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

{"title":"Dmitriy Shostakovich in William Tanner Vollmann’s Novel “Europe Central”","authors":"Olena Zinkevych","doi":"10.31318/2522-4190.2022.133.257330","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257330","url":null,"abstract":"The relevance of the study. In the foreign reception of Dmitriy Shostakovich, its out-ofmusical-professional discourse is important. Along with the play by David Pounell “Master Class”, the novel by Julian Barnes “The Noise of Time” and others, the novel by the famous American writer William T. Vollmann (William T. Vollmann) “Europe Central” (“Europe nodal”) is quite significant, it received the 2005 US National Book Award. The almost 800-page epic, which foreign critics compare with the epic of L. Tolstoy and call “War and Peace of the 20th century”, covers the events of Russian and German history from 1914 till 1975, including the Holocaust, the era of great terror, Babi Yar. The panorama of the war between two totalitarian regimes is especially widespread. \u0000Among the characters are mainly representatives of creative professions and military leaders: Hitler and Stalin, Paulus and Vlasov, Kete Kolwitz and Anna Akhmatova, Tukhachevsky and Roman Carmen, etc. The destinies of all characters are intertwined, their stories unfold in parallel or in interaction. But the real hero of the book is Dmitriy Shostakovich. \u0000Main objective of the study is to acquaint with the work of William T. Vollmann and his novel “Europe Central”, the analysis of which makes it possible to understand the peculiarities of perception of D. Shostakovich’s music by the US intellectual elite. \u0000The main results and conclusions of the study. William T. Vollmann refers to Shostakovich as a hero and admits his passion for his personality. Mainly adhering to the facts, he conjectures a lot and frankly invents. Heightened metaphor, phantasmagorism, extravagance of his descriptions are quite consistent with the style of postmodernism or absurdity. The author does not hide his liberties and in the afterword apologizes for the distortions in the book. The mythogenic situation created by Vollmann clearly echoes the well-known — including Russian — fictionalization by Dmitriy Shostakovich. And, thus, Vollmann’s novel becomes another confirmation of Shostakovich’s acquisition of the status of a “cultural hero of the era”, because it is the mythogenic processes provoked by large-scale public reflection that are decisive in the formation of this sociocultural phenomenon.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"1 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":"124243075","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 Album “Guernica” by the “KAT” band: a Musical Representation of a Painting by Pablo Picasso","authors":"Iryna Palkina","doi":"10.31318/2522-4190.2022.133.257316","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257316","url":null,"abstract":"Relevance of the study. Rock art has a syncretic origin and gravitates towards multi-level synthesis throughout the history of its development. Incorporating elements from other art forms is an essential characteristic of rock music. The trends in the interaction of art forms in the field of rock culture are considered on the example of the concept album “Guernica” by the “KAT” band, dedicated to the cognominal painting by Pablo Picasso. The main source of analysis is the audio recording of the album. The “Guernica” album is a vivid example of an artistic dialogue that takes place on the literary, musical and visual planes. \u0000The scientific novelty of the study. The concept album “Guernica” by the Ukrainian hardcore band “KAT”, dedicated to the painting of the same name by Pablo Picasso, for the first time became the object of musicological analysis and is considered as an example of synthesizing trends in the field of rock art. \u0000The main objective of the study is to determine the levels of artistic interactions between the concept album “Guernica” by the “KAT” band and the original painting by Pablo Picasso. \u0000The methodology is based on the contextual method (to consider rock art as a synthetic phenomenon) as well as methods of holistic (to describe the album), comparative and intermedial analysis (to identify the levels of artistic interaction between a piece of music and the original painting). \u0000Results of the study. The concept album “Guernica” by the hardcore band named “KAT” is not just a dedication to the cognominal painting by Pablo Picasso. Аrtistic dialogue between works of art takes place in the visual (album cover), literary (direct descriptions of the elements of the picture, the technique of seeing events from different angles borrowed from visual art, reportage style of texts) and musical plane (recitative intonations, fast drumbeats, extreme vocal techniques); on the descriptive (direct references to the elements of the picture) and emotional and figurative levels. The album is a vivid example of intermediality in the field of rock art.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"16 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":"117182525","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":"Ballet “Chasing Two Hares” by Yuri Shevchenko: Intertextual and Intermedial Contexts","authors":"Veronika Zinchenko","doi":"10.31318/2522-4190.2022.133.257327","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257327","url":null,"abstract":"The relevance of research. The ballet “Chasing Two Hares” was first investigated from the point of view of intertextual and intermedia connections. Also, for the first time, the analysis of the musical component of the film \"Chasing Two Hares\" directed by V. Ivanov and composer B. Gomolyaka has been carried out. The parameters of interaction between the ballet “Chasing Two Hares” and the film of the same name at different levels are derived: plot, genre, intonation and drama. \u0000Main objective of the study is to determine the intertextual and intermedia contexts of Y. Shevchenko’s ballet “Chasing Two Hares”. \u0000Research methodology. In the article, the following methods of historical and theoretical musicology were used: historical — to clarify the circumstances of the creation of musical works, comparative — to compare the musical series of the film “Chasing Two Hares” and Y. Shevchenko’s ballet, the method of intertextual analysis — to identify the qualitative indicators of connections between different musical texts, the method of genre-intonation analysis — for the detection of immanent intonational specific features of the named opuses. \u0000The results and conclusions of the study. The concepts of “intertextuality” and “intermediality” in the context of the genre of ballet are defined. The ballet “Chasing Two Hares” by Y. Shevchenko is analyzed from the point of view of its genre and intonation specifics, intertextual and intermedia connections with the film “Chasing Two Hares” directed by V. Ivanov. The musical component of the film, the author of which was V. Gomolyaka, is considered. The main methods of V. Gomolyaka’s work are determined when he creates intonation characteristics of the main characters of the film (Golokhvostov, Pronya) by means of musical expressiveness. Golokhvostov has two contrasting leit-themes, Pronya — one leit-theme, which undergoes intonation changes at the end of the film. The genre and intonation coordinates of the sound landscape of the city of Kyiv have been determined, which V. Gomolyaka reproduces the motley picture of the city of the late 19th and early 20th centuries (church bells, urban folklore, klezmer music, etc.). The intonation and literary genesis of the ballet “Chasing Two Hares” by Y. Shevchenko has been clarified. The parameters of interaction of the film “Chasing Two Hares” with Y. Shevchenko’s ballet are derived: plot (introduction of the heroine Madame), genre (involving the semantics of genres: waltz, march, song, couplets, etc.), intonation (rethinking of sound models by Y. Shevchenko and ideas of V. Gomolyaka). The intertextual and intermedia connections of Y. Shevchenko’s ballet with other literary texts are traced: M Starytsky’s play “Gentleman lip without teeth, or Chasing Two Hares”, I. Nechuy-Levitsky’s play “On Kozhemyaki” and the film “Chasing Two Hares” directed by V. Ivanov and composer V. Gomolyaka. The individual author’s style of the composer is comprehended from the point of view of ","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"14 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":"127206605","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":"Genre as a Musical Sign of the Era in the Novel “Tango of Death” by Yurii Vynnychuk","authors":"I. Oliinyk","doi":"10.31318/2522-4190.2022.133.257301","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257301","url":null,"abstract":"Relevance of the study. The Ukrainian urban space and the stages of its formation is a promising and one of the most relevant vectors for the study of Ukrainian history. Nevertheless, Ukrainian cities, as centers of the formation of professional art and major cultural trends, still rarely become the subject of scientific research necessary for a holistic understanding of our history. The article deals with the novel by Yurii Vynnychuk, which is dedicated to the history, culture and musical life of the city of Lviv. Insufficient knowledge in the scientific literature of the place and significance of the musical sphere in the heritage of Ukrainian writers, in particular, Yurii Vynnychuk, forms the relevance of this article. \u0000Main objective of the study is to determine the role of musical art in the creativity of Yurii Vynnychuk using the example of the novel “Tango of Death”, to explore the semantics of the tango genre for the author of the novel, and to study and characterize the musical source, which became the central artistic object of the novel “Tango of Death”. \u0000Research methodology. The research methodology includes the use of historical, contextual, sociological, etymological, comparative typological methods, as well as the method of intertextual research. \u0000The results of directorial artifacts. The musical experience of Yurii Vynnychuk and knowledge of the history of Lviv contributed to the diversity of the musical and artistic layers involved in the novel “Tango of Death”. The main place in the novel belongs to the musical composition of the same name “Tango of Death”. Its music becomes an instrument that has the functions of a conductor of the soul with the possibility of its rebirth in the next life. Also, the music of “Tango of Death” appeals to the era itself, for which tango is the leading genre that keeps the memory of the lost generation. The musical prototype of tango in Yurii Vynnychuk's novel is the pre-war Polish hit “To ostatnia niedziela”, created in 1935 by Jerzy Petersburski and Zenon Friedwald. The analysis of the metrical structure of the syllables of the stanzas reveals the coincidence of the structure of the first part of the stanza of Jerzy Petersburgsky's tango with the stanza composed by the author of the novel. This fact may indicate the desire of Yurii Vynnychuk to generalize the image of tango through the references for the genre itself, thanks to the preservation of dance rhythms with its metric repetition. The study of the polyfunctionality of intermedial connections between the artistic text of Yurii Vynnychuk and the musical-intonation sphere of culture opens up new facets of understanding the novel and the entire literary heritage 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":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131265888","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":"Yakiv Yatsynevych: New Look at the Periodization of Life Creation","authors":"D. Chamakhud","doi":"10.31318/2522-4190.2022.133.257342","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257342","url":null,"abstract":"Relevance of research. Reconstruction of life-creation of a little-investigated Ukrainian composer Yakiv Yatsynevych is a troublesome process that demands enormous efforts. The works of T. Filenko, O. Semirozum, L. Korniy, and other researchers do not propose a solution to the problem of periodization. In this regard, it’s necessary not only to continue the studying of bibliographical events, facts and even decennaries of Y. Yatsynevych life, that were ignored by scientists’ focus, including the compositor’s music heritage in different genres, but also to generalize already gained finds of musicologists aside with own elaborations in this monographic theme. \u0000Objective of the research is to form the periodization if the artist’s life- creation on the bases of earlier unknown materials from archives in Kyiv, taking into account the external and internal factors. During the fulfillment of the mentioned tasks such methods of investigation were used: source study (search of documents in the archives of Kyiv), systematization (division and classification of founded materials), historical-chronological (streamlining and reconstruction of the compositor’s biographical way), analysis (music works studying), synthesis (joining of gained knowledges), generalization (periodization forming). \u0000Scientific novelty consists in the fact that the periodization of Y. Yatsynevych life-creation is formed in the Ukrainian musicology for the first time. Periodization is based on the author’s investigations of bibliographical documents and composer’s music heritage materials in eight volumes in Kyiv archives collected over many years. \u0000Research results and perspectives. Taking into consideration biological, chronological, social, psychological and creative age of Y. Yatsynevych, and also artist’s sociocultural, historicalpolitical peculiarities, geographical place of residence, genre diversity of his music, the universal periodization of Y. Yatsynevych life-creation is formed. \u0000 \u0000Early Period, up to 1905 (formation of the basis of composer’s creativeness, relatively uncomplicated music, narrow circle of genres): \u0000 \u0000First Phase, up to 1900 (childhood and youth years in Bila Tserkva, period of study in Kyiv, formation as conductor and composer, Kyiv artistic environment influence, music works are not preserved). \u0000Second Phase, 1900–1904 (exercising piano music, active music work in Kyiv). \u0000 \u0000 \u0000Crisis of Middle Age in Composer’s Art, 1905–1915 (absence of qualitative musical works, conducting activities, non-musical work at public offices).  \u0000Adult Period, 1915–1930 (complication of music language and genre system, exercising of chamber and amplitudinous forms, the top of composer’s creativity, embraces work in Kyiv and Odessa): \u0000 \u0000First Phase, 1915–1925 (fruitful activity in artistic and church life of Kyiv, collecting of folklore material, choir music domination, repertoire expansion of piano works and instrumental ensembles). \u0000Second Phase, 1925–1930 (heading of the arti","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"1 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":"121280993","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":"Intermedial Turn in Goethe’s Novel “The Sorrows of Young Werther”: from Sentimental Literary Centrism to the Musicalization of Literature","authors":"Iuliia Bentia","doi":"10.31318/2522-4190.2022.133.257296","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257296","url":null,"abstract":"The relevance of the study The publication in 1774 of the epistolary novel by Johann Wolfgang von Goethe became not only an outstanding fact in the biography of a still very young German genius at that time. The echoes of this event can be felt over the next several years, when this work literally turned the worldview of contemporaries, as well as in the following centuries in numerous artistic paraphrases. Obviously, the meaning of The Sorrows of Young Werther goes far beyond the purely literary sphere; therefore, its research should be approached with the appropriate tools. This key can be intermediality, which explores the processes of interspecific interaction of arts as mediums that do not compete with each other, do not strive for mutual intervention, but, on the contrary, reinforce each other’s action. The study of the mechanisms of intermediality makes it possible to go beyond the narrow professional field and determine the general cultural context of the era, which is an urgent task of modern humanitarian science. \u0000The purpose of the study is to characterize the mechanisms of interaction between literature and music in Goethe’s epistolary novel The Sorrows of Young Werther and the basic role of these mechanisms in the formation of a sentimentalist worldview. \u0000The results and conclusions. Consideration of the Goethe’s epistolary novel The Sorrows of Young Werther in the aspect of intermedial connections prompts several thoughts at the same time. First, in this novel, at the declarative level, literature retains its position as an already fully formed social institution. Literature, like art history and philosophy, is not anonymous here, but personified. In this approach, one senses an attempt at an aesthetic discussion with immediate contemporaries, the penetration of a publicistic component into a work of art, which became a powerful part of Herder’s essay sermons in the late 1760s. At the same time, music and painting appear as forms of realizing the ‘true,’ extremely sensual human nature, not reduced by various secular conventions. Werther draws, Charlotte plays the piano and sings, the ball scene is permeated with music. The newfangled hobby for folklore has determined the anonymity of musical toposes in the novel: these are ancient songs that sound accompanied by a piano, as well as popular dances—in this one can also see the influence of J. G. Herder. \u0000The entire fabric of the novel permeates and defines music as a super-idea: the music of the language and the music of novel drama with its discontinuous fragmentation and temporal fluidity. The presence of music within the story legitimizes its emotional exaltation, unpredictable syntax. The mention of singing or playing music influences the development of the storyline, the music becomes that invisible director who constructs the form of a whole literary work. The intermedial interaction of the two by nature temporal arts serves as an intensified catalyst for the ‘feelings biography","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"5 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":"127359148","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 in the Head: the Figure of Ludwig van Beethoven as an Acoustic System in Gert Jonke’s “Gentle Rage or the Ear Engineer”","authors":"S. Macenka","doi":"10.31318/2522-4190.2022.133.257294","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257294","url":null,"abstract":"Relevance of the study. Intermedial studies are an important part of modern humanities requiring literary and music studies to reprofile and set new objectives. Literary studies occupy a principal place in developing theoretical frameworks and categories of intermediality, which, as relevant papers show, are widely used by music studies. Interdisciplinary studies are particularly promising in this respect as they not only promote a more profound look into problematic musical and literary complexes but also contribute to the self-establishment of both disciplines under new media conditions. Artistic literature serves as material for discovering musical and literary connections while relying on music studies achievements. The creativity of the Austrian writer Gert Jonke (1946–2009), in particular, offers narrative strategies and inter-artistic concepts through which the writer ensures the auditory dimension of a work of literature. \u0000Research novelty lies in the specification of music and literary connections as a textual performance focusing on the embodiment of music. \u0000Research objective is to identify the main trends in contemporary musical and literary intermedial studies and, within this framework, conduct an analysis of the theatre sonata Gentle Rage or the Ear Engineer (“Sanftwut oder Der Orenmaschinist”, 1990) by Gert Jonke, stressing upon the concept of the body as an intermedium. \u0000Research methodology consists of a description of the underlying principles of mediality applied to the analysis of Gert Jonke’s drama. \u0000Results and conclusions. During the 2020 Ludwig van Beethoven anniversary year, Gert Jonke’s theatre sonata Gentle Rage or the Ear Engineer became a particularly important element of remembering-understanding the artist’s creativity. The works of the Austrian writer are notable for their particular sonority. One of the central motives is that of a head which is associated with the stage where thoughts and sounds unfold practically at the same time. The presence of sounds belongs to the sphere of contrived — it exists in the head (consequently, on stage). From an intermedial perspective, the theatre sonata Gentle Rage or the Ear Engineer (according to Beethoven’s intentions of ideal performance) emerges as a concert in which the sounds are transmitted with the help of digital piano at the moments when the monologs of the protagonist change dialogues. The sounds of sonata rendered by the electronic instruments translate the imagined music in Beethoven’s head to acoustic material, while the dramatic text is simultaneously interpreting the play with its own means. The abstract sonata conceived in mind transforms into an actual acoustic image during its staging, embodied in and through the figure of Beethoven. It is apparent that Gert Jonke considers the auditory experience of recipients and appeals to it using specific moods, harmonies, dissonances, and tempo markings. The central concept of the body as an intermedium relies on musi","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"41 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":"134312058","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":"Reception of Cultural Texts in the Progressive Rock Concept Albums","authors":"Maiia Rzhevska, V. Romanko","doi":"10.31318/2522-4190.2022.133.257306","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257306","url":null,"abstract":"Relevance of research. The special place of progressive rock among other phenomena of popular music is not least due to its semantic richness, concentration of bold artistic ideas and originality of creative solutions, which immediately transferred this layer of pop culture into the category of “music for listening”. The main achievements of progressive rock belong to a relatively short period (late 1960s — mid 1970s). However, it had a significant impact on the further development of rock music and popular music in general. Many studio albums by progressive rock bands show signs of some kind of echo with a number of specific cultural texts, as well as with the systems of cultural codes. \u0000Main objective of the article is to describe the mechanisms of the work of the cultural memory in the processes of creating a new artistic integrity by demonstrating in the creative works of progressive rock groups the projections of cultural texts related to different traditions and layers of artistic heritage. \u0000The research methods. The article is dominated by the principles of the semiotic approach, which allows us to apply to the subject of research such concepts and categories as reception, cultural memory, cultural texts, interpretation, reflection, intertextuality. \u0000Results and conclusions. The artistic value and semantic richness of the creative heritage of progressive rock bands of the “classical” period was formed in the interaction of many components, which showed itself both in dynamics, at different stages of the formation and implementation of the idea, and in the final result: a combination of compositional and dramatic characteristics and means of musical expression. In the case of conceptual albums, the initial stages are of great importance, when the mechanisms of transferring the cultural memory are started in the process of creative search. In fact, it is this that becomes the main factor ensuring the emergence of a general principle, which should unite individual fragments into a single whole. Examples of the albums by “Genesis”, “Camel”, Rick Wakeman and others, allow us to determine the effect of the reception of cultural texts in different variations: from reinterpretation with a significant transformation of the source material to subtle displays of intertextuality (intermediality). The value of the finds localized in this layer of musical culture triggered further experiments in the field of popular music (such as Sting’s albums of the 2000s), which is a confirmation of the depth of the already implemented and the limitless potential of future dialogues of cultures.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"127 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133877624","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":"Rethinking Igor Stravinsky historically and theoretically — III","authors":"V. Glivinsky","doi":"10.31318/2522-4190.2022.133.257332","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257332","url":null,"abstract":"The article is a continuation of the author’s reflections on the phenomenon of musical polymorphism (the beginning is in Vol. 124, 2019; the continuation is in Vol. 128, 2020). Stravinsky’s use of the environment, space, motion, dissonance, and Janus morphemes is considered as his inheritance from a tradition dating back to the work of his great predecessors. The musical tableau Sadko by RimskyKorsakov, the introduction Dawn on the Moscow River to Mussorgsky’s Khovanshchina, and Borodin’s symphonic poem In the Steppes of Central Asia are a clear confirmation of this. In Sadko Rimsky-Korsakov reveals himself as the founder of musical polymorphism. The multi-element polymorphism of Mussorgsky’s Dawn on the Moscow River forms the basis of the first tableau in Stravinsky’s Petrushka. In the Steppes of Central Asia is an example of a multi-elemental, polymorphic structure, recreated outside an existing object: a native caravan crossing the desert, guarded by a Russian military detachment. Its stereophonic nature appears in the displacement of the textural elements to the rear and the foreground, their spatial compression or expansion, changes to the acoustic volume, sound coloration. Introductory violins octave unison in In the Steppes of Central Asia displays its hidden timbre-polyphonic nature. In the historical perspective, this compositional discovery by Borodin foreshadows a similar approach in Stravinsky’s musical language. The timbrical layering of the unison can be traced in Dances of the Young Girls from The Rite of Spring, The Lullaby in the Storm from The Fairy’s Kiss. The rhythmic ostinato features of Rimsky-Korsakov’s and Borodin’s scores are developed by Stravinsky to the elaborated part of his musical language. The structures with more or less constant, exact repetitions are used in The Rite of Spring, Three Tales for Children, Three Pieces for String Quartet, The Soldier’s Tale, The Wedding, Symphony of Psalms.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"11 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":"127023359","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":"Memoirs as “Non-rich Smear” (Review on the Publication: Nina Oleksandrivna Gerasimova-Persidska: Interviews, Documents, Memoirs / compilers: I. Tukova, A. Gadyatska. Kyiv : Publish Pro, 2021. 328 p.)","authors":"Andriy Puchkov","doi":"10.31318/2522-4190.2022.133.257346","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257346","url":null,"abstract":"","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"82 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":"133955930","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}