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

{"title":"Academic Performing Traditions of Chilean Guitar Art","authors":"T. Filatova","doi":"10.31318/2522-4190.2021.131.243205","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243205","url":null,"abstract":"The relevance of the article lies in the systematization of the phenomena of the Chilean academic guitar art, the study of the national origins of the performing school, its principles, achievements, transcultural processes and their mutual influences, which led to the popularization of the instrument on the Latin American continent.\u0000The purpose of the article is to create an overview panorama of the development of the academic traditions of Chilean guitar performance, to identify trends in the formation and genealogy of successive ties between generations of soloists.\u0000The methodology includes methods of historical, systemic, as well as comparative analysis (for contextual consideration of the creative activities of famous performers, the formation of a national guitar school, the detection of successive ties between different generations of musicians, the study of the influence of the Spanish academic tradition, Latin American everyday practice of playing and the specifics of playing music on ancient guitar-like instruments of the Baroque era).\u0000Results and conclusions. The cultural and historical panorama of the formation and development of the Chilean academic guitar school of the 20th— early 21st centuries is investigated. The principles and main vectors of the pedagogical activity of its key representatives — Liliana Perez Corey, Luis Lopez, Oscar Ohlsen are characterized. A “genealogical tree” of creative contacts and successive ties between guitarists of different generations has been built. It is concluded that the academic traditions of the Chilean guitar music of the 20th century were formed in the general direction of the development of transcultural phenomena. The performing discourse developed in a complementary way: under the influence of the most famous Spanish classical guitar school that dominates the world (F. Tarrega, A. Segovia, E. Pujol); in the conditions of indirect interaction with the Latin American everyday practice of playing (Argentinean, Uruguayan, Chilean) and the experience of playing music on ancient authentic European instruments (lute, vihuela, baroque guitar). It is noted that as a result of the intensification of creative exchange in the institutional, concert, and festival spheres, at the end of the twentieth century, a representative generation of virtuosos and teachers of classical guitar arose in Chilean culture. Chilean guitarists, no matter in which of the spheres their personal interests were fixed — European old, classical-romantic, modern music or Latin American popular, folklore tradition — put forward the creativity of their compatriots and contemporaries to the leading positions. The appearance of a large number of albums of Chilean guitar music performed by J. A. Escobar, J. Contreras, M. Valdebenito, J. A. Sanchez, L. Orlandini, E. Espinoza, E. Salazar, D. Castro is evidence of close and effective cooperation between virtuosos and domestic composers.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126142918","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":"Symphonic Volume in the Symphony-Requiem by Bohdana Frolyak “Pravednaya Dushe”","authors":"Yuliia Volovchuk","doi":"10.31318/2522-4190.2021.131.243231","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243231","url":null,"abstract":"Relevance of the study. The article is relevant as it studies the works of Bogdana Frolyak, who is a popular contemporary Ukrainian composer. Her music attracts the attention of performers and researchers and reflects the current trends of contemporary art such as musical language, new forms of choral sound, synthesis of genres. The Requiem Symphony “Righteous Ssoul” (lyrics by T. Shevchenko) is an example of a complex multidimensional nature genre renewal. Therefore, lack of research devoted to this work outlines a scientific novelty of this article.\u0000The objective of the study is to identify the features of symphony in the symphonyrequiem “Righteous Soul” by B. Frolyak.\u0000The research methodology is based on the interpretation analysis method proposed by V. Moskalenko. The concept of A. Adamyan is used to study symphonic principles.\u0000Results. Analysing the requiem symphony “Righteous Soul”, it was determined that the leading role is devoted to chorus, which serves as a main mean of expression. The choir is regarded as a symbol of collegiality and stands in as an active participant in the formation of musical thought and sounds through almost the entire opus (except for two vocal episodes). T. Shevchenko’s poetic lines are entrusted to mixed chorus and embody a main idea of the work. Choral fragments serve various functions starting from the creation of a harmonic background to being a main storyteller. At the same time, B. Frolyak’s composition realizes symphonic principles, which display themselves at different levels of organization of musical material. Symphonic patterns are expressed in timbre-textured and thematic connections, cross-cutting development, national instrumentation color and intonation transformations of themes. The composer’s principle of artistic thinking reveals parallels with the symphonic concept developed by A. Adamyan.\u0000Conclusion. A special genre multidimensionality is expressed in the symphony-requiem “Pravednaya Dushe”. B. Frolyak enriches the semantic layer of the work due to the features of the requiem. Composer takes an advantage of the cathedral’s choral sonority rich possibilities and uses the symphonic intonation and dramatic basis. At the intonation level, she unites all these features with the help of solospiv (solosining) — a musical symbol of Ukrainian nation. Finally, unique synthesis of supersubstantial spiritual and philosophic ideas with universal (symphony, requiem) and national characteristic (solospiv) genres makes B. Frolyak’s work one of the most original in the series of Ukrainian choral symphonies.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130285048","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":"Interpretation Strategies of Contemporary Musical and Theatrical Art: Trends, Factors","authors":"Olga Solomonova","doi":"10.31318/2522-4190.2021.131.243224","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243224","url":null,"abstract":"Relevance of the study. The modern interpretive content main tendencies of the European and Ukrainian musical and theatrical art were analyzed. Forms of interpretation being were considered in the coordinates of the “composer-listener-performer” triad in the aspect of its correspondence to its time artistic intentions.\u0000The scientific novelty of the study is in the analysis of innovative projects most of which are not adapted to musicology and in the formulation of trends and factors of modern musical art’s interpretive policy.\u0000Main objective of the study is to determine the specifics and factors of the modern interpretations of a musical and theatrical art.\u0000Methodology. The following methods have been adapted: the interpretive — in relation to the analyzed opera projects; the hermeneutic-semantic — for the purpose of identify the interpreted works’ intonation-image specificity; the comparative — to juxtaposition the “interpretive behavior” of one work in different performance versions; the intonation-dramaturgical analysis — to study the specifics and factors of works’ interpretive versions.\u0000Results and conclusions. The modern interpretive reality initiates the emergence of radically new and the consolidation of existing non-standard trends in the work’s representation. These are: the instrumental performing theatricalization, significant expansion of the improvisation’s zone, abandonment of the opera genre canons with an emphasis on synthetic genres of performative nature and the use of bold audio, scenographic, color and light effects. The modern interpretative main trends are the actualization, the alienation and the emergence of working remote versions, the encroachment on the textual and intonational essence of a known work by adding the new material (the integral opus or the fragmentary inlay), the emergence of modern composer’s alternative role which is a co-author of a new hybrid product thanks to the connection to the work of the past.\u0000Findings of the research. The specifics and factors of work’s variant-interpretive realization are analytically argued. The main factors are the genre-intonation specificity, the synthetic and intertextual nature, the complexity and synergy of text semantic intentions, the recipient’s culturalhistorical awareness, the socio-cultural intentions’ balance of the author and his artistic will performers, the degree of text openness, the context.\u0000Prospects for further exploration in this direction. The following research areas are needed: 1) the development of new methods and terminological apparatus suitable for the modern artifacts’ analysis; 2) the analytical base’s expansion due to: a) the further accumulation of examples, b) the scientific adaptation of various genres’ works.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114166860","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":"Sound Embodiment of Rene Eespere’s Piano Cycles: Experience of Performance Analysis","authors":"S. Pylypenko","doi":"10.31318/2522-4190.2021.131.243222","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243222","url":null,"abstract":"The novelty of the article lies in expanding knowledge about the contemporary outstanding musicians using the example of the performance analysis of the piano cycles of the Estonian composer Rene Eespere in the context of their sound embodiment.\u0000The purpose of the article is to identify the specificity of the sound embodiment of R. Eespere’s piano cycles: “4 ostinato” and “24 preludes” (first book).\u0000The research methodology is based on an integrated approach that combines the principle of musical-theoretical and performance analysis, which are necessary for solving the tasks set in the article.\u0000Results and conclusions. The article examines the creativity of the Estonian composer Rene Eespere on the example of his piano cycles “4 ostinato” and “24 preludes” (first book). The paper detects the key tasks that arise before the performer and contribute to the sound embodiment of the proposed compositions. The basis for this research was the personal performance experience of the article’s author; work in the class of Professor S. Yushkevich; audio and video recordings of piano cycles, as well as direct communication with R. Eespere in the format of electronic correspondence. The article reveals the main features of his composer style, which synthesizes the traditions of Western European and national culture. In addition, the work shows R. Eespere’s gravitation towards minimalism in music. Ostinato is a characteristic manifestation of the composer’s creative thinking in these piano cycles. This compositional technique determines the different emotional orientation of each piece. The article also examines the variants of texture formulas in the proposed piano opuses, which require mobility from the performer in changing pianistic techniques. Analytical study of these works made it possible to identify the following performance tasks: the stability of intricate rhythmic complexes, subtle dynamic nuances, timbre variety, moderate pedalling, as well as the use of expressive key touch. In general, the sound embodiment of the piano cycles of the Estonian composer R. Eespere brings out new facets in understanding of musical context and contributes to the formation of a performance experience so valuable for the development of modern piano art.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133807178","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":"Maxim Shaligin’s Ballet “Hopper”: at the Crossroads of Interspecific Interpretation and Artistic Translation","authors":"Veronika Zinchenko","doi":"10.31318/2522-4190.2021.131.243227","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243227","url":null,"abstract":"Relevance of the study. Maxim Shalygin’s ballet “Hopper” is for the first time explored both from the point of view of its genre and intonation specifics, and in terms of interspecific connections with the painting by American artist Edward Hopper “Morning Sun”.\u0000The author’s methods of interspecific literary translation of E. Hopper’s style are revealed by immanently intonation means. The expediency of using the definition of intermedial interpretation, which is a kind of interpretation by composer of a work of a related art form by means of interspecific literary translation, has been substantiated. The relevance of the study is due to the first scientific appeal to the ballet work of the Ukrainian-Dutch composer Maksim Shalygin (1985) in the context of an intermedia composer’s interspecific. An analytical study of M. Shalygin’s ballet \"Hopper\" with an emphasis on identifying the specifics of the transplantation of E. Hopper’s style into the genre-intonational essence of ballet provides the innovative status of the presented study.\u0000The main objective of the study is to reveal the interpretational specifics of M. Shalygin’s ballet “Hopper” in the aspect of intermedial interpretation. Based on the study of the artistic style of E. Hopper (in particular, his painting “Morning Sun”), the features of the composer’s work on the “translation” and transplantation of the artist’s style into the immanent-musical plane (the model of “pictorial music”) are investigated.\u0000The following research methods are adapted in the work: the comparative method (to compare the genre features of M. Shalygin’s ballet and E. Hopper’s painting), the method of genre-intonation analysis — to highlight the immanently musical specifics of ballet; the method of theoretical generalization — for understanding the tendencies of the composer’s work in the intermedial space.\u0000Results. In the course of the research, it was found that M. Shalygin, who displays a tendency to-wards intermedial artistic thinking in his work, creates in the ballet “Hopper” an interpretation and sound commentary on the painting by E. Hopper. An important feature of the ballet is the process of transformation at all levels of genre-intonation organization. It is a partial rethinking of the themes of his already existing work “Duet” with the transformation of a non-ballet work into a ballet one proper, and, if we take into account the author’s title of the work “Serenade”, a transformation of the serenade`s genre, which in the process of development loses its real genre coordinates, and, occurrence intonational “transformers” from two ballet themes, each of which represents the main features of E. Hopper’s work (clarity of lines, playing with the light’s).In the process of intermedial interpretation, the phenomenon of “musical painting” is born, which realizes the artistic translation of the American artist’s style by means of music. Thanks to finding musical and intonational equivalents to the main stylistic f","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126346935","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":"Motet “Jesu, Meine Freude” by Johann Sebastian Bach: Comparative Analysis of Editions of Musical Text","authors":"Dmytro Savon","doi":"10.31318/2522-4190.2021.131.243229","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243229","url":null,"abstract":"Relevance and scientific novelty of the selected subject for the research. In the Ukrainian musicology, the motets written by Johann Bach were mainly studied from the compositional means standpoint, considering the system of polyphony, the role of chorale and fugue in dramaturgy as well as the composition of works. Scientists have not previously researched the motets performance specificity. Meanwhile, motets, particularly the one reviewed in the article “Jesu, meine Freude”, are among the most frequently performed works of the choral repertoire. For the first time in the Ukrainian musicology, three edited versions of the motet “Jesu, meine Freude” are analyzed from the standpoint of historically oriented performance. Based on the study of editors’ comments and source literature (mostly German), the question of compliance of the musical text with the task of performing reconstruction of the baroque vocal and choral style was studied.\u0000The aim of the article lies in the need to find out specificity of the editors’ interpretation of motet “Jesu, meine Freude” written by Johann Bach and suitability extent of different edited versions for the historical reconstruction of the vocal-choral style of the German Baroque.\u0000During the development of particular article, such methods were utilized: historical — the history of edited versions of “Jesu, meine Freude” motet was traced, comparative — the comparative analysis of three edited versions of motet “Jesu, meine Freude” written by Johann Bach (Franz Wulner, Konrad Ameln and Mykhailo Berdennykov) was completed.\u0000Main results and conclusions. According to the completed comparative analysis, the first two of the three considered edited versions are textual, while the third one is adopted for performing. Textual versions are characterized by the preservation of the composer’s text in the smallest details, including comments to clearly identify the extent of changes made by the editor in the text. The peculiarities of the version adopted for performing contain the large amount of remarks added by the editor, covering dynamic shades, strokes, tempo notation, etc. It is noted that the choice of version type is determined by performance goals: to perform the works of Johann Bach in an authentic manner, the conductor should focus on facsimile versions, and if they are absent (as in the case of the “Jesu, meine Freude” motet), the one should use textual type of edited versions. The version developed for performing cannot correspond to the authentic performing, as the first does not reflect specific tendencies of the time when it was created. It is specified that the conductor should be familiar with the peculiarities of fixing the means of performance in the musical text of the Baroque era.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128262606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Piano Trio by Amanda Maier in the Context of Genre Evolution","authors":"Ya.O. Serdiuk","doi":"10.31318/2522-4190.2021.131.243217","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243217","url":null,"abstract":"The relevance of the study. The name of Swedish composer and violin virtuoso of the Romantic era Amanda Maier-Röntgen is virtually unknown in Ukrainian musicology. Her work was forgotten for long time and rediscovered by European (particulary Swedish) and American musicians. But at one time she was the first woman who received the title of “Musik Direktor” after graduating from the Royal Academy of Music in Stockholm. She also perfected her performing and composing mastership in Leipzig, her work was praised by critics and leading European musicians: E. Grieg, J. Brahms, K. Schumann, with whom A. Maier maintained creative contacts. Existing research in European and American musicology considers basically only biography and performing activity of A. Maier, not her composer style or genre-stylistic and compositional features of her works.\u0000The main objective of the research is to consider the stylistic parameters in chamber music works by A. Maier, in particular, her interpretation of the piano trio genre.\u0000The methodology of the study is based on the main methods of music science: compositional, harmonic, polyphonic, intonation genre-stylistic analysis, historical-comparative method.\u0000The main findings and conclusions of the study. The Trio in E flat major by A. Maier embodies both the most characteristic features of this genre that have developed in the works of classical composers, and the achievements of Romantic composers of the Austrian-German school of the first half of the nineteenth century, and the latter have priority in this work. Continuity with classical traditions can be traced in the four-part structure of the cycle, which has become typical for the trio genre, beginning with the works by L. van Beethoven; in specific techniques of ensemble writing (unison presentation of the initial theme with all instruments, dialogicity — comparison of the sound of ensemble tutti and solo piano; elements of imitation in strings part; polyphonic work with themes in development). Fundamental role of lyrics, reliance on the song and romance intonations, the kinship of themes within each of the parts, end-to-end thematic development, and thematic arches between the movements in composer thinking of A. Maier comes from Romanticism.\u0000Among the individual features inherent in the Trio A. Maier — laconic composition, plasticity of melodic lines, exceptional fluidity and coherence of form, which is achieved due to intonational similarity of the themes, openness of the syntactic structures or veiling of the cadences, organicity of the modulation transitions; dynamism of the developing sections. Also, some melodic and harmonic elements of the Trio (for example, in the themes of the middle sections of Scherzo and Andante) hint at the Scandinavian national folklore. Amanda Mayer's trio represents the best achievements of the romantic stage in the evolution of the genre: your embodiment of classical traditions together with the disclosure of personal lyrical and p","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128717058","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 Dimensions of Musicology of the 21st Century: the Experience in Modelling the Interpretative Theory of Musical Communication","authors":"Yuliya Nikolayevska","doi":"10.31318/2522-4190.2021.131.243200","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243200","url":null,"abstract":"Relevance of the study. The relevance of the topic is associated with the formulation of the basic principles of the theory of musical interpretation in its interpretative dimension.\u0000Novelty. The novelty of the research lies in the understanding of musical communication as an interpretative phenomenon.\u0000The purpose of the research is to propose a model of the interpretative theory of musical communication for the development of the existing concepts.\u0000Methodology. Based on the research in modern humanities (M. Bakhtin, J. Habermas, H. Gumbrecht, S. Zizek, M. McLuhan, E. Levinas, J. Austin, D. Sperber, U. Eco), the theory of musical communication (E. Turner, A. Yakupov, V. Medushevsky, B. Syuta) and the theory of musical interpretation (Jean-Jacques Nathiez, T. Adorno, J. Brele, H. Danuzer, E. Gurenko, N. Korikhalova, V. Medushevsky, V. Moskalenko, L. Shapovalova, A. Samoilenko) a new look at the artistic processes of the 20th and early 21st centuries has been proposed. The main is the modeling method.\u0000Results and conclusions. For the development of the classical and relevant theories of communication (the main difference of the first is the recognition as the central element of the system the composition as a code, the essence of the second — the existence as the central element of a “musical-communicative event” and attention to the intentions of the communicants, the context of events, which determines their adequate understanding), the model of the interpretative theory of musical communication, in which both approaches are combined, has been introduced. We have introduced into the conceptual apparatus of musical science the type of Homo Interpretatus, which is the creator of a new modern musical reality and can be designated as a summary image of a person who, in the process of musical activity, manifests the dominance of interpreting thinking (in the unity and variety of the functions “composer — performer — listener — researcher”). The concept of “communication strategy” has been proposed, which is understood as the conscious action of the communicant (the intention directed at the Other in the process of creative communication). The typology of communication strategies has been presented: taking into account the type of creative activity (composing, performing, researching, listening) and based on their different forms of working with the material / text, as well as the focus on perception (in particular, idioethnic, modelling, actualizing, integrating, the strategy of style divergence / convergence, active, passive, total randomness, etc.).\u0000Significance. The significance of the results lies in the systematic presentation of the positions of the interpretive theory of musical communication, which opens up prospects for further research on the interpretive processes of the 21st century.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"286 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114480940","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":"“Why Are They Afraid?” (Interpretation of the Later Piano Work by Valentyn Sylvestrov)","authors":"Oleg Bezborodko","doi":"10.31318/2522-4190.2021.131.243208","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243208","url":null,"abstract":"Relevance of the study. Piano works written by the outstanding Ukrainian composer Valentyn Sylvestrov over the past two decades, in their totality, represent a unique phenomenon in Ukrainian and, possibly, world musical culture. Its uniqueness is primarily provided by such obvious properties as a huge volume, genre integrity and stylistic unity. The special requirements of the composer for the performers of these works, the specificity of their prevailing existence not on the concert stage, but in semi-amateur author’s “home” recordings, determine a whole complex of philosophical, musicological, cultural and interpretational problems awaiting their theoretical and practical solutions.\u0000The purpose of the study is to reveal the specifics of the performing reception of the later piano work by V. Sylvestrov through the prism of the categories of subjective and objective performance, on the basis of many years of experience in performing the works of the composer by the author of the article.\u0000The results and conclusions. Piano music is the quintessence of the composer’s later style, the center of attraction for his creative aspirations. Despite the seeming simplicity and the absence of technical virtuoso tasks, the later piano work of V. Sylvestrov poses certain interpretation problems for the pianist. The composer, with the help of numerous instructions, determines the special pronunciation of the musical text, which is characterized by the obligation for the performer and stylistic constancy. In bagatelles — these musical moments and insights — the subjectivity of the lyrical expression is achieved by the total restriction of the performing freedom, which is traditionally the defining quality of the subjective performing style. V. Sylvestrov’s careful writing of all performing designations deprives the pianist of the possibility of his own subjective reading. The composer objectifies the subjective, objectifies the implicit essence of pianistic art in an effort to stop the musical moments-insights presented to him from above.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124848368","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":"“Tollers Zelle” by Anna Korsun: at intersection of Musical Interpretations","authors":"Nataliya Hnativ","doi":"10.31318/2522-4190.2021.131.243212","DOIUrl":"https://doi.org/10.31318/2522-4190.2021.131.243212","url":null,"abstract":"Relevance of the study. Exploring the music of Anna Korsun, who at the moment is one of the most famous, titled and most promising young composers in Europe, the author of the article emphasizes that this allows to learn about the latest processes in European academic music. Considering A. Korsun’s Ukrainian origin, this kind of research is especially important for Ukrainian musicology.\u0000The small number of publications, the almost complete absence of scientific works about the composer’s creativity in general or about her specific composition determine the novelty of this article, devoted to a detailed analysis of the “Tollers Zelle” for electric guitar and soprano. This is one of the last vocal works of A. Korsun.\u0000The main objective of the study is to identify the musical interpretive potential of the vocal piece “Tollers Zelle”.\u0000The methodology in the article is based on methods of structural, linguistic and comparative analysis.\u0000Results. The vocal piece “Tollers Zelle” was written by A. Korsun as an assignment with the obligatory condition of using the text based on some specific poem. The composer placed the text of the selected poem by E. Toller at the end of the work immediately after music and chose the life and creativity of the poet in general as the basis of the image system of the piece. According to the mind of author of this article, the content palette of the work consists of images of stupor, pain, solitude, disorder of consciousness, that are realized through dissonant verticals, glissando technique, expressive character of performance, transformation of electric guitar sound into a voluminous, rattling, and cold one with elements of playfulness using a glass and a toy musical box, making a voice close to the sound of an electric guitar. Versions of almost all performers of “Tollers Zelle” differ in some more loose aspects (the pitch and rhythm lines are non-fixed precisely, tempo “ad libitum”) and are close in basic elements — manner of playing and singing, dynamics.\u0000Conclusions. The vocal piece “Tollers Zelle” can be analyzed in aspects of composer’s, musicological and performer’s interpretation. The composer’s interpretation demonstrates an original solution of the assignment condition, that indicates the non-standard thinking of A. Korsun within her aesthetic principles. Musicological interpretation by author of this article finds the main images and musical technical aspects of the piece “Tollers Zelle”, its inclusion in the A. Korsun’s individual style and also the closeness of almost all performer’s versions of the piece.","PeriodicalId":143313,"journal":{"name":"Scientific herald of Tchaikovsky National Music Academy of Ukraine","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129678761","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}