar works, syntheses of archaic thinking of folkloric Andean chants, hybrid origins of poetics of local Creole and Afro-Peruvian rhythms with new language and intonation paradigms of academic art are organically embodied. Research perspectives are seen in the study of the influence of Peruvian culture on the modern non-academic traditions.","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":"133418111","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":"Features of Vsevold Zaderatsky’s Polyphonic Thinking in the Cycle “24 Preludes and Fugues”","authors":"Svitlana Postovoitova","doi":"10.31318/2522-4190.2022.134.269617","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269617","url":null,"abstract":"Relevance of research. The work of Vsevolod Zaderatsky appears as a unique phenomenon, unusual in all its aspects, starting from the historical context (conditions of creation, years of oblivion, revival, publication and performance) and ending with the smallest details hidden in the inner logic of the musical work. The specifics of the thematic organization of fugues and the innovative interpretation of other elements of the fugue require special attention. The need to fully incorporate the first great polyphonic cycle in the music of the 20th century into artistic and performing practice actualizes the need to see it as a holistic phenomenon, which prompts detailed study in various analytical projections.\u0000The purpose of the article to analyze the features of Vsevolod Zaderatsky's polyphonic thinking in the cycle \"24 Preludes and Fugues\".\u0000Methods. In the article systematic and historical research methods are used.\u0000The results and conclusions. Undoubtedly, the main prospect of further scientific research of the cycle is its introduction into performance practice, because understanding the deep processes of polyphonic music is the key to successful performance interpretation.\u0000\"24 Preludes and Fugues\" by Vsevolod Zaderatskyi is a unique work in many aspects. The cycle combined traditional and innovative features, which predicted several new directions for the development of the 20th century fugue.\u0000The fugue underwent a significant transformation at various levels, and first of all, at the level of polyphonic thematic due to the specific scale and the principle of monothematic. The changes affected not only the theme of the fugue, but also other components of the fugue: countresubjects and episodes. The structural factors of the overall structure changed, the functionality of the sections, where the main trend was the expansion of the boundaries of the developing section and the desire for end-to-end development. The analysis of dramaturgical principles allows us to state that the composer managed, thanks to a single idea, to build a multidimensional structure with end-to-end dramaturgy, starting with its smallest element, the theme, and ending with the interaction of small cycles among themselves.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"182 6 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":"116421612","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 Serenata of Baroque Period at the Court of the Austrian Habsburgs in the Context of Italian Cultural Expansion","authors":"Olga Tabulina","doi":"10.31318/2522-4190.2022.134.269595","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269595","url":null,"abstract":"Relevance of the study. Contemporary performance has recently increasingly turned to ancient music, striving for historical authenticity in musical interpretations. In this regard, important questions arise, related both to the technical side of interpretation and deepening into the historical processes that influenced the emergence of certain genres, as well as the context of the creation of baroque works. «Archaeological excavations» are becoming justified, aimed at understanding the historical processes that influenced the formation of the baroque genre system, as well as the development of European musical culture in general. Of particular importance is the study of the specifics of such works as serenatas, which are difficult for genre identification due to their similarity with other works established in the genre coordinate system, such as opera and cantata. \u0000Main objective(s) — to analyze the historical and cultural processes that influenced the emergence and popularization of the baroque serenata at the Habsburg court, to identify the characteristic features of the genre, to show the significance of the serenata for the formation and development of musical art in Vienna. \u0000Methodology the methodology is based on cultural-historical and structural-functional analysis, which allow for a comprehensive consideration of the issues of art and politics and provide for highlighting among the colorful life of the Viennese aristocrats important trends that were related to the trends of the era and had a certain influence on the musical environment. Genre analysis was used to determine the specific features of works \"in occasione\". \u0000Results/findings and Conclusions. The article considers the musical and theatrical genre of the Baroque era, the serenata, popular in the aristocratic environment. The characteristic features inherent in the works of the serenate type are revealed, which makes it possible to identify them as a separate genre. The fate of the serenata at the Vienna court of the Habsburg emperors is traced, starting from the first third of the 17th to the middle of the 18th centuries, the historical and political context of the life of the Austrian sovereigns is highlighted. It is shown that the spread of the serenata genre in Vienna occurred as a result of the Italian cultural expansion associated with the prolongation of the Counter-Reformation and the frequent marriages of emperors with princesses of influential Italian houses. It is indicated that the consequences of the Italian expansion influenced the further fate of the development of musical art in Vienna. On the example of the compositions of A. Bertali, M. A. Cesti, G. Bononcini, A. Caldara and others, the place of compositions in occasione at court is shown, the variety of their genre definitions associated with certain circumstances of their performance is revealed.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"537 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":"131633354","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":"New Sheet Editions of Chamber Works by Ukrainian Composers","authors":"B. Syuta","doi":"10.31318/2522-4190.2022.134.269654","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269654","url":null,"abstract":"Kyiv Avant-garde: Chamber music anthology. Kyiv: Muzychna Ukraina, 2020. Chamber music anthology: Stankovych. Ishchenko. Bibik. Kyiv: Muzychna Ukraina, 2021","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"9 1 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":"123796888","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":"Partes Concerts of the 1730s–1740s from the Kyiv Collection: New Assets","authors":"Y. Ignatenko","doi":"10.31318/2522-4190.2022.134.269604","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.134.269604","url":null,"abstract":"Relevance and current status of research. The Kyiv collection of partes music, which is kept in the Institute of Manuscript of V. Ι. Vernadsky National Library of Ukraine, is the largest in Ukraine. It includes about 700 choral works, and only a few dozen of them have been decoded, edited and published. In 2020, within the Musica sacra Ukraina project the author of this article decoded and prepared for performance three new partes concerts from the Kyiv collection. These are twelve-part anonymous concerts of the 1730 s – 40 s “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people”. \u0000The purpose of the study is to describe the Kyiv partes collection and the current status of its research; to outline the main steps of working with partes manuscripts: deciphering, score compiling and editing; to present deciphered concerts in the context of current research problems of European baroque music, such as the aesthetics of oddity, as well as musical symbolism and rhetoric, which allow us to reveal the inextricable connection between the verbal and musical text of the works. \u0000Methodological framework. The work is based on proven methodologies of decoding and scientific editing of handwritten musical text, and methods of musical theoretical analysis are also used. \u0000Results and scientific novelty of the work. Three anonymous twelve-part partes concerts of the 1730 s –1740 s from the Kyiv collection “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people” were deciphered, edited and analyzed. A comprehensive approach to studying Ukrainian baroque music is presented. It involves deciphering, editing (preparation for performance) and musicological interpretation of the work. The proposed musicological analysis, which is based on modern approaches to the analysis of baroque music, updates the European context of the Ukrainian baroque heritage","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"270 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":"116055707","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 Exphrasis in Ukrainian Organ Music (on the Example of “Sound of the Pinzel” by Bohdana Frolyak)","authors":"Daryna Kupina","doi":"10.31318/2522-4190.2022.133.257320","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257320","url":null,"abstract":"The relevance of the study is explained by the need to expand the understanding of the process of transmedial communication (and ekphrasis in particular), throw the prism of Ukrainian organ music. In this context, the problem of musical ekphrasis is considered on the example of the piece for organ and strings of the Ukrainian composer Bohdan Frolyak “Sound of Pinzel”. \u0000Main objective of the study is to identify ways to recode visual material into music in the piece “Sound of Pinzel” by Bohdana Frolyak. The theoretical basis of the article has certain researching sources by S. Bruhn and T. Tsaregradskaya, which explore the concept of musical ekphrasis, methods and principles of re-coding artistic information. \u0000The research methodology is based on a combination of the method of intermediate, holistic and contextual types of analysis, which allow through the analysis of visual material to approach the understanding of a musical work. \u0000Results / findings and conclusions. Musical ekphrasis means the translation of a work of visual art to the symbolic plane of music while preserving the compositional and / or syntactic qualities of the original source. Types of intersemiotic transmedialization are interpretation, recontextualization, game setting, association, and so on. It is noted that in the Ukrainian organ music the tendency of transmedial search is realized first of all through the appeal to ekphrasis. This thesis is confirmed by the analysis of the work of B. Frolyak, which was prompted by the sculptures of the Ukrainian baroque master Pinzel. It turns out that in addition to the «spiritual programmaticity» embedded in the plots of the sculptures, as part of the church ensemble, in the musical opus becomes obvious transmedial aspect, which acquires the features of musical ekphrasis. The piece “Sound of Pinzel” is based on the principle of spiritual association and the embodiment of structural and semantic parallels. It is pointed out that the sharp lines of the master's sculptures are conveyed in the music and the inner impulse and expression of movement is felt as a characteristic feature of the late Baroque style. Other features of ekphrasis are images in the outlines of themes (chapter II) of the sculptural plot or the use of allusion to the chorale (chapter VI) as a prayer symbol and so on. The conclusions emphasize the need to expand and detail the transmedia study of musical works, including the features of musical ekphrasis.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122666416","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}