Aspects of Historical Musicology最新文献

{"title":"«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23","authors":"I. Polska","doi":"10.34064/khnum2-17.16","DOIUrl":"https://doi.org/10.34064/khnum2-17.16","url":null,"abstract":"Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study methodology determined by its objectives is integrative and based on the combination of general scientific approaches and musicological methods. The leading methods of research are the semantic, compositional-dramaturgic and genre-stylistic analyses. Results. Acquaintance with Robert and Clara Schumann (soon transformed into a romantic friendship) was a landmark, turning point in the life and work of J. Brahms. It was R. Schumann, who at some time first called young Chopin a “genius” and who also predicted to Brahms – at that time (in 1853) to almost no-known young musician – a great future in his latest article “New Ways” (after long literary silence), where the appearance of new genius solemnly proclaimed. The long hours of companionship of Brahms with Robert and Clara Schumann were filled of conjoint piano playing, very often – in four hands. Addiction to the four-handed duet playing was vividly reflected in the creativity of both, Schumann and Brahms. Creativity of J. Brahms is one of the highest peaks in the history of the genre of a four-handed piano duet. A special place among Brahms’ piano four-handed duets is occupied by the only major cyclical composition – the Variations on the Theme of R. Schumann op. 23 in E Flat Major, 1861. Variations op. 23 were written by the composer for the joint four-handed performance by Clara and Julia Schumann – the wife and the daughter of R. Schumann. The author dedicated his composition to Julie Schumann, with whom he was secretly in love at that time. The theme of variations is the melody, which was the last in the creative fate of R. Schumann. This theme was presented to Schumann in his night visions by the spirits of Schubert and Mendelssohn; the composer managed only to write down the theme and begin to develop it on February 27, 1854, on the eve of the tragic attack of madness, which led him to the hospital in Endenich. Brahms’s ethical and aesthetic task was to preserve for humanity the last musical thought of the genius and perpetuate his memory, creating an artistic monument to his great friend and mentor. Brahms’ idea is connected with the composer’s philosophical thoughts about death and immortality, about the meaning of being and the greatness of the creative spirit. This idea is even more highlighted due to the genre synthesis of the “strict tune” of the choral and the mourning march “in memory of a her","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116922942","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":"“Ne riday Mene, Mati” (“Do not mourn Me, Mother”): poetics, liturgics, hymnography","authors":"O. Sadovnikova","doi":"10.34064/khnum2-16.02","DOIUrl":"https://doi.org/10.34064/khnum2-16.02","url":null,"abstract":"Introduction. The meaning of the Holy Saturday is a transition from Passion week to the Easter, from the greatest grief to jubilation, from death to life. It focuses different ontological extremities in a single point: death of the Immortal and resurrection of mortal body. This engenders maximal concentration of liturgical events, exceptional saturation of the services, revealing ample hymnographic material, diversity of stylistics, ways of incarnating of different senses, approaches to the events happening. One of the most interesting chants of the Passion Cycle is “Ne riday Mene, Mati” (“Do not mourn Me, Mother”), with its wonderful poetics, profound images and lapidary structure. Vividness and theological deepness of this chant provide inexhaustible material for research. Theoretical Background. In modern theological literature “Ne riday Mene, Mati” is mention in the context of special traits of the Holy Saturday services (I. Karabinova (1910), A. Kashkin (2010), M. Krasovitskaya (2014), G. Shimanskiy (2002) etc. It was characterised in more details in the researches on the Byzantine singers, among them the most important are works by archbishop Filaret (Gumilevskiy) and nun Ignatia (Puzik). Describing the personality and works of St. Kosma Mayumski, archbishop Filaret notes concentration of his style. Nun Ignatia studies images of this author’s works, their foundation in creed, links with dogmas of the Church; stresses features of poetics as well as dissects canons for Epiphany and Christmas. She pays special attention to the canons dedicated to Holy Mother, and she mentions “Ne riday Mene, Mati” as one of the most touching work by St. Kosma. Unfortunately, detailed analysis doesn’t follow this statement, that makes given paper relevant. Objective of this article is to study location of chant “Ne riday Mene, Mati” in service, specifics of its content, influence on later hymnography and iconography. Methods. Given that this research addresses theology, corresponding terminological system has been used, including special concepts as well as Church Slavonic words and expressions. Results. “Ne riday Mene, Mati” is an irmos of the ninth chant of the canon sung at the morning service on the Holy Saturday and devoted to suffering and death of Jesus Christ, interpreted as a culmination of the salvation of humanity. It has a distinctive feature of personal appeal of the Son to the Mother, answering her grief and closing a dialogical form in a spacetime of the whole service and Passion week, defining specifics of the poetics of its services. Several levels of content can be defined in a chant: 1) personal, describing relations between the Mother and the Son; 2) soteriological, revealing Lord’s plan of the salvation of humanity; 3) dogmatic, presenting dogmas of Christ and Holy Mother; 4) celebratory, establishing praise of the Mother of God. The structure of the irmos is defined by a triad thesis – antithesis – synthesis. Thesis is imperative expressio","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129061801","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":"Laughter as a direction of Marc-André Hamelin’s composer searches.","authors":"K. Pidporinova","doi":"10.34064/KHNUM2-15.08","DOIUrl":"https://doi.org/10.34064/KHNUM2-15.08","url":null,"abstract":"Background. Contemporary musical art is an open stage for collision and coexistence of various artistic ideas, landmarks, styles, etc. The work of the recognized Canadian pianist-composer Marc-André Hamelin (born in 1961) raises a particular interest. The fact that the peculiarities of the musician’s performing and composing style are insuffi ciently covered in Ukrainian musicology determines the research rationale. It is also caused by the need to identify the specifi c features of the author’s inheritance, ensuring its consistency with the present time, where the laughter phenomenon becomes an important component of the picture of life. Objectives of the study are the comprehension of Marc-André Hamelin’s composer searches in the aspect of laughing cultural tradition and the defi nition of the author’s proposed ways of its embodiment in music. Methods. The research is based on the principles of complex approach, which involves using the biographical, the systematic, the genre and style, the structural and functional, and the comparative methods, etc. Results. M.-A. Hamelin appears to be a universal personality. He implements his creative intentions in various performing incarnations – as a soloist-pianist, a distinct interpreter and recognized virtuoso and intellectual; a performer who actively collaborates with the orchestra; a piano duo participant; a chamber ensemble participant and a studio musician. The repertoire palette he chose includes world-famous works, opuses of transcendental complexity, rarely performed music, and his own music works. His choosing some of the original works outlines the sphere of laughter as he searches new performing techniques, which has an infl uence on him as a composer. The original style of M.-A. Hamelin aims to create a special “rebus” fi eld, where the multiplicity of artistic perception is related to the degree of immersion into a given playing situation. The piano cycle “12 Études in all minor keys” was intended to be hommage to the samename work by Charles-Valentin Alkan. The iconic ceremoniousness of the title forms a special fi eld of culture, which creates a laughter background. Most of the cycle items correspond to the creativity of a particular artist whose musical image appears through the original style of writing. The synthesizing type of composer’s thinking contributes to the combining the music and the colorifi c etude, that is, the virtuoso music piece and the exercise at the same time, and a graphic sketch-drawing, and to the creation of a musical portrait “gallery” (F. Chopin, N. Paganini, F. Liszt, Ch. Alcan, D. Scarlatti , P. Tchaikovsky, J. Rossini, V. Goethe and the author himself). Using masks, theatrical techniques, bright characters is manifested at all levels and serve as markers of a carnival. The existing playing mode ensures the importance and essentiality of laughter. M.-A. Hamelin refers to the established palette of the piano techniques and formulas, while demonstrating new al","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125653768","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 peculiarities of the instrumental parts interpretation in “Four Pieces for Clarinet and Piano” op. 5 by A. Berg","authors":"V. Metlushko","doi":"10.34064/khnum2-15.02","DOIUrl":"https://doi.org/10.34064/khnum2-15.02","url":null,"abstract":"Background. Chamber instrumental music written for a clarinet follows the fate оf so-called small genres in the XXth century. The researches in a varying degree connected with problems of the music written for a clarinet or with its participation are very various. However, features of use of a clarinet in chamber genres are researched, as a rule, in aspect of wider perspective. Owing to this fact information on many compositions which entered the repertoire of modern performers in scientifi c and methodical literature either is absent, or does not exhaust all complex of the questions arising in connection with updating of musical language at preservation of the developed receptions of the instrumental and ensemble composing. Objectives. The purpose of the article is to reveal the features of chamber and instrumental ensemble in Four Pieces for Clarinet and Piano by A. Berg in terms of interpretation of technical and expressive opportunities of a clarinet and role functions of parts. Methods. Structurally functional, compose-dramaturgic and comparative methods of research are used. Results. As the presented literature testifi es, the performer, fi rst of all, should get acquainted with the scientifi c researches in order to facilitate the subsequent interpretation process. This is important for understanding not only the fi guratively emotional and meaningful side of music, but also the novelty of the ensemble ratio of instrumental voices. From this point of view, the clarinetist should be aware of his part both in its individual features, and as an integral part of a single thematic process. It is advisable to recall that the previous musical practice has formed different types of the ratio of parts. Аtonality of the Four Pieces op. 5, associated with the avoidance of tonal landmarks and based on the expressiveness of interval clutches, predetermined the emergence of a new quality of ensemble technique, which declares itself in leveling the concept of solo timbre, accompaniment techniques, and open interchange of thematic material. Outwardly, all these signs are present in the musical text, but the writing technique itself directs the musical process towards the creation of a single intoning space in which the participating timbre-register «individualities» appear to be components of a polyphonic texture. Despite this, the idea of ensemble in a broad sense is preserved, which allows us to consider the clarinet part as a relatively independent phenomenon. So, the plays collected in an opus assume possession of a various palette of articulation and dynamic means, capable to transfer thin change of lyrical moods. Their contrast is exhibited already in the fi rst play, which aims the performer to quickly switch to a different emotional mood in the absence of large-scale thematic structures. Against the background of the multievent fi rst play, the two middle ones are distinguished by their consistency of the fi gurative plan. Hence a more modest pale","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"79 15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131870694","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":"R. Schumann’s romantic “Fantastic Pieces” op. 88 – on the way to the piano trio","authors":"L.О. Sokolova","doi":"10.34064/khnum2-16.07","DOIUrl":"https://doi.org/10.34064/khnum2-16.07","url":null,"abstract":"Introduction. The article analyzes R. Schumann’s “Fantastic Pieces” op. 88 as a creative debut in the subsequent development of the piano trio genre. The “Fantastic Pieces” op. 88 are the first composer’s creative experience in combining such musical instruments. Theoretical Background. The analysis of musicological literature did not reveal any special research dedicated to this score, but only its references in E. Karelina’s (1996) thesis research and D. Zhitomirsky’s (1964) monograph. Thus, this article is the first special research of the compositional and ensemble analysis of R. Schumann’s “Fantastic Pieces”, op. 88. The objectives of the research: to analyze compositional-dramatic and ensemble features of R. Schumann’s “Fantastic Pieces”, op. 88, to identify their specific features. The object of the research: R. Schumann’s chamber-instrumental creative activity. The subject of the research: to identify the value of R. Schumann’s “Fantastic Pieces”, op. 88 in the further development of the piano trio genre. Methods: musical-theoretical, aimed at analyzing the musical text of the chosen work; genre-stylistic, allowing to identify the compositional-dramatic and ensemble features of R. Schumann’s “Fantastic Pieces”, op. 88. Research material: R. Schumann’s “Fantastic Pieces” op. 88 for piano, violin and cello. Results and Discussion. The first experience in mastering the piano trio genre of R. Schumann occurred in the “Fantastic Pieces” op. 88, composed in 1842. This was the first composer’s experience in combining such musical instruments. This work is a cycle of four pieces: “Romance”, “Humoresque”, “Duetto” and “Final”. It is noteworthy that R. Schumann used these names in other works. It is useful enough to recall his 3 piano romances op. 28, Humoresque op. 20a, 4 marches op. 76. Despite the four-part character of the work, this composition does not coincide with the sonata-symphonic structure, but is organized according to the suite principle. R. Schumann’s different vision of the trio-ensemble genre is represented by a clear differentiation of works with an individual composition. Therefore, the cycles op. 88 and op. 132 receive program names: “Fantastic Pieces” and “Fairytale Narratives”, respectively, and the trio with the classical (sonata) organization of the cycle acquire sequence numbers and are referred to as “piano trios”. The very names of the parts in the cycle reveal the opposition of two metaphoric spheres, characteristic of the romantic era: lyrical and genre-scherzo ones. The paired relationship of these metaphoric spheres stands out particularly. Such a metaphoric doubling gives the matching modes the rondality features within the whole cycle. This metaphoric paired relationship between the parts allows you to single out two macro parts in a cycle. The first macro part is represented by the lyric “Romance” and the scherzo “Humoresque”, the second one – by the tender song “Duetto” and the marching “Final”. At the same time,","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116346463","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":"Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms","authors":"D. Kashuba","doi":"10.34064/khnum2-16.12","DOIUrl":"https://doi.org/10.34064/khnum2-16.12","url":null,"abstract":"Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality c","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129408278","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":"Choral creativity by Hanna Havrylets as a symbol of the togetherness of Ukraine (on the example of the musical and stage action “We will sow the Golden Stone”)","authors":"T. Sukhomlinova","doi":"10.34064/khnum2-17.03","DOIUrl":"https://doi.org/10.34064/khnum2-17.03","url":null,"abstract":"In recent years, there has been an increasing interest in Ukrainian choral music of the modern generation of composers. Hanna Havrylets’ choral works are topical for performers and scholars. The musical and stage performance “We will sow the Golden Stone” is an example of embodiment the idea of united Ukraine, which was preserving its actuality during the all history of the country. Hanna Havrylets is an artistic figure, whose creative work unites Western and Eastern Ukraine. She was born in Galicia, studied and worked in the capital city. Her music reached Eastern Ukraine, where the artist’s choral works are performed by almost every choir group and where they have become the favorite among performers and listeners. Concerning choirs of Kharkiv region, we should mention the Chamber Choir named after Viacheslav Palkin of Kharkiv Regional Philharmonic Society, the Opera Studio Choir and the Student Choir of Kharkiv National University of Arts named after Ivan Petrovych Kotliarevsky, the Student Choir of Kharkiv State Academy of Culture. Research aims and methods. We tried to identify Hanna Havrylets’ choral works’ characteristic features, which are a symbol of the nation’s unity in the contemporary Ukrainian musical space, as well as some religious, philosophical and traditional folk features of the national identity, which perform the unifying function in the Ukrainian musical art. Research results. The features of H. Havrylets’ works that connect the cultural poles became a religious orientation (appeal to the Orthodox tradition), reliance on folklore and national historical and cultural traditions, which, combined with professional skills and composer talent, allowed her to create unique creative projects. One of such projects is the musical stage performance “We will sow the Golden Stone” (1997). The work was created for the People’s Artist of Ukraine Nina Matviyenko (soloist), a choir of boys and a symphony orchestra, the author of the poems is Sofiya Maidanska. Its uniqueness is in the fact that it combines almost all the genres of Ukrainian folk music in one piece united by the only idea of covering all the milestones of Ukrainian history starting from the World Creation and up to the present days. The artistic method of synthesizing musical and stage performance has a multi-level manifestation. Synthesis of art types (music, fine arts, choreography and theater) is supplemented with synthesis of styles, genres, and contents. H. Havrylets skillfully combines peculiarities of artistic thinking, characteristic of Ukrainian folklore, with contemporary composer vision; also the folkloric manner of singing – with the academic. Having considered the musical and stage performance “We will sow the Golden Stone” by H. Havrylets, we found common for Ukrainian culture and art features, which support the idea of unity and collegiality of Ukraine. These common religious, folkloric, philosophical features constitute a single spiritual system of the nation","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124073548","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":"Maria Szymanowska as a recital pianist‑composer of the Romantic epoch","authors":"O. Serdiuk","doi":"10.34064/khnum2-17.12","DOIUrl":"https://doi.org/10.34064/khnum2-17.12","url":null,"abstract":"Вackground. The composer creativity of the talented Polish pianist Maria Szymanowska, her concert activity was arousing an exceptional interest among the public in the 1920s. However, shortly after her death, she was undeservedly forgotten for a long time. At the end of the XX – beginning of the XXI centuries a revival of interest in her work is observed. Her works are increasingly performed by contemporary musicians, and not only Polish (among them, for example, the Dutch pianist Bart van Oort is); international scientific symposiums are devoted to her creativity – in particular, in November 2015, the Сonference was held in Paris on the works by M. Szymanowska. In 2019, in connection with the 230th anniversary of this outstanding Polish artist, the Polish Sejm declared the year of Maria Szymanowska. The time distance between the eras and the change in cultural paradigms that has occurred today, prompt to rethink approaches to various cultural-forming activity in past eras, in particular, in the first half of the 19th century, to evaluate them from the standpoint of the modern creative thought. Indeed, the problems of choosing between universalism and specialization, of the search for effective means of artistic communication, the freedom of interpretation of the author’s text, with which M. Szymanowska has be faced, remain relevant and for modern cultural figures. In Ukraine, a steady interest in the music of M. Szymanowska, as well as the desire of scientists to study her works, has not yet been observed. The separate steps have been taken in this direction – for example, the publication of Maria Yanyshyn (2016), who is trying to explore some aspects of the creative work of the Polish artist, relying on modern methodological tools. Oddly enough, the concert activity of M. Szymanowska in Ukrainian cultural centers is also ignored: local historians did not publish a single critic review of her performances, although not only the Polish pianist was participating in such concerts, but also the local musicians. At one time, the example of such careful archival work was demonstrated by I. Belza (1956), who analyzed the newspaper reviews that were printed primarily in Moscow and St. Petersburg, and the correspondence of the figures of Russian culture, in which he found the references to M. Szymanowska and published them in his monograph. The present article intends to designate a corpus of problematic issues rather than thoroughly solve them. It cannot be said that and Polish scientists today made significant progress in their resolution, although Renata Suhovejko (2012) and others (Slavomir Dobzansky, Maria Stolarzhevich) touch on certain aspects Maria Szymanowska’s creative activity in their articles. The purpose of this article is to reveal the features of M. Szymanowska’s creative approaches to piano (concert) performing and composer activity, which are the object of this study. The subject of the study is the features of cultural arising, of the ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122480307","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":"Stylistic phenomenon of Violin sonatas by Franz Schubert","authors":"Inna Каrachevtseva","doi":"10.34064/khnum2-16.06","DOIUrl":"https://doi.org/10.34064/khnum2-16.06","url":null,"abstract":"Background. In recent years musicologists revealed an increasing interest in the problem of historical typology of F. Schubert’s composer style. In fact, scholars question possibility to characterize it as romantic, in their turn suggesting another interpretations and characteristics. For instance, M. Brown avoids usage of the term “Romantic” referring to F. Schubert, insisting on him being a part of a Classical tradition. In order to substantiate his viewpoint, the scholar appeals to harmony of the composer, where novelties, according to M. Brown, are not in fact innovations but incredibly skilful incarnation of Classical ideas. More moderate opinion on the discussed problem is stated by Ch. Rosen (2003). While acknowledging “revolutionary” nature of F. Schubert’s harmony, the scholar simultaneously points out a “special status” of the composer in musical art, a status not allowing to apply neither Classical, nor Romantic standards to the works of master. Consequently, as Ch. Rosen says, F. Schubert ended up being “in-between” Classical tradition and Romantic innovations. In his earlier study (1997) abovementioned author uses term “Postclassicism” referring to F. Schubert and other artists of his generation. A collision “F. Schubert – L. van Beethoven” is regarded both by Е.Badura-Skoda (2004) and J. Daverio (2002). The latter one tries to solve it while regarding it through prism of R. Schumann’s observation on this problem. Thus, it is obvious that reception of F. Schubert’s style as typologically ambiguous has a long-lasting history dating back to Romantic era. This intrigue can be found in researches of XX century as well. For example, phenomenon of style of F. Schubert’s chamber works has become a topic of P. Wolfius’ rumination, who defined it as “intermediate” (1974). Mentioned above works of the last third of XX century and beginning of XXI century prove relevance of the problem of historical typology of F. Schubert’s composer style for modern musicology. This calls for its further development through analytical studying of musical material while using historically-typological method of research. In the given aspect, special attention should be drawn to early works by composer, including four Violin sonatas. Objectives. The goal of this paper is to comprehend stylistic phenomenon of these works as a result of mixture of Classical experience gained by F. Schubert and first signs of his oncoming individual view on the essence of music and sound. Methods. In order to achieve this goal, the author of current work uses a periodization of F. Schubert’s chamber legacy, created by H. Gleason and W. Becker (1988) as well as models of “biography scenario”, revealed by N. Savytska (2010). According to the former one, Violin sonatas, written in 1816–1817, don’t belong to the “mature” works; at the same time according to the latter ones, due to F. Schubert’s style evolution being smooth and gradual its starting and finishing points have no radical di","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"155 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114852062","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 House That Jack Built” by Jessie L. Gaynor as an example of an English language operetta for children","authors":"O. Kuzmina","doi":"10.34064/KHNUM2-15.12","DOIUrl":"https://doi.org/10.34064/KHNUM2-15.12","url":null,"abstract":"Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. However, if the information about this genre is contained in the scientifi c literature, research on opera for children-performers analogue, children’s operetta which was formed and used by considerable demand in the late 19th – in the fi rst half of the 20th century in the English-speaking countries, is practically absent. This determines the relevance of the chosen subject. Objectives. The objective of this study is to consider the features of the libretto, the compositional and dramaturgical properties of the children’s operetta by J. L. Gaynor The House that Jack Built as one of the English-language samples of the genre. Methods. So far these methods were been applied: historical, structural and functional, comparative. Results. It is diffi cult to indicate the exact date of the children’s operetta emergence. It is known from available literature that it became widespread in the 1880s. In the following decades, the popularity of children’s operettas does not fade, rather, it only grows. The school authorities even were worried about such an intensity of extracurricular work. However, this fact did not affect the number of performances. There are books containing instructions and guidance, tips on probable diffi culties that could be faced by fi rst-time directors. In particular, it was recommended to divide responsibilities between school departments and draw up a general plan of action. Attention was paid to organizing an advertising campaign to attract as many viewers as possible. With such performance enthusiasm, there was a certain lack of repertoire written specifi cally for children and adolescents. Not surprisingly, the music teachers sought to replenish it. Among them was an American piano and harmony teacher Jessie Lovel Smith Gaynor (1863–1921) who composed The House that Jack Built (1902). This is not the only sample of children’s operetta in the heritage of J. L. Gaynor, she wrote a few more works, mostly after fairy tales: The Lost Princess Bo-Peep (its plot matches Jack’s one), The Toy Shop, Snow White, The Magic Wheel, Three Wishes, The Return of Proserpina, and On Plymouth Rock. The libretto of The House that Jack Built, written by A. G. D. Riley, is compiled on the basis of nursery rhymes, which are an integral part of the English-speaking countries culture. The operetta includes 24 folklore texts (full or fragmented): poems, two counters, ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116099723","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}