Aspects of Historical Musicology最新文献

{"title":"Music marketing in modern society","authors":"Bohdan Kysliak","doi":"10.34064/khnum2-32.11","DOIUrl":"https://doi.org/10.34064/khnum2-32.11","url":null,"abstract":"Statement of the problem. Recent research and publications. The music industry is constantly changing and growing everyday, which provokes the emergence of such a phenomenon as music marketing. Music marketing, like any other type of marketing, aims to bring the product from the producer (musician) to the potential consumer (listener). It is used to attract as many people as possible at a concert show, in social networks, interviews, TV broadcasts, and on the Internet and to encourage these people to buy music in all possible ways. The historical aspects of the formation of music marketing are revealed in the work of J. R. Ogden, D. T. Ogden and K. Long (2011). Yu. Hubareva (2015) investigates such a type of music marketing as audio-marketing, which, according to the author, is a type of neuromarketing that studies the impact of sound on consumer behavior. L. Obukh (2019) singles out four areas of music management and marketing using the example of academic music: building a strategy with its subsequent implementation, forming a corporate culture, implementing communications and working with personnel. Objectives, methods, and novelty of the research. The purpose of the article is highlighting the main features of successful music marketing in modern conditions of information and digital development of society. The scientific novelty of the work consists in the analysis of the current state of development of music marketing in Ukraine and its prospects for the use of various marketing technologies, which will allow expanding the ways of selling music products. Such methods as search and analysis of information, its systematization, classification and generalization were used. Research results and conclusion. The conducted research allows us to assert that music marketing is a way to convey the creativity of a musician to a large circle of listeners, and its tools today are such marketing technologies and directions as establishing contact with the public (public relations, PR), advertising, concert activities with the creation of videos and audio, including joint recordings with other artists, radio- and TV-promotion, use of streaming services (Spotify, AppleMusic, YouTubeMusic), interactive and entertaining video hosting, participation in Internet-forums, creation of blogs, columns in audio and video podcasts, etc. The basis of the implementation of various marketing solutions is active work in social networks, media, constant monitoring of the sales market. Today in Ukraine, despite insufficient funding and still short existence, music marketing is developing, the directions and channels of promotion of music products are expanding, and the latest digital technologies are being introduced.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"89 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139273826","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 Power of Harmony” by Eusebius Mandyczewski as an example of the composer’s early cantata work","authors":"Yuliia Kapliyenko-Iliuk","doi":"10.34064/khnum2-31.02","DOIUrl":"https://doi.org/10.34064/khnum2-31.02","url":null,"abstract":"Statement of the problem. The artistic work of the Bukovynian composer and musicologist of the second half of the 19th – the first quarter of the 20th century Eusebius Mandyczewski plays an important role in the formation and development of the composer school of Bukovyna. The study of the cantata “The Power of Harmony” – one of Mandyczewski’s early works – is important, because it allows us to reveal the fundamentals, which contributed to his future artistic growth. Objectives, methods, and novelty of the research. The purpose of the study is a musicological analysis of the cantata “The Power of Harmony” by E. Mandyczewski and identification the characteristic features of the composer’s creative thinking. Such detailed analysis of the work revealing the characteristic features of the artistic style of the Bukovynian composer is the innovative component of the research. A set of methods that are important for identifying the features of a composer’s musical work was used: biographical, historical and cultural, method of musicological analysis, method of theoretical generalization. Results and conclusion. The artistic heritage of E. Mandyczewski is quite large, it covers various genres of musical work, but the most important one is the cantata genre. The study of the cantata “The Power of Harmony” revealed a number of features of the work and the stylistic foundations of the composer’s future mature work. The author demonstrated the skill of creating monumental genres and the ability to perform complex artistic tasks in a short period of time. We observe clear dramaturgy of the cantata, which is aimed at embodying the main idea of the work – an allegorical comparison of the harmony of the world, which grew out of chaos, with the formation of the musical culture of the Bukovynian region. This work reveals the composer’s romantic worldview, knowledge of the musical heritage of Western Europe, the style of foreign composers, and mastery of traditional writing techniques. E. Mandyczewski demonstrated the ability to operate a large group of performers, skillfully using the timbre of vocal voices and musical instruments. The expressiveness of the vocal melody is combined with the improvisation and virtuosity of individual instruments, in particular the violin, which is characteristic of the local performance tradition. High level of professionalism of the composer his mastery of the polyphonic writing technique attests: the use of polyphonic methods and forms, in particular the choral fugue, the use of timbre polyphony, etc. In the cantata “The Power of Harmony”, E. Mandyczewski, despite his young age, showed talent and professional mastery of instrumentation, harmony and counterpoint, as well as knowledge of the nature of the human voice. This early composer’s cantata was a great success during the first performance that gave the composer an impetus for future achievements.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134085889","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":"Modern instrumental and orchestral art of the Bukovyna region","authors":"Inna Mokrohuz","doi":"10.34064/khnum2-31.03","DOIUrl":"https://doi.org/10.34064/khnum2-31.03","url":null,"abstract":"Statement of the problem. The modern instrumental and orchestral art of Bukovyna, which has deep historical roots dating back to Proto-Slavic times, stands out for its bright originality. The creation of a musical-instrumental collective involves the search for a creative personality with the appropriate professional level, musical and organizational and communication skills, and the ability to communicate tolerantly with all members of the ensemble. That is why there is a need to highlight the artistic activities of both the instrumental groups themselves and their leaders. Because it is thanks to their creative restlessness that today Bukovyna is proud of a significant number of highly professional ensembles and orchestras of instrumental music. Objectives, scientific novelty, and methods of the research. The purpose of the study is to highlight the process of developing the instrumental collectives, whose activities contributed to the shaping of the modern Bukovyna musical culture. The special task of the research and its innovative component is to consider the role of outstanding figures of the leaders of these collectives in the cultural development of Bukovina. Historical, biographical, musicological and cultural approaches were chosen to reveal the stated topic, analytical and generalizing methods were used in the processing of reference sources and scientific literature. Results of the research. Bukovyna is historically multinational region, where the Ukrainian, in particular Hutsul, Romanian, Polish, Hungarian influences is felt. So, the creative activity and repertoire of the folk groups and academic instrumental ensembles are very diverse. The music art of instrumental ensembles has been always gaining interest and respect from the listeners, due to its distinguished professionalism and ease of perception. The artistic and educational activities of such instrumental ensembles as «Triple musicians», «Plai», Chamber and Academic Symphonic orchestra of the Chernivtsi Regional Philharmonic hall, folk music ensemble «Bukovyna» and the Brass Orchestra «Dixie-Band» of the Central Palace of Culture, the orchestra group of the Honoured Academic Bukovynyan song and dance ensemble named after A. Kushnirenko was highlighted. The active educational position of the leaders of these groups as an outstanding extraordinary personalities, their importance in the formation and development of cultural and educational processes in Bukovyna, popularization of the folk music of the Bukovyna region were emphasized. Such leaders are: People’s Artists of Ukraine – Andrii Kushnirenko, Yurii Gina, Pavlo Chebotov; Honored Artists of Ukraine – Mykola Hakman, Yuriy Bleshchuk, Yevhen Tarnavskyi, Oleksandr Zhukov; Honored Art Workers of Ukraine – Viktor Kostryzh, Yosyp Sozanskyi; Honored Cultural Workers of Ukraine – Illia Miskyi, Heorhii Novakovskyi. A significant number of famous vocalists from Bukovyna have worked with the orchestras at different times, such as Hon","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132684770","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":"Lubov Mandziuk’s musicological activity","authors":"Oksana Bobechko","doi":"10.34064/khnum2-31.04","DOIUrl":"https://doi.org/10.34064/khnum2-31.04","url":null,"abstract":"Statement of the problem. The bandura art is an integral part of Ukrainian musical culture. Gender asymmetry is clearly noticeable in the process of its formation and development: for many centuries, the bandura playing was considered a “non-female” thing. However, the leveling of this asymmetry during the 20th century opened up new, gender-independent perspectives for this ancient art form. Among the well-known Ukrainian female bandura players of our time is Lubov Mandziuk – PhD in Art Studies, Associate Professor of the Folk Instruments of Ukraine Department at the Kharkiv I. P. Kotlyarevsky National University of Arts. Her contribution to the establishment and confirmation of modern bandura art in Kharkiv region and Ukraine in whole is determinative. Recent research and publications. Lubov Mandziuk’s artistic activity found coverage in the scientific investigations of О. Bobechko (2014), І. Lisniak (2019), S. Nikolenko (2021), І. Panasiuk (2002), Т. Sliusarenko (2015; 2018). However, the scientists only fragmentarily elucidate the considerable musicological achievements of the artist. Objectives, methods, and novelty of the research. The purpose of the study is to highlight and thoroughly analyse the musicological work by Lubov Mandziuk and reveal the significance of her activity for the development and popularisation of bandura art as an important component of national musical culture. The following scientific methods were used: comparative one, the method of critical analysis, as well as methods of systematisation and generalisation of the materials, which together gave the opportunity to analyse and estimate the scientific achievements by Lubov Mandziuk in musicological sphere. The represented study is the first attempt to comprehend the musicological sphere of Lubov Mandziuk’s activity. Results. A prominent place among modern musicologists who deal with the problematic issues of bandura performance belongs to Lubov Mandziuk. Numerous works of the scientist are devoted to the formation and development of the bandura art in the context of historical and musicological issues, to the peculiarities of functioning of the modern bandura performance, as well as the problems of studying and systematizing the methodical foundations of professional training for bandura players. The characteristic feature of Lubov Mandziuk’s research is the use of interdisciplinary approach and so-called “regional aspect”, which contribute to optimal solution of problematic issues in the bandura performance. Conclusions. The diversified musicological work of Lubov Mandziuk is aimed at the representation and popularisation of bandura art in all its manifestations. Performing, pedagogical, social and organizational activities of the artist had an undeniable influence on her musicological work. The achievements of the scientist dedicated to the issues of the bandura performance history and its modern development, as well as scientific and pedagogical studies in the field","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123828628","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 performance art as a category of a modern choral studies","authors":"N. Bielik-Zolotariova","doi":"10.34064/khnum2-31.08","DOIUrl":"https://doi.org/10.34064/khnum2-31.08","url":null,"abstract":"Statement of the problem. During the Soviet period, the development of the domestic choral studies was inhibited due to the impossibility of publishing researches in the Ukrainian language. Single, but significant researches of the outstanding Ukrainian practicing choirmasters Konstantin Pihrov and Mykola Kolessa became the summation of their experience, which gained unparalleled importance for the development of choral studies, its performing branch. During the time of Ukrainian independence, the situation changed for the better thanks to choral culture urgent issues study, which necessarily requires a systematic approach to the Ukrainian choral studies categorical apparatus development. The relevance of the study topic is that nowadays the choral studies categorical language remains incompletely studied, in particular, such an important component of it as choral performance. Recently research and publications. Analytical studies of the Ukrainian choral experts and practicing choirmasters in the performance field are devoted to topical issues regarding universalization of the choral conductor profession (Yu. Kalyniuk, Yu. Tkach), searching for new means of expression in choral performance (Yu. Puchko, Ye. Bondar), working with choirs of various creative directions and age specifics (Yu. Ivanova, O. Letychevska). In particular, Nataliia BielikZolotariova, Olena Zaverukha, Oleksii Fartushka were involved in the choral studies of categorical apparatus. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the essence of the “choral performance” category of modern choral studies. The research is based on the application of historical-contextual, systemic, terminological, choral studies methods of analysis. Its scientific novelty lies in the fact that, in this study, for the first time in domestic musicology and choral studies, the category of “choral performance” and its components was considered, the specific regularities of the choral performance process were clarified. Results and conclusion. As a result of the “choral performance” category analysis, a definition of the chorus as a representative of choral performance was provided, as well as the essense specifics of choral performance containing, first of all, in the characteristic of the actual performer presented as the symbiosis of the choral team and the conductor. As a conclusion, the components (levels) of the studied categories are determined: professional, amateur, educational choral performance. In turn, at certain levels of choral performance, additional branches are formed: academic, folk, church, pop, children’s and other directions. Since the defined levels of the category “choral performance” have a systemic nature, the category as such appears as an open-ended metasystem.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126620888","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":"Kharkiv vocal school: on the path of continuity","authors":"Taisiia Madysheva, L. Derkach","doi":"10.34064/khnum2-31.06","DOIUrl":"https://doi.org/10.34064/khnum2-31.06","url":null,"abstract":"Statement of the problem. Objectives, methods, novelty of the research. The year 2022, which marked the 105th anniversary of the Kharkiv National University of Arts, became a tragic challenge for the entire Ukrainian public, exacerbating the issue of preserving the country’s cultural traditions and its historical memory. The formation and development of the Kharkiv school of academic vocal art is an integral and bright part of the cultural history of Ukraine, which needs to be highlighted and scientifically understood. Despite the fact that the Kharkiv vocal school has educated a whole galaxy of world-class singers, there is still no fundamental scientific research devoted to it. The purpose of the article is to actualize for our contemporaries the creative achievements of the Kharkiv vocal school, represented now by the Department of Solo Singing and Opera Training of the Kharkiv I. P. Kotlyarevsky National University of Arts, to highlight the hereditary ties between the generations of its representatives, some trends in its development and the specifics of its current stage. The combination of historical-biographical, chronological-documentary, analytical, and systemic methods made it possible, based on a brief review of the historical development of the Kharkiv vocal school, to identify some characteristics of it, established in its tradition. Research results and conclusion. A brief overview of the historical development and main achievements of the Kharkiv school of academic singing, the core of which is today the teaching staff of the Department of Solo Singing and Opera Training of the Kharkiv I. P. Kotlyarevsky National University of Arts, allows us to identify certain characteristics of it, established in its long-standing tradition. This is an extremely high vocal culture, characteristic of its best representatives, among whom are People’s Artists of the USSR B. Hmyria, M. Reizen, M. Manoilo, N. Surzhina, N. Tkachenko, V. Tretiak, H. Tsypola; People’s Artists of Ukraine and former Soviet republics V. Arkanova, H. Horiushko, O. Vostriakov, I. Zhurina, M.Koval, L. Solianyk, O.Romanenko, V.Rozanov and many others, Honored Artists and laureates and graduates of international and national vocal competitions, who at different times, in different countries, on the most prestigious stages of the world successfully confirmed the high professional status of the Kharkiv vocal school: L. Morozov (Geneva, 1958), Ye. Ivanov (Sofia, 1961) , Bucharest, 1964), V. Trishin (Moscow, 1970), L. Serhienko (Geneva, 1973, Moscow, 1974), H. Tsypola (Tokyo, 1976), V. Boldyrev (Japan, 1990), O. Kramareva ( St. Petersburg, 2005), M. Paster (Moscow, 2007), N. Polikarpova (Finland, 2010), L. Kohan (Finland, 2017), Liu Xia (Italy, 2018), V. Lashko (Czech Republic, 2019) and many others. The components of this culture are perfect technical skill, “inherited” thanks to the tradition of training singers, which comes from the masters of Italian bel canto – the founders of","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121655521","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":"Hlukhiv People Amature Chamber Choir of Sacred Music creativity as a component of Hlukhiv region’s culture (the end of 20th – early 21st century): art reflections","authors":"Anna Myronenko","doi":"10.34064/khnum2-31.07","DOIUrl":"https://doi.org/10.34064/khnum2-31.07","url":null,"abstract":"Statement of the problem. The 20th century in the history of Ukraine was marked by the harsh policy of the USSR authorities in relation to religion and national self-identity. Aiming to destroy everything sacred for Ukrainians and transform them into an universal faceless nation, the government achieved the opposite result. Against a background unsuitable for revival, sprouts of spirituality and “Ukrainianness” appeared as a counter-response to the totalitarian radicalism of the government. Recent research and publications. We established that the Hlukhiv phenomenon was revealed in the works of O. Vasiuta (1998), H. Lokoshchenko (1990), L. Horenko (2006), V. Ivanova (1997), M. Kyianovska (2000), L. Kornii & B. Siuta (2011), K. Maiburova (1971), M. Yurchenko (2001). The purpose of these publications is to study the origins of the development of professional Ukrainian music and its integration into the world music space. The publications addressed the activities of the Chamber Choir were appeared in local periodical press, in particular the newspapers “Hluhiv region”, “Day”, “Courier”, “People Tribune”, “Week”, “Panorama”, and others; they have narrative character without analytical science approach and adopted to usual unprofessional readers. Objectives, methods, and novelty of the research. The purpose of this article is a coverage of the creative activity of the Hlukhiv People Amateur Chamber Choir of Sacred Music. For this, source studies, scientific, historical, and analytical research methods were used, as well as generalization and systematization of information about the activities of the creative team. The scientific novelty of the research consists in the analysis and systematization of the Choir’s repertoire, in highlighting of its history and aesthetical principles directed its progress, in presentation of social and cultural context of the time, and revealing of significance the choir collective’s activity for actualization of Ukrainian national spiritual heritage. Research results and conclusion. The choral culture of Hlukhiv is a bright page of the centuries-old history of developing the Ukrainian choral singing. Its traditions were revived at Hlukhiv region in the 20th century through the activities of the Sacred Music Chamber Choir. The main vectors of the group’s creativity are highlighted: promotion of the Ukrainian-language repertoire, performance of works by countrymen composers M. Berezovsky, D. Bortnyansky, preservation of the canonical traditions of choral singing, and performance of sacred music. These areas of activity make it possible to identify the team’s creative work as an important component of the national Ukrainian culture. Regardless of historical and political obstacles, the choir’s activities achieved their goals: the performance of outstanding countrymen’s music gained popularity and found its continuation in the repertoire of the Choir department of the Hlukhiv School of Arts; classical and sacred choral music","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"165 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134245212","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":"Weaving fates. Fryderyk Chopin – Viktor Kosenko","authors":"Kira Shamaieva, Olga Volosatykh","doi":"10.34064/khnum2-31.01","DOIUrl":"https://doi.org/10.34064/khnum2-31.01","url":null,"abstract":"Statement of the problem. The relevance of revising the picture of artistic life of the first decades of the 20th century in Ukraine from modern scientific positions does not require additional argumentation. This is equally necessary as for the sound palette of the time, and as for the biographical characteristics of composers creativity, which really are full of lacunas. In the process of a detailed study of Viktor Kosenko’s creativity, various allusions to the lifework of his favorite composer, Fryderyk Chopin, become quite noticeable. Thus the question arises: are we not dealing, alongside the incomprehensible play of fate, with a certain subconscious desire of the Ukrainian composer to “reconstruct” the events of the past? Recent research and publications. A typologically justified comparison of the Ukrainian composer with the Polish genius, in the context of professional activity solely, appears in the work by O. Komenda (2020: 266) devoted to the phenomenon of the creative personality. The publications of the last time include the reconstructions of V. Kosenko’s biography initial period and the descriptions of his preserved personal archival fund, carried out in the process of organizing the corresponding catalog (Mudryk, 2016; Volosatykh, 2021; Ivanova, 2019). M. Tomaszewski’s monograph “Chopin: Man, Creativity, Resonance” (2005) gives interesting materials for comparing the heroes of our study according to various parameters, as well as the illustrated popular science book by A. Brożek and J. Jadacki (2010). Objectives, methods, and novelty of the research. The purpose of the study is to expand established ideas about the life and work of V. Kosenko, to introduce the composer’s creativity into the context of European musical culture, to overcome its sometimes outdated and somewhat primitive perception. In the first time, the thoughts on numerous points of intersection, tangential aspects, “mirror reflections” of creative activity and everyday life of two artists are proposed. Reaching the tasks set the complex interdisciplinary and cultural approaches, the historical and comparative methods were used. Results and conclusions. In general, the drawn parallels and analogies deepen and emphasize the contextual connections of Kosenko’s work, highlight the basic components of its “genetic code”, its continuity with the Western European romantic tradition (as well as sensitivity to the further evolution of the post-romantic situation); at the same time, they demonstrate the deep affinity of the spiritual constants of the Polish and Ukrainian national worlds. Overcoming the distorted outdated perception of V. Kosenko’s creativity and personality, considering them in a pan-European context based on modern scientific approaches are the promising directions for the musicologists’ further work on the reproduction of an up-to-date panorama of the artistic life of Ukraine in the first half of the 20th century as of a full-fledged component of world ar","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134054208","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":"Musicological reflections in the form of “Prelude and Fugue”: Serhii Turnieiev’s author’s concert","authors":"Mariia Borysenko","doi":"10.34064/khnum2-31.05","DOIUrl":"https://doi.org/10.34064/khnum2-31.05","url":null,"abstract":"Statement of the problem. The article is the first experience in Ukrainian musicology to cover a significant artistic event in the cultural life of modern pre-war Kharkiv – the author’s concert of the composer Serhii Turnieiev, Honored Artist of Ukraine, Professor and until recently the Dean of the Kharkiv I. P. Kotlyarevsky National University of Arts. The event took place with the participation of famous solo musicians, as well as one of the best creative groups in Ukraine – the Symphony Orchestra of the Kharkiv Regional Philharmonic led by People’s Artist of Ukraine Yurii Yanko. The concert symbolically opened the chain of festive actions for the 105th anniversary of the University’s founding, although the “counterpoint” to this festive line was severe life events: the pandemic, and soon the war. This “contrasting polyphony”, and most importantly, S. Tournieiev’s inherent polyphonic thinking made possible a conceptual metaphor – likening the composition of an author’s concert to the structural logic of a fugue. This metaphor that became the key to revealing new meaningful facets of the works performed in the concert, is designed to deepen the analysis of the artistic meanings of the celebrate event and its reception by the listener. So, the purpose of the study is an attempt to get closer to understanding the inner processes in an experienced Ukrainian composers creative “workshop”. The methodological basis of the study consists of several directions: consideration of biography, vectors of action and existing musical pieces by S. Turnieiev; definition of role and place of some opuses in composer’s portfolio; systematization of the present scientific works; involvement of facts still not well known and our interviews with participants of recent artistic events; observation made upon such musicological spheres, as musical thinking, perception, composer’s artistic process on the example of complex analysis of content and performance vectors of S. Turnieiev’s musical pieces. Recent research and publications have shown the priority of some relevant issues: personalities and artistic life of modern composers (Ukrainian in the case); consideration of artist person “formula”, his musical thinking / style / method; belonging to traditions of particular school; studying of the process of art and its “consequences – composer’s and performer’s realization / interpretation of an artistic idea in musical piece. These trends actively integrating to spheres of the modern humanitarianism: philosophy, psychology, sociology of art, history, cultural studies, ethics, aesthetics and others. Among the authors whose works contributed to reveal our topic are М. Bevz (2017), Ye. Belova (2020), V. Bohatyrov (2021), І. Drach (2002), R. Kashyrtsev (2021), I. Horbunova (2015), I Konovalova (2018), D. Malyi (2017, 2018, 2021), Yu. Nikolaievska (2020), О. Roshchenko (2007, 2017), P. Rud (2021), H. Savchenko (2017, 2018, 2021), L. Shapovalova (2008), L. Maltseva, 2005, О. Sh","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132937346","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 image of the Virgin Mary in V. Ptushkin’s cantata «Salve Regina»","authors":"Yu. M. Ivanova","doi":"10.34064/khnum2-30.05","DOIUrl":"https://doi.org/10.34064/khnum2-30.05","url":null,"abstract":"Statement of the problem. Volodymyr Ptushkin is one of the most prominent representatives of the Kharkiv composer school of the second half of the 20th and early 21st centuries. In April 2022, he passed away staying in Kharkiv under fire at the beginning of the war. The thematic and genre diversity of his music reflects the breadth of his artistic views, openness to the trends of time. Ptushkin paid special attention to choral work, he collaborated with many choral groups of Ukraine, his choral works adorn their repertoire. Undoubtedly, his works have a magnetic power, and recognition of them in the professional and amateur environment determines the relevance of this topic. Recent research and publications. Today there is not thorough study of the Ptushkin’s choral heritage, beside the separate articles by N. Inyutochkina, T. Gerdova, I. Zhukovska, M. CherkashynaGubarenko, N. Mykhailova, I. Verbitska-Shokot, A. Krychenkova. The purpose of the article is to consider the peculiarities of the embodiment of the Image of the Virgin Mary in V. Ptushkin’s cantata “Salve Regina”. Methodology. As the methods of researching the historic, comparative, genre-stylistic, intonation-dramaturgical and interpretive types of analysis is used. Results. “Salve Regina” is a deeply psychological work. It carries the most deep feelings, thanks to which consciousness builds a chain of images, the meaning of which is hidden in their associative relationships. Music of the Cantata is present as the art of hints, semitones, chiaroscuro, and undisguised, exalted emotions. The artistic and philosophical concept, the peculiarities of the embodiment of the main image, the specifics of intonation and harmonic language, dramaturgy and the form of the cantata are revealed in the study. It is concluded that the cantata synthesizes some features of baroque musical style and modern musical language, and the canonical Church text does not interfere with its vivid theatricality. The melody appears as the most sensual and emotional intonation component, while the harmonic vertical is focused on the phonic expression of bright nontertian sounds, major seventh chords and ninth chords; the semantics of tonalities are also involved. Intonation arcs, leit-chords, the principle of through dramaturgy, the contrasting juxtaposition of episodes and parts of the whole in the cantata, despite the chamber form, testify to the composer’s symphonic thinking. Conclusion. The music of the cantata significantly expanded the scope of the prayer text and brought it to the level of philosophical generalization. The image of the Virgin Mary becomes the bearer of a hidden meaning, a symbol of the spiritual development of a person. Through the image of the Mother of God, the work highlights various stages of a person’s spiritual path to knowledge of God. Each of the six parts of the cantata is a musical reproduction of a certain period of person’s spiritual life: birth – suffering – despair – protest – enli","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126784269","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}