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

{"title":"Features of the musical embodiment of the poetic words of T. Shevchenko in vocal-choral works of D. Sichynsky","authors":"M. Novakovych","doi":"10.33398/2310-0583.2019.44.18.30","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.44.18.30","url":null,"abstract":"The article analyzes the vocal and choral works of D. Sichynsky, written\u0000on the poetry texts of T. Shevchenko. It is noted that T. Shevchenko for\u0000Galician Ukrainians in the second half of the nineteenth century became a\u0000national symbol, and the annual commemoration of his memory contributed\u0000to the consolidation of the Ukrainian people as people of \"one nationality\". It\u0000is stated that the acquaintance of the Galician with the works of\u0000T. Shevchenko was also due to the popularization of vocal and choral works\u0000by M. Lysenko in Galicia, written on the poet's texts. It is alleged that one of\u0000the most prominent interpreters of T. Shevchenko's poetry in Galicia is the\u0000composer D. Sichynsky. He is one of the first in the Ukrainian culture of the\u0000nineteenth and early twentieth centuries to consider the genre of choral music\u0000at an angle of subjective perception, violating important philosophical and\u0000psychological problems in his choruses. Attention is drawn to the fact that\u0000D. Sichynsky was of little interest to T. Shevchenko's poetry with a\u0000pronounced expression of folklore. The composer chooses poems with neutral\u0000lexical material for his works. Therefore, his T. Shevchenko's perception is\u0000different from that of M. Lysenko and his followers. It is noted that in the\u0000musical interpretation of the poetry of T. Shevchenko, D. Sichynsky\u0000significantly ahead of his time because in poets poetry his interests are not\u0000\u0000national-historical, liberation themes, but texts that are characterized by in-\u0000depth psychological introspection. The purpose of the article is to reveal the\u0000\u0000level of individual identity of the composer D. Sichynsky in his appeal to the\u0000works of T. Shevchenko. The methodology of the study is to apply a\u0000comprehensive system approach that led to the use of such research methods:\u0000historical-genetic, identifying the origin of phenomena; hermeneutic,\u0000considering the musical text as a sign-symbolic system in its socio-cultural\u0000and historical context. The scientific novelty of the work is to apply the\u0000hermeneutic method in the study of musical and poetic texts in the vocal and\u0000choral works of D. Sichinsky on the verses of T. Shevchenko.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"98 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":"127118960","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 metamorphoses of concernity aesthetics in Krzysztof Penderecki’s violins and doppio concerts","authors":"Nataliya Samostrokova","doi":"10.33398/2310-0583.2019.45.279.289","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.45.279.289","url":null,"abstract":"The First and Second Concerts for violin and orchestra and the Concerto doppio for violin and viola with orchestra by Krzysztof Penderecki are analyzed in terms of expressing the concernity idea. An attempt was made to trace the dynamics of concernity aesthetics in the mentioned works.\u0000It is emphasized that works in different genres for stringed instruments became the artist’s art search laboratory, at the same time, the pinnacles of the main compositional and stylistic periods in the composer’s life. It is a 1960 avant-garde piece for 52 strings chamber orchestra ―The Crying for Hiroshima Victims‖ and 48 Strings ―Polymorphia‖, written a year later. The Master’s return to subtle self-reflection is a milestone, and string instruments have also played a significant role in this process.\u0000It has been determined that the metamorphoses of concerto aesthetics in semantic invariant of violin concert on the example of violin concerts by K. Penderecki manifested in the following dynamics: in the works of the author deep tragedy (the First concert), deeply reflexive, sophisticated, and sophisticated music were manifested. Thus, the concertize process in the works is carried out through a return to the symphonic thinking and theatrical procedural, while the musical thinking of the ―last great symphonist‖ (First and Second concerts) is supplemented by the iconic work of neo-romantic stylistics with vivid virtuosity (Concerto doppio). Such polar stylistic features create an artistic concept and predetermine the metamorphoses of concernity aesthetics in the Master’s violin and doppio concerts, which is a movement from form to process, when concertize as a process becomes the main concernity idea. New horizons of such development constitute further prospects of this research.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"5 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":"116621513","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":"Some aspects of upgrading the sound of a piano in the era of musical radicalism of t he early twentieth century.","authors":"N. Martynova","doi":"10.33398/2310-0583.2019.45.182.198","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.45.182.198","url":null,"abstract":"The article deals with the evolution of the sound image of the piano in the context of the integration of urban motifs into the system of instrumental thinking. On the example of individual compositions of European and American composers of the beginning of the twentieth century, the specificity of the embodiment of \"machine\" dynamism by means of piano writing was investigated and the phenomenon of the polivariance of the sound formation of the piano in the era of style radicalism was investigated. In the early twentieth century. European civilization extrapolates into the artistic space the dynamic impulses of technicalism and machinery as a reflection of the rapid industrialization and mechanization of everyday life. Not only does urban aesthetics dictate the newest principles of the formation and structuring of artistic objects, but it also radically influences the transformation and rethinking of the sound \"play\" of traditional instruments. After all, every instrument, as a sound symbol of the era, has historical preconditions for interpreting the volume, which determine its ability to reflect the concept of an intimate worldview. Piano music, focusing on the spiritual and stylistic beginnings of contemporary art of the early twentieth century, fully demonstrates the contradictions of all the antignomes of modern musical thinking. It is obvious that multilingualism and sound-polymarial variance, ability to make various modifications and to reproduce textures of any type have become the main factors for the active involvement of the piano in the sphere of sound projections of the newest urban-industrial sound landscape, and the diverse sound-image is sonoristic-coloristic to shock-noise - it was fully in demand by young composers.","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":"121747062","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":"VOCAL WORKS OF FRANZ XAVER MOZART IN THE FUNDS OF THE LIBRARY OF THE LNAM NAMED AFTER M. V. LYSENKO","authors":"Nataliia Maichyk","doi":"10.32782/2310-0583-2021-47.05","DOIUrl":"https://doi.org/10.32782/2310-0583-2021-47.05","url":null,"abstract":"","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"25 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":"127734423","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":"Reading the topic of Turandot by the Chinese composer Wei Minglun in the Sichuan National Opera","authors":"Yu Wang","doi":"10.33398/2310-0583.2019.44.190.214","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.44.190.214","url":null,"abstract":"The study of the first reading by the means of the national musical\u0000language and opera and theatrical tradition of China of the Oriental theme\u0000Turandot at the opera Wei Minglinu «The Chinese Princess» was conducted\u0000with the aim of outlining the specifics of the new figurative role of the\u0000heroine, its mental-psychological peculiarities; considering the\u0000metamorphosis of the Oriental tradition through the «congenital» of the\u0000exotic to the national-authentic. Scientific approaches are taken from the\u0000contextual field of comparative and imagoology, the methodology of which\u0000touches upon the field of studying the problems of mutual cultural\u0000representations of peoples, the assimilation of cultural heritage and images of\u0000a certain ethnic group in the consciousness and art of other nations, in\u0000correspondence with the actual problems of Orientalism in music. Reading\u0000the image of Turandot by a Chinese composer creates an opportunity for a\u0000new interpretative turn in the voluminous space of the existence of this text,\u0000the emergence of new measurements of the indicators of content and its\u0000characteristics. Image Turandot as an original model with the corresponding\u0000geocultural imago in the fabulous poetics of the perceptual field «East as\u0000Exotics and Danger», passing complex path of modification during the 300-\u0000year existence in the adaptation of different cultures, is embodied in means of\u0000national semantics of bright ethnographic-anthropological type. The author\u0000constructs an ethno-form from an Oriental-exotic heroine, demonstrating his\u0000national identity, revealing the typical ethnological features of the whole\u0000people. This allows us to interpret this opera as a national first reading, in\u0000which the generally accepted European model of Oriental travel fantasy\u0000semantics turns into a reasoned, realistic, based on traditional philosophical\u0000foundations, Chinese lyrical drama, in which exotic elements of European\u0000culture appear. The fact of this transcultural diffusion involves scientific\u0000research in the field of dialogue of cultures, encouraging new discoveries\u0000when meeting with the Other, re-evaluating, updating, rebuilding the position\u0000of \"My\" and \"Other\" in relation to to generally human and universal.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"79 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":"133529509","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":"CHANGES IN THE STRUCTURE OF THE SOUND MATERIAL OF ELECTROACOUSTIC WORKS BY UKRAINIAN COMPOSERS OF THE END OF THE 20TH – BEGINNING OF THE 21ST CENTURY IN THE CONTEXT OF SOCIO-POLITICAL CHANGES","authors":"Ostap Manulyak","doi":"10.32782/2310-0583-2023-49-04","DOIUrl":"https://doi.org/10.32782/2310-0583-2023-49-04","url":null,"abstract":"","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"86 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":"133145113","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":"GREEK REPERTOIRE OF THE UKRAINIAN AND BELARUSIAN HEIRMOLOGIA OF THE LATE 16TH–18TH CENTURIES: PRESENT STATUS OF RESEARCH","authors":"Y. Ignatenko","doi":"10.32782/2310-0583-2021-47.03","DOIUrl":"https://doi.org/10.32782/2310-0583-2021-47.03","url":null,"abstract":"","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"55 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":"123628254","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 evolution of the piano ballad genre in Ukrainian music","authors":"N. Sydir","doi":"10.33398/2310-0583.2019.45.198.210","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.45.198.210","url":null,"abstract":"Despite the large-scale representation and wide variety, the genre of the Ukrainian piano ballade has not yet been the subject of special study. The purpose of the research is to study the evolution of the piano ballade genre in historical view. The romantic genre of instrumental ballade, established by F. Chopin and F. List, has been widely represented in Ukrainian piano compositions. Among different ballade genres the most widely represented are the ballades for piano solo which started their development from the compositions of F. Chopin.\u0000The chronological review shows the close attention of Ukrainian composers to the piano ballade genre from the middle of the 19th century to the present. The genre is widely represented. The most popular among Ukrainian composers is a ballade that is concertante medium piece for piano solo. Along with above-mentioned genres, there are: ballades-miniatures, historical and patriotic ballades, ballades of the song type, which is appropriately projected into dramaturgy and architectonics of formation.\u0000From the second half of the 20th century, along with the basic type of ballade, synthetic genre models of ballad type are becoming more common. Among the varieties of genre, there is a miniature ballade as part of a salon or didactic cycle, a ballade - a concertante pieces, a sonata ballade, a concert ballade and a rock ballade.\u0000It is characterized by neo-romantic features, narrative style, lyric-epic or epic-dramatic imagery, picturesque description of the plot, vivid emotional contrasts, improvisation and variability in the development of the thematicism, the principle of monotematism. Structurally, the ballade is interpretated as a three-part piece in rhapsodic (contrast-component) or variational form; a ballade in a freely interpretated sonata-cyclical form based on intonational unity of thematicism with numerous figurative transformations.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"19 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":"114761420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Musical Shevchenko Series of Vladyslav Zaremba","authors":"Tetiana Krulikovska","doi":"10.33398/2310-0583.2019.44.78.91","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.44.78.91","url":null,"abstract":"The article deals with a generalized musicological analysis of the songs\u0000from two vocal collection series, titled «Kobzar Tarasa Shevchenka» (Taras Shevchenko’s Kobzar) by the 19th century Ukrainian composer of Polish\u0000origin Vladyslav Zaremba in order to attract attention to the composer’s\u0000creative heritage, reveal the most typical features of his musical language\u0000and determine their stylistics in the context of the 19th century musical\u0000culture. Also the article attempts to specify the significance of the vocal works\u0000collection in the context of developing the Ukrainian romance and the 19th\u0000century Ukrainian T. Shevchenko series.The article focuses on the content of\u0000vocal compositions associated with typical folk characters, as well as the\u0000composer’s vision of his characters’ complex and rich inner world. The\u0000article considers the works devoted to the themes of orphanhood, loneliness,\u0000alien land, love, typical romantic motives of the Cossack will, sentiments of\u0000grief and melancholy, which form the figurative and poetic content of\u0000Shevchenko’s poems.The analysis is focused not only on V. Zaremba’s lyrical\u0000songs, but also his vocal works, which raise the complex social issues of\u0000difficult maidenhood, orphanhood, the search for better life, the main\u0000characters’ romantic attempts to realize their dreams and the sad realities.\u0000The main attention is focused on the role of the piano, which is interpreted by\u0000the composer as an active participant in the dramatic action. However, the\u0000piano version of V. Zaremba’s vocal works highlights an extremely important\u0000and vivid element of the national sound sphere, namely the imitation of\u0000playing the bandura, which performs the semantic role of the national\u0000Ukrainian symbol and is perceived as an important component of the national\u0000culture. Thus, the conducted analysis allows visualizing the figurative and\u0000emotional world of T. Shevchenko’s poetry and deducing the values of the\u0000bandura as a semiotic sign in the 19th century Ukrainian musical culture,\u0000which will become especially noticeable in M. Lysenko’s works. An important\u0000issue in analyzing the composer’s style is the focus on the synthesis of\u0000European school achievements with the individual elements of the national\u0000school as a certain stage in the development of Ukrainian professional music,\u0000which replaces amateurism and dilettantism.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"30 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":"129021981","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":"Violin Cycle by Bohdan Shyptur with Epigraphs from Children’s Poetry of Mariika Pidhirianka","authors":"Iryna Borukh","doi":"10.33398/2310-0583.2019.45.247.256","DOIUrl":"https://doi.org/10.33398/2310-0583.2019.45.247.256","url":null,"abstract":"The article specifies the necessary condition to involve the national samples of pedagogical repertoire in the teaching and educational process of training violinists. The programmatic musical pieces, which are directly related to Ukraine and its nature, are particularly important. The author has chosen the cycle for the violin and piano by Bohdan Shyptur for analysis. This cycle includes four musical pieces with programmatic title and epigraphs from Children’s Poetry of Mariika Pidhirianka. Most of these excerpts are from her collection My Songs. As a poet and teacher, she focused her creative work on the Ukrainian folklore and its educational and spiritual potential.\u0000The first musical piece of the cycle V Litniu Poru In the Summer) has the features of the marching song. This genre is organically derived from the text of the epigraph. The violin and the fortepiano complement each other in performing the exalted and cheerful marching. The second piece Dzvinochky (Little Bells) includes the onomatopoeic leitmotiv, which has a semantic meaning of good wishes. In the counter instrumental parts, the composer used ingenious texture transformations and modal-tonal musical composition approximating to the folk harmonic means. The third musical piece Kolyshysia Kalynonka (Wave Snowball Tree, Wave) has a lyrical mood and resembles folk cradle songs by both in rhythm and intonation, and by modal and structural features. The final of Oy Selom, Selom (Oh, in Village, Village) is a comprehensive picture with a variety of themes – from Kolomyika tongue twisters to improvisatory recitative and thoughtful contemplation. The diatonic scale is combined with alterations and chromaticism, the dance rhythm - with song rhythm, three-part form - with variant deployment. In general, B. Shypura cycle combines typical national figurativeness peculiar to the poetry by the poet and musical lexicon inspired by them. The duo of two instruments made the beauty of the artistic word visible and enriched it with emotional and semantic nuances.","PeriodicalId":161017,"journal":{"name":"Scientific collections of the Lviv National Music Academy named after M.V. Lysenko","volume":"40 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":"133449162","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}