Aspects of Historical Musicology最新文献

{"title":"Semantics of Louis Durey’s vocal-instrumental cycle “Songs on Saint Léger Léger’s poems” (“Images à Crusoé”)","authors":"Kateryna Krasnoshchok","doi":"10.34064/khnum2-32.05","DOIUrl":"https://doi.org/10.34064/khnum2-32.05","url":null,"abstract":"Statement of the problem. The article aims to investigate the semantics of the vocal-instrumental cycle “Songs on Saint Léger Léger’s poems” by Louis Edmond Durey (1888–1979), one of the representatives of the French “Group of Six”. This composition, which also has another name – “Images à Crusoé”, written in 1918, belongs to the period of formation of French modernism. The primary literary source, the poem of the same name by Alexis Saint Léger Léger, better known under the pseudonym Saint John Perce, has certain features of surrealistic aesthetics, which also influenced the musical dramaturgy of the cycle. Objectives, methods, and novelty of the research. Until today, this composition by Louis Durey has not been considered in domestic musicology, therefore, the task of the study is to describe the figurative sphere of the work, to identify its main intonation-semantic constructions and, ultimately, a more thorough explore of the individual style of the composer. The research was carried out using historical-contextual, comparative, and systemanalytical methods. Results and conclusion. According to his results, it was established that Louis Durey embodied not so much the content of Saint John Perce’s poetic stanzas as his personal attitude to his poetic images and metaphors. The composer operates with a whole semantic system of leit-intonemas and through- genre models (polka, lullaby, chorale, hymn) and builds semantic arches between numbers of the cycle. Cross-cutting musical and semantic elements also become components of arch dramaturgy: intonations of circles, “spindles”, bells, sighs, and the instrumental texture of all numbers of the cycle contains quarto-quint steps. Pentatonic, whole-tone and natural scales contribute to the reproduction of the atmosphere of the exotic nature of the deserted island, as well as the sound imaging techniques used by Durey. The dramaturgy of the cycle is built according to the montage principle, which is mostly subordinated to the type of verse and the semantic content of Saint John Perce’s poetry. Division of the musical form is carried out by changing the size, tempo, genre style. Thus, each number of the cycle consists of short sections connected to each other thanks to the collage technique. The rhythmic and thematic variety in the collage of episodes“frames” indicates the presence of game logic in L. Durey’s cycle. Certain influences on the music of the cycle of illustrations for Daniel Defoe’s novel “Robinson Crusoe”, created in the second half of the 19th century by Carl Offendinger, in perspective, allow us to consider the work in the context of the problem of the synthesis of arts as of a component of modernistic aesthetics.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"107 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139274845","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":"S. Bortkiewicz’s piano style","authors":"Olga Cherednychenko","doi":"10.34064/khnum2-32.01","DOIUrl":"https://doi.org/10.34064/khnum2-32.01","url":null,"abstract":"Statement of the problem. The genre-style richness of S. Bortkiewicz’s legacy does not except the dominance of piano music in it, which is explained by the composer’s piano education, the experience of his public performances and teaching activities. The 21st century became a time of revival of the composer’s name in the modern culture, but the specifics of his piano style remain outside the scope of special studies. Recent research and publications shows the great interest in the artist’s figure. Scientists focus on the performance of S. Bortkiewicz himself (Levkulych, 2021), highlight his violin compositions (Yakubov, 2021), develop the theme of dance and dance quality in his music (Kościelak-Nadolska, 2016), examine the composer’s life and creative legacy (Ishioka, 2016), stylistic influences on his thinking (Johnson, 2016). Objectives, methods and novelty of the research. The purpose of the study is to reveal the features of S. Bortkiewicz’s piano style based on observations of leading solo genres (sonatas, preludes, etudes). The scientific novelty of the article is determined by the original thesis about participation in the realization of the artistic idea of a complex of certain pianistic techniques, which are perceived as carriers of emotional content. The presented study is based on the principle of historicism and a comprehensive scientific approach involving various methods of analysis. Research results. In S. Bortkiewicz’s legacy, the piano sonata is represented by two compositions: op. 9, B major, and op. 60, C sharp minor. The purely piano techniques, the totality of which indicates virtuosity as a means of realizing the art design, have the great importance in these works (large-scale technique, bright jumps, rapid octave passages on f, a wide dynamic palette from pp to fff). The combined technique, the use of rubato play become the typical features of his piano style. Preludes op. 13, op. 33, op. 40, and op. 66 are distinguished by the dominance of a single image, embodied by the laconic pianistic means. The image and genre spectrum of prelude cycles is diverse and reflects almost the entire experience of a romantic miniature. The composer finds his own ways to reveal individuality and to manifest the modern thinking, the essence of which is in the use of combinatorial methods in the field of both language means of expression and purely pianistic techniques. The etude genre can be classified as one of the most popular in S. Bortkiewicz’s creativity. Ten Etudes op. 15 and Twelve Etudes-novels op. 29 are a true anthology of the concert etude, which combines the effectiveness of style brilliant and al fresco with spiritual imagery, playing allusions, ironic approach to typical formulas, nostalgia for lost ideals. Conclusion. S. Bortkiewicz demonstrates his own attitude to the classical-romantic tradition, which reveals an individual author position. Relying on typical pianistic techniques, the composer combines a concert virtuoso sty","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"27 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139275512","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":"Opera “The Tempest” as a phenomenon of the late style of Frank Martin’s works","authors":"Daria Kozyk","doi":"10.34064/khnum2-32.07","DOIUrl":"https://doi.org/10.34064/khnum2-32.07","url":null,"abstract":"Statement of the problem. Recent research and publications. The absence of works by European and Ukrainian scholars devoted to the study of style peculiarities of the opera «The Tempest» written by F. Martin, an outstanding Swiss composer of the 20th century, actualizes the need for its comprehensive research. Foreign musicology already has some experience in analyzing F. Martin’s works. In the studies of Ch. W. King (1990), S. Bruhn (2011), A. Corbellari (2021) we can find a biography of the composer and generalizations about his musical thinking. The memoirs of M. Martin (2009), the composer’s widow, explain some specific features of his creative process. R. Glasmann’s research (1987) reveals the essence of the Martins’ principle of “gliding tonality”. The author of this paper was the first in the national musicology to research F. Martin’s vocal and choral pieces in terms of their stylistic features and comparative interpretation (Kozyk, 2022 a, b). Objectives, methods, and novelty of the research. The purpose of the article is to define the phenomenon of F. Martin’s late style through a holistic analysis of interpretation of W. Shakespeare’s play in the opera “The Tempest” and the peculiarities of vocal and scenic embodiment of its characters. In the concept of the study, the analysis of the opera is offered as the embodiment of the best qualities of F. Martin’s late style. In Ukrainian musicology, this is the first experience of a holistic analysis of F. Martin’s opera. As research methods the principles of holistic analysis of the artistic content of the work (when studying its score) and comparative analysis (when determining the features of F. Martin’s vocal-scenic interpretation of W. Shakespeare’s characters) were used. Results and conclusion. “The Tempest” is one of F. Martin’s most inventive opuses, which synthesizes all the composer’s previous experience. All groups of characters have a clearly defined musical characteristic that helps to identify them even beyond their scenic embodiment. Thus, a group of noble Italians is characterized by various stylistic references that evoke associations with a certain historical era; comic characters are embodied through reliance on conversational dialogues and awkward songs; for lyrical characters, the composer chooses the sphere of lyric utterances. To characterize Caliban, the composer chooses a dodecaphonic series and the saxophone timbre, while for his opposite Ariel he introduces a dance with choral lines and a separate hidden orchestra, thus creating a sense of elusiveness and weightlessness of the air spirit. The composer uses the widest range of expressive means in the musical characterization of Prospero: there is off-pitch recitation, expressive melodic declaration, and extended ariosos. Such a multifaceted style of the opera is due to the multidimensionality of Shakespeare’s play. F. Martin managed to achieve the unity of stage and musical action, the equivalence of orchestral and vo","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"43 2-3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271909","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":"Soirée for one person: а microcosm of Florent Schmitt’s “Musiques intimes”","authors":"O. Mykhailova","doi":"10.34064/khnum2-32.04","DOIUrl":"https://doi.org/10.34064/khnum2-32.04","url":null,"abstract":"Statement of the problem. The creative activity by Florent Schmitt (1870–1958) took place in the late nineteenth and early twentieth centuries, when such stars of French music as C. Debussy, M. Ravel, and later the composers of the French “Six” group shone brightly. Therefore, Schmitt’s work remained in their shadow – among the performers of his piano works you will not find “big” names like V. Horowitz or G. Gould; nevertheless, in the last decade, the composer’s opuses have been increasingly included in the repertoire of foreign pianists. For example, Vincent Larderet (France), Ivo Kalchev (Bulgaria), Biljana Urban (Netherlands), and Edward Rushton (UK/Switzerland) are among them. The challenges of today are best suited to expanding the usual established horizons of Ukrainian performers, actualizing the need to pay attention to the work of lesser-known but no less interesting artists, among whom Florent Schmitt takes a worthy place. Objectives, methods, and novelty of the research. For a long time, anyone interested in the work by F. Schmitt faced a lack of resources. The scarcity of written materials about the composer is as surprising as it is disappointing. Moreover, almost all existing studies are published only in French, which makes research difficult for those who do not speak the language. In the first half of the twentieth century, a number of significant books were published, fully or partially devoted to the work of F. Schmitt (Ferroud, 1928; Aubert, Barraud, Pignari-Salles, 1937; Coeuroy, 1922; Dumesnil, 1946), most of which have long been out of reprint. Changes in the cultural context, traditions, perception and understanding of music, scientific approaches, and research quality requirements do not allow a modern scholar to rely exclusively on old publications. Besides, the composer’s piano music is not considered in detail, but is only included in a panoramic overview of his heritage. The absence of domestic research prompted the author of the article to delve into the French master’s heritage. The purpose of the article is to expand the horizons in the study of F. Schmitt’s piano works, to reveal the prerequisites and analyze the facets of his introspective expression on the example of the first book of the cycle “Musiques intimes” (“Intimate Music”) op. 16. The cultural-historical, structural-functional and comparative methods of analysis were used. Research results and conclusion. The program names of the pieces, landscape sketches, rich coloristic harmony, use of ostinato techniques, shimmering arpeggiated figures in the texture, etc., indicate the considerable influence of F. Schmitt’s compatriots music – C. Debussy and M. Ravel. The presence of sincere emotionality and poetry of expression, improvisation, and “through” dramaturgy resemble the ways of thinking of F. Chopin and R. Schumann. Nevertheless, a detailed analysis of the first book of “Musiques intimes” makes it easy to notice the characteristic features that will b","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"147 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139274959","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":"Multidimensional piano in George Crumb’s chamber music (on the example of “Makrokosmos I”)","authors":"Liudmyla Zyma","doi":"10.34064/khnum2-32.09","DOIUrl":"https://doi.org/10.34064/khnum2-32.09","url":null,"abstract":"Statement of the problem. The article considers the issues of transformation of the sound image of the piano, which is extremely relevant for the last generations of pianists-performers, which in the modern era acquires new features or develops certain qualities of its own. On the example of the American composer George Crumb’s famous meta-cycle “Makrokosmos” for solo “amplified” piano, we can clearly observe an ability of the solo instrument to creation of a virtual symbolic ensemble, the participants of which very diversity new and traditional piano timbres become. Objectives, methods, and novelty of the research. Despite the attention of musicologists to the figure of G. Crumb, his chamber music as a leading genre of creativity, in particular the image of the piano as the most used instrument by the composer, in all its diversity and novelty, is not analyzed in detail. The ensemble qualities of the piano in its expanded composer’s vision, as well as the principles of pianistic performance of modern music on the new “a-classical” instrument with its enriched sonorous and spatial possibilities, remain overlooked. The purpose of this article is to use the example of the first volume of G. Crumb’s meta-cycle “Makrokosmos” to reveal in the multidimensionality of the “roles” of the solo piano a new quality of “symbolic ensemble” in the context of genre typologies of music of the XX–XXI centuries, in particular based on the idea of Professor I. Polska regarding solo performance as micro-ensemble forms. A comprehensive approach to the disclosure of the stated topic is applied, combining source studies, comparative, comparative-analytical, cultural and philological research methods. Research results and conclusion. Using the example of the analysis of “Makrokosmos I” it is demonstrated that G. Crumb is far from unification in his interpretation of the piano. His “expanded piano” emphatically appeals to timbre and figurative polyphony, i.e. a multidimensional ensemble, the participants of which, in addition to the pianist himself who involves different “territories” of the piano in the musical performance (beside a keyboard, also the open strings, pedals, and corpus), are his voice, variously organized verbal replicas and whistling. Thus, in the collection of symbolic images that appear in various combinations and sequences in the 12 pieces of “Makrokosmos I”, we count up to a dozen symbolic roles-characters that build a fantastic picture where temporal and spatial dimensions intersect and interact. The rendition of such music, in addition to the performer’s mastering of its purely “technical” novelty, requires the transformation not only of the pianist’s consciousness and skills, but also of established theoretical views in the paradigm of modern genre typologies.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"4 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139272509","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":"Chamber and vocal work by Yuliy Meitus: genre-style and performance aspects","authors":"D. Makliuk","doi":"10.34064/khnum2-32.02","DOIUrl":"https://doi.org/10.34064/khnum2-32.02","url":null,"abstract":"Statement of the problem. Ukraine’s gaining of independence was an extremely important event for the country’s artistic life. Hundreds of artists who did not have the opportunity to freely express their own opinion gained the opportunity to work in any musical styles and genres. Th e independent status of the country made it possible to find and bring back to life a whole layer of various works of art, which has both significant artistic and historical value. This statement also applies to music. An important part of the mentioned cu ltural layer is the work of Yuliy Meitus. In particular, we are talking about the composer’s chamber vocal work, which is a significant part of his creative heritage distinguished by its volume and genre diversity. And although during the time of independe nt Ukraine, the artist’s work is gaining more and more relevance in performing and musicological circles, currently this process cannot be called complete. The importance of the revival of Meitus’s creative output also lies in the fact that the artist was a representative of the Kharkiv school of composers, which makes it possible to more fully illuminate its history and development milestones. Objectives, methods and novelty of the research. The purpose of the study is to determine the genre, style and performance features of Yu. Meytus’ solo vocal lyrics. The insufficient study of the composer’s chamber vocal work determines the scientific novelty of the r esearch. The article presents a musicological, comparative, image semantic analysis of selected sam ples of Yu. Meitus’ solo sings, namely, the composer’s works based on verses by poets of various styles and historical periods (“Green wind, grass smells...” to the text of V. Sosiura, “Little Ballad” to the poem by R. Burns, “Seven strings I touch” to the words of Lesia Ukrainka). Conclusion The conclusion refers to the formation of features of a new stage of the evolution of Ukrainian chamber vocal art in Yu. Meitus’ solo songs, which organically combines the genre stylistic signs of the classical romantic and modern musical art. In particular, we are talking about the harmonic component of musical works, in which the elements of the classical romantic major minor system are organically combined with the heritage of music of the 20 th centu ry, for example, with chains of fourth chords or various polytonal complexes. Creating thematic material, the composer, however, relies on the intonation dictionary of Romantic art, which gives his style even greater originality.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"12 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271548","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 logic of forming a musical text in a solo piano-jazz improvisation by M. Petrucciani on the theme of T. Monk’s “’Round Midnight”","authors":"Olena Voropaieva","doi":"10.34064/khnum2-32.08","DOIUrl":"https://doi.org/10.34064/khnum2-32.08","url":null,"abstract":"Statement of the problem. Due to the natural tendency to constant renewal, the phenomena that arise in the field of jazz music-making, cause special scientific interest. The jazz art of the second half of the 20th century is represented by numerous names of bright musicians who formed the latest approaches to improvisational art in their creativity. One of such musicians was an unique pianist of Italian-French origin – Michel Petrucciani (1962–1999). The study of his heritage provides opportunities to reveal some aspects of modern jazz art, which are genetically related to the embodiment of the traditions of Western European music-making in piano jazz, and also to mark the vectors of its further evolution. Nevertheless, M. Petrucciani’s solo piano creativity is not studied for a present time. Some English-, French- and German-language articles, films and interviews with the musician are represented, mainly in online-resources. These works have mostly biographical direction and contain brief information about pianist’s aesthetic views and preferences, his creative achievements, and the state of his health, since the artist suffered from a rare congenital disease all his life. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the structural and compositional logic of jazz improvisation on the popular theme of T. Monk’s “’Round Midnight” interpreted by M. Petrucciani, in the context of solo piano creativity of the latter. The solo piano work of M. Petrucciani, who without exaggeration can be called one of the outstanding musicians of the last century, has not yet been subject to scientific analysis in domestic musicology, which determines the innovative focus of this study. A set of research approaches – historical-genetic, comparative, hermeneutic, traditional methods of musicological analysis – contributed to the disclosure of the chosen topic. Research results and conclusion. In the course of the research, genetic, genre, structural, intonation, rhythmic, textural and other features inherent in the theme “’Round Midnight” were revealed in the context of compositional and piano-improvisational style of T. Monk – a progressive musician-innovator, one of the inspirations of the bebop style, as well as a conclusion about the features of individual interpreting the theme by M. Petrucciani was justified. M. Petrucciani in the improvisation on T. Monk’s “’Round Midnight” theme demonstrates self-own unique bright improvisational style, talentedly combining virtuosity with intonation meaningfulness and accuracy of phrases, with expressiveness of a musical statement that has a philosophical undertone, and the academic traditions of music-making, learned during his studies, with American and Western European jazz ones. The variety of methods of melodic-harmonic, textural, dynamic development used by the pianist testify not only to the musician’s desire to demonstrate virtuoso mastery of the instrument, ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"51 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139271586","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":"Concert ouverture “In the South (Alassio)” by Edward Elgar: summation of own experience and foreshadowing of upcoming innovations","authors":"Oleksandr Lysychka","doi":"10.34064/khnum2-32.06","DOIUrl":"https://doi.org/10.34064/khnum2-32.06","url":null,"abstract":"Statement of the problem. Creativity of many composers includes the works proving crucial for understanding evolution of the artist’s individual style. Usually, the scholars’ attention is drawn to the works that become a result of stylistic evolution and that become popularity amongst the audience and the performers. At the same time, it is of no less importance to study the works that became milestones on a path to upcoming achievements, especially if there are heritage lines leading to them from the previous works. This is a situation with E. Elgar’s concert ouverture “In the South (Alassio)”: on the one hand, it summarizes composer’s achievements in this genre, on the other, it is the last composer’s step before creating his First Symphony. Apart from this ambivalence of the status, the work demonstrates the process of mediation of extremities, that can be traced on the levels of genre, structure, harmonic means and approach to extramusical. Objectives, methods, and novelty of the research. In the studies devoted to E. Elgar’s creativity as a whole or his symphonic compositions, the role of the Ouverture in the indicated evolutionary aspect is not considered, which determines the scientific novelty and relevance of the presented research. The purpose of the study is to reveal intersection points between concert ouverture “In the South (Alassio)” with the composer’s past and future creative achievements. Based on a historical-biographical approach, the history of the Ouverture’s origin is highlighted in view of its place in the artist’s creative evolution; a comparative method was used to juxtapose “Alassio” with other works of the composer; structural-compositional, genre and stylistic, intonation types of analysis were applied to examine the sheet music text of E. Elgar’s composition in detail. Results and conclusion. The study concludes that this concert ouverture is tightly integrated both in the context of development of E. Elgar’s symphonic style and into late-Romantic symphonysm as such. This work becomes the last composer’s preparatory step prior to his First Symphony as it contains germs of its multiple innovations: in harmony, structure and orchestration. Connection between “In the South” and general symphonic context is seen at multiple levels: genre attribution (the work defined by the author as “concert ouverture” has the features of symphonic poem, genre much more relevant for that time); harmonic language (freedom of tonal structure and modulations, juxtaposition of far chords; passages whose key cannot be defined etc.); specifics of themes and thematic development (multi-thematicism, inclusion of “picturesque” episode, intonation links between the themes). But originality of “Alassio” does not allow to regard is as an epigone imitation of late-Romantic symphonic style, but makes us understand it as a new step of this instrumental tradition. At the same time, it is possible to define more traditional traits at each of these level","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"21 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139275691","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":"Ihor Kovach’s concert works for the four-string domra in the modern performance practice","authors":"Nataliia Kostenko","doi":"10.34064/khnum2-32.03","DOIUrl":"https://doi.org/10.34064/khnum2-32.03","url":null,"abstract":"Statement of the problem. Objectives, methods, and novelty of the research. Taking into account the problem of the original repertoire existing in the performance practice of domra players, the genre and stylistic analysis of I. Kovach’s two compositions is proposed: “Concertino” for the domra with orchestra and “Mazurka” from the opera “Blue Islands” for duet of domras and piano. These works became iconic for the formation of the basic repertoire for the four-string domra. However, the general assessment of the compositions remains an “open” issue of musicology. Hence, turning to the pieces by the famous Ukrainian composer in order to determine their historical role in the domra performance is an urgent research task. The purpose of the research is to determine the role of I. Kovach’s creative heritage in contemporary domra performance in terms of traditions and innovations. The historical and typological, genre and style, and performanceinterpretative methods are used in the study. The study is based on the materials dedicated to I. Kovach’s creativity (Tyshko, 1980; Roschenko-Averianova, 2007; Hrytsun, 2015; Kostenko, 2009), the genre of the domra concerto (Slipchenko, 2021), the creative connections between a composer and a performer (MaidenbergTodorova, 2020), the specificity of the instrumental genres (Nikolaievska et al., 2020), which allow to reveal the modern potential of little-studied examples of creativity in the history of the domra. This aspect is not presented in any of the named sources. The research results. I. Kovach’s music for the domra is bright and positive, filled with light, joy, and goodness. The “Concertino” (1960) is melodious and easy to remember. The composer presented the domra as an academic solo instrument, preserving the principle of competition between the soloist and the orchestra (soli–tutti). A rather complex domra part still forces the performers to “strain” even today, despite the fact that the overall level of performing skills of the domra players at the beginning of the 21st century has grown “many times”. Dmytro Klebanov (1951) wrote the first composition in the genre of a concerto for the domra accompanied by a symphonic orchestra. I. Kovach creates an original composition for the domra, which cemented the tendency to conceptualize the instrument as a virtuoso one. The first performance of the “Concertino” with an orchestra of folk instruments took place in the hall of the Kharkiv Conservatory (the soloist – B. Mikhieiev, the conductor – Ye. Bortnyk). Against the background of the dominance of ideologically engaged “pseudo-folk” compositions, the sound of the domra was unusually modern. Today, this piece is considered a classic of the 20th century domra repertoire. All the themes of the “Concertino” are original, which was innovative at that time. The composition is built on the principle of contrast. The main dance-scherzo theme and the cantilena secondary theme together create a dynamic combination of","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139272579","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":"Aesthetic conflict in Chinese traditional music in the aspect of the contemporary globalization processes","authors":"Junyi Liu","doi":"10.34064/khnum2-32.10","DOIUrl":"https://doi.org/10.34064/khnum2-32.10","url":null,"abstract":"Statement of the problem. In the conditions of globalization, art becomes the result of the interaction of many factors, artistic cooperation and competition within the framework of the formation and functioning of artistic communities. The world of traditional Chinese music provides an excellent opportunity to study how members of the artistic community respond to the differences brought about by the processes of globalization. Therefore, consideration of the aesthetic conflict in traditional Chinese music, which arises in the context of globalizing world processes, appears as a topical issue and determines the content of this article. The theoretical basis of this article refers to works devoted to the study of the concept of globalization in art and culture. The analysis of publications on the topic show that the issue of globalization as a dynamic factor of the Chinese musical culture has not been extensively studied, while it is acknowledged that the influence of European music on Chinese one has always contributed to the formation of a certain aesthetic conflict. Objectives, methods, and novelty of the research. The purpose of the study is to highlight the specifics of the development of Chinese traditional musical culture in the context of the conflict of acceptance/rejection of the globalization influences of Western culture. For the first time, the concept of aesthetic conflict as a means of dynamic progressing Chinese musical art in the context of the globalization of the cultural space is considered. As research instruments, historical and comparative, hermeneutic, interpretive, and dialectical methods are used. Research results. The article highlights three forms of changes that cultural globalization can introduce to the world of art: – creation of conditions for the transnational circulation of works and forms of art for the construction of completely new artistic concepts; – the accumulation of modern trends, namely new techniques and approaches to artistic production, in the concrete artistic world; – cases of global aesthetic influences, where ideologies and values can guide the creation of an artistic object and form criterions for defining what can be considered authentic and appropriate for a certain culture. Regular influences from the West contributed to the fact that Chinese traditional music culture began to develop from the positions of either adapting to these influences or resisting new trends in the interpretation of musical culture. From this follows the conclusion that cultural globalization is not only a process brought from outside, but also a reality that is actively created by the subjects who are involved in it. Among the transformations of Chinese musical art in the process of globalization, the ways of formation of “Chinese traditional music” are considered as a response to the integration of Western influences. Conclusion. In the course of the research, it was found that the aesthetic conflict in Chinese musi","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"2 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139273100","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}