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

{"title":"Donald Duck and Edward Elgar: English March in Disney Animation","authors":"Maryna Haiduk","doi":"10.31318/2522-4190.2022.133.257322","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257322","url":null,"abstract":"Relevance of the study. The interdisciplinary approach is one of the advanced methods of studying artistic phenomena in the modern science of humanities. It is especially relevant for the study of the compositions of E. Elgar, as his orchestral music has taken the place of a kind of migratory content in modern culture, which is increasingly presented not in academic concerts, but in interspecific formats of mass cultural affiliation: ceremonial events, cinematic soundtracks, different shows, etc. Scientific consideration of the process of this functional transformation of E. Elgar’s works and the nature of the interaction of his music with the visual range is a perspective and creative vector of musicology. \u0000The scientific novelty of the study. For the first time the principles of the interrelation of “Pomp and Circumstance marches” with the eponymous episode “Fantasies 2000” are described at the historical-chronological, compositional, imaginative, dramaturgical as well as intra-thematic levels. A new perspective on the artistic and genre content of E. Elgar’s marches (which are the original cultural component of the modern multimedia space) is proposed and argued. \u0000The main objective(s) of the study is to reveal the nature of the interaction of music and animation on the example of the episode about Noah’s Ark from “Fantasy 2000” with Donald Duck in the lead role and the soundtrack based on “Pomp and Circumstance marches” by Edward Elgar. \u0000The methodology is based on the principles of interdisciplinary research and concentrates on the interaction of two types of art — animation and music. The biographical-historical method, genre, and thematic methods of music analysis are used. The approach to animation is a study of the artistic features of the character, analysis of the technical features of his drawing, and characterization of the principles of visual composition and dramaturgy. \u0000Results of the study. Characteristics of Donald Duck as the main hero of the episode about Noah’s Ark from the film “Fantasy 2000” is described. In parallel, the artistic portrait of Edward Elgar as the creator of “Pomp and Circumstance marches” (which became the basis for the soundtrack of this episode) was studied. The general structure and artistic material of these works of art are analyzed. \u0000The nature of the interaction between the visual component of the animation and the thematic complex of the Elgar’s cycle of marches is studied. The following principles of interaction of music and animation are singled out and argued: affinity of forms; the relationship between mosaicism and integrity; monothematism as a structural and compositional basis of the material organization; figurative and emotional flexibility as a dramaturgical basis for development; quoting a concert ritual within the cinematic genre; features of humor; imaginational and dramaturgical parallelism. \u0000The significance of the research lies in the expansion of the array of scientific intermedia wo","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"12 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":"124824186","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":"Philosophical and Tragic Component of the Artistic Conception of Myroslav Skoryk’s Opera “Моses”","authors":"Olena Derevianchenko","doi":"10.31318/2522-4190.2022.133.257336","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257336","url":null,"abstract":"Relevance of the study. Myroslav Skorykʼs opera “Moses” is a landmark work in both the composer’s heritage and the modern Ukrainian musical theater. Inheriting the multilevel concept of the literary source of the libretto — the poem of the same name by Ivan Franko — the work causes interpretive discrepancies. In the I. Frankoʼs formulation the main theme of the work is connected with the tragedy of the personality, the leader and the biblical prophet Moses, who was called to lead the Jewish people out of Egyptian slavery. The analysis of the musical means of expressing the tragic constituent of the concept has not yet become the subject of a separate study, remaining in the shadow of the socio-political topics that are more relevant for the Ukrainian society. This determines the novelty and relevance of the study. \u0000Main objective of the study is to identify the signs of the musical embodiment of the philosophical and I. Francoʼs tragic plan of at the genre-dramatic and intonation-thematic levels of realization of the artistic concept of the M. Skorykʼs opera “Moses”. \u0000Methodology. The article uses the methods of system, genre-dramatic and intonationalsemantic analysis of musical work. \u0000Scientific novelty. For the first time the philosophical-tragic aspect of the concept of opera is specially considered, its priority is proved, the signs of intonational unity of the opera are revealed, the features of monotheism are indicated. \u0000Main results and findings of the study as well as a conclusion. The artistic concept of the opera “Moses” is read on the textual (reinterpreted b y I. Franco biblical history) and four contextual levels (allegories of Ukrainian history, religious and general philosophical, autobiographical). Disclosure of the multilevel concept is carried out by means of musical-intonational drama, built by M. Skoryk on the principle of hierarchically and logically organized spiritual-musical universe. By musical means the composer builds a system of biblical prototypes (Moses — Christ), correspondences (rebels Aviron and Dathan — evil spirits Azazel and Johavedda), symbols and subtexts (Poet and Moses in the opera as the Ivan Francoʼs alter ego) of poetic origin, spiritual and moral meanings. \u0000The intonational unity of the opera is based on the orchestral theme-epigraph from the Prologue. The main leitmotifs and characteristics of the actors are based on its modified elements. Careful elaboration of details, ingenuity of thematic work, appeal to baroque methods of revealing the sacred in the text are designed to express the concept of ontological unity of the world, genetically linked to the biblical worldview. \u0000The predominance of tragic signs on the plot (death of Moses and the rebels), dramaturgy (passion), intonation-thematic levels (catabasis, symbol of the cross) allows us to conclude about the philosophical tragedy of the genre of opera. In the aspect of revealing the tragedy of the personality M. Skoryk’s opera resonates with simil","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"69 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":"129832811","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":"“34 Preludes and Fugs” by Valentin Bibik: nnovative Features in Realization of the Compositional-Dramaturgical Concept of the Great Polyphonic Cycle","authors":"Svetlana Postovoitova","doi":"10.31318/2522-4190.2022.133.257338","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257338","url":null,"abstract":"Relevance of the article. In 1978, Valentin Savich Bibik completed his work on the monumental polyphonic cycle “34 Preludes and Fugues” opus 16, he began working on it in 1973. This composition is a continuation of the composer’s work in the polyphonic genre: in 1968, the cycle “24 Preludes and Fugues” opus 2 was written, and in 1970 two preludes and fugues opus 7 were written. \u0000A significant motivating factor for a detailed study of the “34 Preludes and Fugues” is the original musical language, the tonal, metro-rhythmic and thematic organization of the cycle. They radically distinguish it from the works of other composers in this genre. The insufficiently studied polyphonic works of Valentin Bibik determine the relevance of this study. \u0000Purpose of the article. To identify innovative features of the implementation of the compositional and dramatic concept in the cycle “34 Preludes and Fugues” by V. Bibik. \u0000Scientific novelty. In studies devoted to \"34 Preludes and Fugues\" by V. Bibik, the features of the innovations of this cycle (avant-garde techniques, the complexity of the musical language) are only ascertained; the fact of connection with Bach’s traditions is mentioned. The deep processes involved in the formation of the integrity of a large polyphonic means as well as the levels of embodiment of the composer’s concept of the cycle remained hidden behind the descriptive presentation of the fact. The article traces and formulates for the first time the main features of composer innovation in the framework of the compositional and dramatic concept of a large polyphonic cycle. \u0000The research methodology includes the use of systemic and functional methods. \u0000Main results and conclusions. V. Bibik’s “34 Preludes and Fugues” demonstrate an innovative version of the interpretation of the polyphonic cycle, due to the original combination of modern techniques with polyphonic principles and methods of development. The most significant innovations in the cycle are the rejection of the functionally centralized ladotonal system, the original interpretation of metrorhythmic organization and the specifics of the theme, which, in turn, led to significant transformations at all stages of fugue formation. In addition to these features of innovation, the cycle has deep internal connections between the elements, from the moment of creating the theme to the formation of the integrity of the cycle.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"21 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":"116542900","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":"Intermediate Space of Andriy Lyubka’s Novel “Your Look, Chio-Chio-san”","authors":"Tetiana Kohut","doi":"10.31318/2522-4190.2022.133.257299","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257299","url":null,"abstract":"Relevance of the study. In the modern Ukrainian scientific space, intermediality is widely developed in literary studies in various directions. The study of this phenomenon seems to be one of the most relevant and promising areas for musicology, which has a specific analytical toolkit that can reveal the deep meaning of the musical component of the text. Scientific novelty of research. The novel by the сontemporary Ukrainian author Andrei Lyubka “Your Look, Chio-Chio-san” for the first time becomes the object of musicological research and is considered in the context of intermediality. Main objective of the study – to consider the intermedial space of Andriy Lyubka’s novel “Your Look, Chio-Chio-san”, revealing in it different levels of connections of the verbal text with the opera by G. Puccini. Methodology. In the process of identifying literary and musical ties, an intermedia approach that is relevant in modern literary criticism and musicology was used; comparison of various parameters of the opera and the novel led to the use of the comparative method; to consider the musical component and its meaning in the verbal text, the method of intonation analysis was used. Results and conclusions. In A. Lyubka’s novel “Your Look, Chio-Chio-san” there are various channels of intersection of musical and verbal texts, presented through: figurative plot associationsparallels; musical markers: Chio-Chio-san’s aria “Un bel dì, vedremo” – like a sound trace of the main character; the voice of Maria Callas, woven into the canvas of the text as another means of intermediacy; a detailed description of the performance of the opera, covering the key moments of its drama (characterized by a deep reading of the musical series, in particular – its genre and intonation genesis). Opera by G. Puccini is presented as an extremely important semantic and compositional core of the novel.","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":"124364006","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":"Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century","authors":"Marijana Kokanović Marković","doi":"10.31318/2522-4190.2022.133.257328","DOIUrl":"https://doi.org/10.31318/2522-4190.2022.133.257328","url":null,"abstract":"As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"40 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":"134106661","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 Cadences in Vocal and Choral Music of the Seventeenth Century (on the Example of Giovanni Palestrina’s Motets)","authors":"Svitlana Gomeniuk","doi":"10.31318/2522-4190.2021.132.250002","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.250002","url":null,"abstract":"The relevance of the study. The traditional idea of a cadence as a primarily harmonic phenomenon does not completely correspond to some musical styles, including Renaissance and early Baroque. Revealing the polyphonic essence of cadences in vocal works of the Renaissance, which is the aim of the article, allows deeper understanding peculiarities of musical thinking of that period. \u0000 Scientific novelty. The historical approach to the analysis of cadences is quite common in foreign musicological works; this approach is still new for Ukrainian musicology. The research material is also new: the cycle of motets by G. Palestrina on the text of “Song of Songs” was unfairly ignored by Ukrainian and foreign scholars. Thus, the study is relevant both in relation to the method and in relation to the musical material involved in its approbation. \u0000The purpose of the article is to show the specifics of cadences in the style of a strict counterpoint using the motets from the cycle “Canticum Canticorum” by G. Palestrina, to reveal the role of cadences in the modal and compositional processes of a Renaissance work. \u0000Research methods. The study systematizes the data obtained as a result of the analysis of the cadences of G. Palestrina’s motets, thus, the main research method is inductive. \u0000The main results and conclusions of the study. Cadences in vocal polyphony of the Renaissance have a polymelodic nature, which is realized by combining typical melodic turns (clausulae) in different voices. The clausulae order in the voices and their completeness degree are effective criteria for the classification of cadences (e. g. the classification by E. Rotem). Cadences in which the main clausulae are presented in full (i. e. contain ultima and penultima) are strong. Cadences in which one or more clausulae are incomplete are weak. The role of strong and weak cadences in the composition is different: strong cadences are placed at the nodal points of the piece, they have a dividing function; weak cadences are placed in the middle of the text line and they have a connecting function. Strong cadences are the norm, while weak ones violate the norm, revealing the author’s ingenuity. There are a few ways to weaken the cadence: replacing the ultima with a pause or a different sound, distributing the clausula between several voices, extending the melodic line of one of the cadence voices, etc. Weak cadences significantly outnumber strong cadences. In the Dorian motets from the cycle “Song of Songs” by G. Palestrina weak cadences play an important role in the formation of the mode within the sound scale, as well as in revealing the meaning of the verbal text.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115797276","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":"Sonoric as a Compositional Technique the Attempt of Critical Analysis","authors":"Iryna Tukova","doi":"10.31318/2522-4190.2021.132.249969","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249969","url":null,"abstract":"Relevance of the study. Sonoric is a widespread definition in Post-Soviet countries musicology. However, it is the only one in the system of contemporary compositional techniques that does not have English analogue. This fact conditioned to a number of questions related to this technique: what English terminology should be used as an analogue of sonoric or sonoristic? Why is there no such compositional technique as sonoric in European (with the exception of Poland) and American musicology? Is sonoric a compositional technique? The actualization of these issues makes it possible to solve both terminological problems and partially approach to the creation of a complete theory of contemporary composition techniques. \u0000The purpose of the study is to attempt to identify the structural core of sonoric as a compositional technique, the parameter (or parameters) of tone or noise material, for which organization it is responsible. \u0000Methods. This article is based on the method of systemic analysis of phenomena, general methods of theoretical research (analysis of a term, its semantic boundaries, correlation with other concepts), as well as specific musicological methods of a musical text analyzing. \u0000The results and conclusions. The authors of the theory of the sonoric compositional technique (Yu. Kholopov and A. Maklygin) suggest its use both in a general (a certain quality of concords) and in a narrow sense (a compositional technique that operates with timbre mass). In the process of a critical analysis of the concept of sonoric, it was noted that there are no precise criteria for distinguishing between the sound phenomena described by sonoric. Its methodological underpinning is based more on the elements of psychoacoustics and the theory of perception (without the direct use of the methods of these sciences) than on the theory of music. This thesis is proved by comparing the concepts of sonorically colored harmony and sonoric harmony. Postulating a reliance on synesthesia, the sonoric proposes to use a set of subjective associations to describe a sound phenomenon, relying on imaginative rather than technological characteristics. The analysis of sonoric texture types showed that point, line, spot, stripe, etc. are not original ways of tone and noise sounds organization, but are based on various combinations of pointillistic, cluster, polyphonic, micropolyphonic tools. Based on this conclusion, the idea that sonoric formations are not technically unique is formed. Such sonoric texture types are created by using a certain set of methods typical for various compositional techniques.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127970450","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":"Compositional Technique as a Language Mechanism: from Rule to Sound","authors":"Oleksandr Zharkov","doi":"10.31318/2522-4190.2021.132.249945","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249945","url":null,"abstract":"Relevance of the study. lies in study of the concept of “compositional technique”, identifying its specificity as a linguistic mechanism. The technique of composition is functioning between language and text and thereby finds its concretization at the level of the composer, his thinking and style. In the typological similarity of the elements of each technique and, at the same time, in constant renewal, the understanding of the composition technique as a tradition is manifested, which seems essential for understanding the development of music in the 20th — early 21st centuries. The analysis of technique reveals its participation in the process of transition of language into speech at the moment of creating a certain work, which is also extremely important in modern musical culture. \u0000 Scientific novelty. For the first time in Ukrainian musicology composition techniques have been analyzed in the aspect of language and the functioning of technology as a linguistic mechanism has been investigated. \u0000 The purpose of the study is to analyze the specifics of the composition technique as a linguistic mechanism, the peculiarities of its functioning in the creative process in the linguistic aspect, to consider typical techniques in well-known established techniques as the corresponding rules for the embodiment and development of the material. \u0000Methods. The research is based on systemic and functional methods. \u0000The results and conclusions. The study of the composition technique in the aspect of the musical language allows us to renew our understanding of its specifics. The moment of selection of parts and the rules for their further combination emphasize the “general” nature of the composition technique. Being between language and text, technology functions as a linguistic mechanism, out of all the variety of a huge number of elements of the language, choosing only “its own” number, limits and concretizes the possible combination of these elements. The systemic nature of the compositional technique determines the functionality of the parts of each technique. With all the difference in established techniques, it is the functionality of the elements that reveals the general nature and similarity of processes in each technique. \u0000Significance of these results consists in the statement of the fact that reception in technology due to repetition and recognizability becomes the rule, offering options for its embodiment. The typing of techniques is very important for the composition technique. Simultaneously, each new incarnation of this technique renews and develops it.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121491514","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 Symbolism of the Caravaca Cross in the Work “Crux Christi Salva Nos” by Szymon Godziemba-Trytek","authors":"Szymon Godziemba-Trytek","doi":"10.31318/2522-4190.2021.132.249996","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.249996","url":null,"abstract":"Relevance of the study. The author’s commentary of Szymon Godziemba-Trytek concerns the role of sacred symbol in his work “Crux Christi Salva Nos” for mixed choir, soloists, horns, double basses and percussion (2017). This study for the first time acquaints the Ukrainian audience with the creativity of a modern Polish composer, who fruitfully works in the field of symphonic, chamber, and especially vocal and choral music. \u0000 Main Objective of the article is to show the author’s way of interpreting sacred symbols in the composition and drama of his work; to reveal the role of a symbol as a tool for integrating a composition into an intercultural context that arises on the basis of musical and extra-musical listening experience. \u0000Methodology/How the study was done. The empirical and analytical methods used in the research reflect the two sides of the author’s activity — he is a composer and a scientist. From the Christian symbol of Caravaca Cross that inspired him — to the compositional idea and its implementation in sounds: these are the stages of the creative process described in the article. \u0000 Results/Findings and Conclusions. The composition of the work «Crux Christi Salva Nos» was determined by two aspects of the European Christian symbol Caravaca Cross — its graphics and the history of its existence in culture. The external feature of the Caravaca Cross is the mnemonic signs applied to its surface, they fix the sequence of prayer lines. The sequence of the placement of these signs forms the architectonics of Godziemba-Trytek’s musical work. The symmetry in the arrangement of the signs corresponds to the symmetry of the music composition. In the history of the existence of Caravaca Cross in European culture, the composer is most attracted by the emergence of various religious cults associated with it. They origins often are in folklore. Reflections on the process of acceptance of theological ideas among the people led the composer to some decisions in the field of drama, performing resources, stylistics. Specially, composer use the text of the Polish traditional Lent Song as the epilogue of his work. This epilogue becomes the quiet climax of the composition. The choir’s location and the way haw it is used in the work are also symbolic: within each subsequent movement, the choir is situated closer to the listener. Stylistic means reflect the idea of giving the dogmas of faith a human dimension.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123995711","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":"Performance Composition of Johann Sebastian Bach’s Motets: Hypotheses and Discussions","authors":"Dmytro Savon","doi":"10.31318/2522-4190.2021.132.250006","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.132.250006","url":null,"abstract":"Relevance and scientific novelty of the selected topic of the research. The issues of the performance of J. S. Bach's motets has not been considered in Ukrainian musicology before, and in creative practice it has been decided unequivocally: choirs sang motets a cappella. However, in the world practice of motets today there are three variants of performance: in addition to singing unaccompanied, motets are performed with basso continuo (organ), as well as with basso continuo accompanied by instruments that duplicate choral parts (colla parte). The revision of performance approaches in world concert practice took place in parallel and, apparently, due to scientific achievements in the history of music, source studies and related fields. Cognitive was the discussion of the performance of Bach's motets, which for a long time (since 1904) unfolded in the Germanspeaking musicological environment. A thorough analysis of the historical context, the text of the motets, the connection with the performing practice, and on the other hand — the limited opportunity to get acquainted with German-language materials determine the relevance of this article, which systematizes the arguments and counterarguments of this controversy. \u0000 The aim of the article is to consider the arguments of German scientists (Konrad Ameln, Klaus Hofmann, Alfred Heuss and others) on the tradition of performances of motets by J. S. Bach, to draw the attention of the performing and scientific community to the possibility of the existence of different versions of the performing composition in these works; emphasize the need for a performing search in the field of baroque music, in particular, in those aspects, which in the classicalromantic tradition are considered unambiguously fixed in the musical text. \u0000The following methods were used in the study: historical (analysed the dynamics of changes in the performing tradition of Bach's motets), the method of generalization (based on the study of musicological literature generalized arguments in favour of three types of performing motets). \u0000Main results and conclusions. Based on the analysis of information from German-language musicological research, it is stated that in the time of Bach there were three types of performance for his motets: 1) a cappella, 2) with basso continuo, 3) with basso continuo and instruments colla parte. Arguments for each type are systematized depending on whether they come from the study of historical context (external) or based on the study of the original musical text of motets (internal). It is noted that the plurality of variants of the performance composition allowed in today's practice should be realized by the conductor, who should not unconditionally accept the performance version proposed in the motets edition as the only correct one. The choice of performance is made by the conductor depending on the specifics of the performance situation.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"142 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115905105","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}