Scientific collections of the Lviv National Music Academy named after M.V. Lysenko最新文献

{"title":"About the choral concert «Ne otverzhi mene vo vremia starosti» by Andriy Rachinsky","authors":"Olha Shumilina","doi":"10.33398/2310-0583.2019.44.5.18","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.44.5.18","url":null,"abstract":"In the article the concert «Ne otverzhi mene vo vremia starosti» is studied\u0000by A. Rachinsky, whose choral score has just been reconstructed from the\u0000vocal parties of the manuscript collection of party works. The purpose of the\u0000article is to keep track the influence based on the material of the concert «Ne\u0000otverzhi» of A. Rachinsky's spiritual works written in a new style on the first\u0000composer's experiences by M. Berezovsky, created during the early period of\u0000creativity, before departure to study in Bologna. The methodology of the\u0000research is based on the principles of comparative analysis, which provides\u0000the basis for identifying common and distinctive features and identifying the\u0000hereditary connections between the work of A. Rachinsky and M. Berezovsky.\u0000Analysis of the concert «Ne otverzhi» by A. Rachinsky with full choral score\u0000revealed in this work the signs of a new style (individualization of the themes,\u0000increasing the role of solo constructions, relying on the functional harmonic\u0000framework basis, the use of cyclic composition with the final fugue, etc.) and\u0000confirmed affiliation with the era of early classicism. Comparing this work\u0000with the concerts of the early period of M. Berezovsky’s work, especially with\u0000the concert «Ne otverzhi», written on the same text, showed many inherited\u0000features (from the interpretation of the cyclic form, the similarity of the\u0000figurative and emotional decision of some musical themes and the\u0000compositional structure of the sections to the «germination» of certain\u0000rhythm formulas), and also revealed distinctive features, first of all, in the\u0000general meaningful concept of concert cycles, which is connected with the\u0000character of the final fugue, which in the concert of A. Rachinsky is a\u0000personification of life-affairs reminiscent of the beginning, a symbol of\u0000victory of man over enemies, while in M. Berezovsky suffering and protesting\u0000people still become a victim of life circumstances. The revealing of the\u0000handwritten source with the full musical text of the concert «Ne otverzhi» by\u0000A. Rachinsky completed a long stage of search for choral parties and opened the way for public performance of this work worthy of being sung in Ukraine\u0000and abroad.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129883852","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 CONCEPT OF THE CANTATA-SYMPHONY “CAUCASUS” BY ST. LYUDKEVYCH: THE INTERACTION OF CONTENT MUSICAL AND POETIC LEVELS IN THE CURRENT HISTORICAL SITUATION","authors":"V. Koval","doi":"10.32782/2310-0583-2021-47.04","DOIUrl":"https://doi.org/10.32782/2310-0583-2021-47.04","url":null,"abstract":"","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115004002","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":"INNOVATIVE APPROACHES TO THE PROFESSIONAL TRAINING OF FUTURE TEACHERS OF CONDUCTING AND PERFORMING SKILLS IN HIGHER EDUCATION","authors":"Mariia Kuziv, T. Pukhalskyi","doi":"10.32782/2310-0583-2023-49-03","DOIUrl":"https://doi.org/10.32782/2310-0583-2023-49-03","url":null,"abstract":"","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129622275","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 National Origins of the Creative Work of Eugene Ysaye and the Influence of Belgian Artists in the Formation of a Distinct Performing and Composing Style","authors":"Kateryna Nazarenko","doi":"10.33398/2310-0583.2019.45.224.247","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.45.224.247","url":null,"abstract":"The article examines the work of a prominent Belgian violinist and composer, E. Ysaÿe, as a representative of Belgian national culture in several different aspects: the incorporation of folklore in his music, his expertise of the Belgian violin school, his life as a follower of C. Franсk, and his role in the wide field of Belgium's artistic and cultural traditions.\u0000Folklore is manifested through modal combinations, biphonic and polyphonic layers, the use of parallelisms, in which the author unites anhemitonic and chromatic scales, tone-splitting, etc. E. Ysaye, demonstrates ethnic intensity in ―Village Dance‖, ―Aurora‖ from Sonata No. 5, the Finale from Sonata No. 1 , Mazurkas, Sonatas for 2 solo violins, the symphonic work \"Nostalgia\", and the opera \"Pierre Rudocop\". Сomposer is inspired by folk techniques, methods of sound production, types of bowings, rubato, and the use of primitive forms of polyphony- bourdon and ostinato, which are presented in a striking variety by Ysaÿe. Тhe enthusiasm for playing violin folk music, obviously contributed to the creation of a new modern school of violin technique in the twentieth century.\u0000In the traditions of Belgian professional music, nationalism manifested itself in the revival of choral music, re-examining the polyphonic techniques of ancient masters (under the influence of C. Franck), in particular, the Franco-Flemish school and Belgian organ school use canonic-imitation, allusions of linear thinking, and medieval mensural notation (2nd movement of Sonata No. 2). The artist also contributed to the growth of Belgian music in the Wallonie culture, of which the famous representative, C. Franck, was born, and his devoted student, E. Ysaÿe, became the author of the only opera in the Wallonie language, \"Pierre-Rudokop\". Interesting and fruitful are E. Ysaÿe’s connections with the Belgian symbolists M. Metterlink and E. Verharn, evident through the lyrics of the poetic cycle in the ―London‖ trio.\u0000In the realm of violin performance - as the direct follower and disciple of the prominent violinist H.Vieuxtemps. Recently discovered violin concertos of the composer, the first of which is dedicated to H.Vieuxtemps, as well as other original works, and grandiose performances, attest to Eugene Ysaÿe’s striking representation of the Belgian national culture.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130318422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Guitar activity of Ukrainian physician Mykhailo Polupaienko","authors":"V. Palamarchuk","doi":"10.33398/2310-0583.2019.44.130.142","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.44.130.142","url":null,"abstract":"Ukrainian guitarist Mykhailo Polupaienko's persona is investigated in\u0000order to make creative profile of this musician. To achieve the objective was\u0000collected biographical data, repertoire and composers portfolio, information\u0000about connections of the guitarist with other musicians. Contemporary guitar\u0000handbooks and photos of the musician and his colleagues were also subjects\u0000of investigation in order to figure out features of his guitar techniques.\u0000Hypothesis about dr. Polupaienko's fingering principles were proposed,\u0000along with definition of general stylistic direction of his repertoire. Lot of\u0000attention were put to design peculiarities of his guitar, analyzed hypothesis\u0000about origin of the instrument and luthier identity. It is proven based on\u0000collected data that dr. Polupaienko belongs to school of J. Decker-Schenk,\u0000Petersburg's guitarist of Austrian origin. Specific features of guitar technique of J. Decker-Schenk's school and it's representative dr. Polupaienko are\u0000discovered. It is perspective to further investigate pieces and arrangements by\u0000dr. Polupaienko as it will help to detect features and peculiarities of his\u0000composing approach.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"2009 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125630676","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":"With regard to an instruction on a topic «Complex Binary Form» within the «Musical Works Analysis» course","authors":"I. Zinkiv","doi":"10.33398/2310-0583.2019.44.30.45","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.44.30.45","url":null,"abstract":"The article deals with arelevant issues of instructing the topic «Complex\u0000Binary Form», which is read within «Musical Works Analysis» lecture\u0000coursein the higher educational institutions of Ukraine of III – IV levels of\u0000accreditation. Given that this is one of the most complex form in the structure\u0000of the course, it is attributed to the understudied ones, although quite\u0000branched by the number of varieties. The investigations poses a question of\u0000the form definition, genesis, morphology, scope of application in the genres of\u0000vocal and instrumental music. Its structural specificity and semantic-shaped\u0000content are covered in the works by V. A. Mozart, L. van Beethoven,\u0000F. Chopin, K. Debussy, S. Rachmaninov, and others. The links identified with\u0000Neo-Baroque and Neoclassical Stylistics, as well as multi-style editing, which\u0000was formed within the aesthetics of modernism. Based on a study of genetic\u0000origins of a complex binary form and structurally-semantic analysis of the\u0000professional music works in different genres by the composers of the XVIII–\u0000XX centuries, written in this form, it became possible to substantiate its\u0000unique specificity and special role in the music of the New and Newest times.\u0000The article deals with two basic varieties of the complex binary form – repetition and non-repetition. The first variety usually includes works of vocal\u0000music, when the final function is performed either by the last verse\u0000(«Adelaide» by L. van Beethoven), or by a synthetic repetition. The second\u0000one consists of the complex binary forms with a coda, existing either with\u0000contrasting, based on a completely new thematic material (Nocturne Op 32 No. 1, F. Chopin), or with a synthetic coda (Minstrelie by K. Debussy, Etude-\u0000picture No. 4, Op. 39 S. Rachmaninov, in the last play – with the signs of an old binary form). Modern composers use such forms extremely rare.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121738273","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 SPECIFICS OF CONDUCTING MUSICAL CLASSES WITH CHILDREN WITH AUTISM","authors":"Myroslava Arestovych","doi":"10.32782/2310-0583-2023-49-01","DOIUrl":"https://doi.org/10.32782/2310-0583-2023-49-01","url":null,"abstract":"","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114767702","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":"“MASKS” OF THE VIOLA OF THE ERA OF CLASSICISM","authors":"S. Havryliuk","doi":"10.32782/2310-0583-2021-47.02","DOIUrl":"https://doi.org/10.32782/2310-0583-2021-47.02","url":null,"abstract":"","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"2004 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129685279","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":"Four romances op. 11 by Pylyp Kozytsky: under the sign of modernism","authors":"Angelina Mamona","doi":"10.33398/2310-0583.2019.45.170.182","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.45.170.182","url":null,"abstract":"The article is devoted to early vocal works of P. Kozytsky. Mostly likely because of political situation, only a few opuses of early period of creativity of Ukrainian composer have survived until our times. Among them – Four romances for voice and piano op. 11. It is stated, that we can see modernistic vector of search in this opus. It is remarkable that poetic verses only of contemporary to Kozytsky authors has attracted his attention. Kozytsky became the first Ukrainian composer who wrote music to poem of Rabindranath Tagore, in particular, to his collection of verses named ―The Gardener‖. There was a great wave of attention to works of this Indian poet, composer and philosopher in Western Europe in the first third of 20th century. Kozytsky in his musical interpretation of Tagore (in Ukrainian translation by Y. Siry) is not trying to reflect the oriental color, but instead he conveys different the psychological shades of this poetry. The same kind of perception is represented in the work of Leos Janacek – ―The wandering madman‖ for men’s choir with tenor, baritone and soprano solo, which was written in 1922 year (the same with Kozytsky) on verses from ―The Gardener‖ too. There was a row of other acknowledged Western Europe composers who turned to the poetry of Tagore around the same time. Among them – D. Milhaud, K. Shymanovsky, A. Zemlinsky. Other romances of opus 11 are written on verses of Ukrainian poets: P. Phylypovich (the poet of Executed Renaissance) and close comrade of Kozytsky P. Tychina (who had similar artististic intentions with composer and was at the same artistic circle with him).It is stated, that the whole opus can be considered as cycle, which reflects different stages of life of a woman. Cycle also has apparant links to theatrical art which are reflected in the way composer uses marks. But, regardless of brightness of the music of Four romances op. 11, modernistic intentions of young composes were, unfortunately, changed to another way.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130010207","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":"Тhе incarnation of nostalgia in the piano cycle «Love» by V. Barvinsky","authors":"O. Semenets","doi":"10.33398/2310-0583.2019.44.58.78","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.44.58.78","url":null,"abstract":"The features of nostalgia in the piano loop «Love» by V. Barvinsky are\u0000considered. Attention is drawn to the peculiarities of the composer's style in\u0000different periods of creativity. In particular, the influence of modernism on\u0000the work of V. Barvinsky stands out. So modernist features have appeared in\u0000many of the works of the composer: Prelude h-moll, Part II from the cycle\u0000«Love», «Prelude» from «Suits to Ukrainian folk themes», «The Frog Waltz»,\u0000«Preludes of the e-moll», «Fis-dur, Cis-dur», «Trio a-moll», solos «In the\u0000forest», romances «Oi luli, luli», «In the evening in the house», Sonnet\u0000«Blessing be», «Pastoral prelude to fis-moll», «Youth Quartet», «F-moll\u0000Piano Concert», romance «Moon-Prince», «In the Forest», «Oh Fields,\u0000Fields», etc. Also available for V. Barvinsky's creative method is the use of\u0000dialogue and polylogue, a kind of semantic game that manifested itself in\u0000allusions to M. Lysenko, R. Wagner, J. Puccini, K. Debussy, M. Ravel, and\u0000others like that. In addition, it refers to nostalgia as one of the characteristic\u0000features of modernism, which was particularly manifested in the art of the\u0000late XIX - early XX centuries. In music, nostalgia can be called appeals to\u0000past styles and epochs, including baroque and classicism. Thus, neo-baroque\u0000and neoclassical features are observed by composers I. Stravinsky,\u0000P. Hindemit, M. Ravel, J. Roger-Dyukas, G. Fore, D. Miyou, A. Onneger, in\u0000Ukrainian music - M. Lysenko, K. Stetsenko. Also, the article focuses on the\u0000special discovery of nostalgia in the era of the turn of the XIX-XX centuries. It turns out that for this period nostalgia was a characteristic feature that\u0000manifested itself as one of the factors of rethinking being. In particular,\u0000nostalgia was expressed in the piano cycle «Love» by V. Barvinsky as anxious\u0000for his homeland, the bride, grief for lost during the First World War, and so\u0000on.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131674164","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}