Aspects of Historical Musicology最新文献

{"title":"Pedagogical principles of the composer Serhii Turneev","authors":"Volodymyr Bohatyriov","doi":"10.34064/khnum2-30.03","DOIUrl":"https://doi.org/10.34064/khnum2-30.03","url":null,"abstract":"Statement of the problem. If the study of various aspects of teaching by musicians-performers has always been under consideration of scientists, then the question of the method of teaching composition is a poorly covered area. As a rule, the main subject of research is primarily the composer’s musical works. However, understanding the composer’s work and his activity as a whole, in the unity of all components, requires the systematization of his pedagogical principles. In turn, such research can help to evaluate the composer’s work in a new way, especially if it belongs to the modern musical space. Research and publications. The article is based on the works devoted to fixation and transmission of the composer’s experience (Rameau, 1971; Mann, 1971; Dyletsky, 1970/1723; Riemann, 1902; Hindemith, 1984; Messiaen, 1956; Schoenberg, 1999), the memories about composers-teachers (Galas, 2020; Bevz, 2021; Hrabovsky & Shchetynsky, 2017), scientific reference literature (Borysenko et al., 2017). Also, the theoretical basis was created by the works that reveal the concepts of “composition”, “school” (Dmytriyeva, 2018; Siuta, 2008; Kucherenko, 2019). Objectives, methods, novelty of the research. The purpose of the study – a systematization of the pedagogical principles of S. Turnieiev, a composer, teacher, musical and social activist, who made a significant contribution to the development of compositional activity in Luhansk and Kharkiv. The article uses historical, historical-theoretical and biographical research methods. The scientific novelty of the study is that S. Turnieiev pedagogical principles are investigated in the scientific literature for the first time. Results. There are difference between composer and pedagogical principles. If the composer principles are the aesthetic views and technological techniques of the composer himself, so the pedagogical ones are the transformation of the first into creative instructions for the student. In determining the composer’s principles, one can rely on the composer’s works, but the pedagogical principles of the composer can be fined in the works of his students and their memories of his teacher. Different composers prefer the distinct roles of a composition teacher: teachermentor, teacher-friend, teacher-colleague. These roles dictate work approaches. Serhii Turnieiev formulated his own creative guidelines, which defined his pedagogical principles based on a gradual change in role: from the teachermentor to the colleague-composer or even a friend. During this time, the student becomes aware of the composer’s profession syncretic essence, the importance of regular work, and studying traditions and innovations. After graduation, the student becomes a member of the musical community, in which professional and friendly relations should prevail. Conclusion. So, the following S. Turnieiev’s pedagogic principles are revealed and systematized: a) composer is an universal artist; therefore, his education should be br","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"460 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":"114827234","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":"Peculiarities of the pedagogical process in Natalia Yeshchenko’s piano class","authors":"N. Rudenko","doi":"10.34064/khnum2-30.02","DOIUrl":"https://doi.org/10.34064/khnum2-30.02","url":null,"abstract":"Statement of the problem. The article is dedicated to the Honored Worker of Arts of Ukraine, Professor of the Kharkiv I. P. Kotlyarevsky National University of Arts Natalia Oleksandrivna Yeshchenko (1926–2015). Brilliant pianist, teacher, artist, she left a noticeable mark in the cultural history of Kharkiv, and more than 90 her graduates work in Ukraine and in various parts of the world. Nevertheless, the analysis of materials related to her pedagogical activity, shows that the methods of organizing the educational process in her special piano class, have not been studied enough. The purpose of the research paper is to examine the pedagogical activity of Natalia Yeshchenko and to reveal the peculiarities of the organizational process in it. Research results. The main stages of pedagogical experience accumulation of the pianist, the process of her teaching, thanks to which numerous solo concerts of her students with complex programs took place, were considered. It was found that her attitude to work was helped to expand students’ horizons, and cultivate the necessary character traits: hard work, will, perseverance. So, Natalia Yeshchenko believed that the most important law of pedagogy is an individual approach to education. She widely used the method of developmental education, supported her students to solve creative tasks, followed the personal professional progress of everyone, took care of their harmonious growth as individuals. She considered it an important pedagogical task to make ready the students, professionally and psychologically, for independent activities. Conclusion. We define that learning is a two-sided process of collective activity of the student and the teacher. It can be considered as one of the means of personality formation through pedagogical communication. In such a way, the numerous solo concerts of Natalia Yeshchenko’s students are a creative workshop for students and teachers, where the organization of the pedagogical process is aimed at the education of the student’s independence and initiative, the development of his thinking and creative individuality, the motivation of learning, when the teacher, using his perfect professional skill and psychological levers, successfully leads the student to the chosen goal. Such two-sided intense work really reveals the common values and sets mutual understanding between the student and the teacher.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"1 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":"131167707","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":"Christian images in the operas by the European composers of the nineteenth century","authors":"M. Burtsev","doi":"10.34064/khnum2-30.04","DOIUrl":"https://doi.org/10.34064/khnum2-30.04","url":null,"abstract":"Statement of the problem. Undoubtedly, the operas by G. Rossini, G. Verdi, F. Halévy, and G. Meyerbeer, which appeared in the Romantic era, belong to secular culture. However, all of them, in one way or another, used plots and motifs from the religious experience of people, delineating the image of a man of faith (Homo Credens) as a cross-cutting theme of art, the “crossing point” of the secular and religious worlds. Therefore, researchers and performers of opera music face the problem of understanding the religious and spiritual component of the opera genre through the assimilation of the imagery and plot specificity and genre symbolism of the musical language, which goes back to Christian services. The identification of Christian influences helps to understand the depth of the spiritual content of the opera work, through musical symbolism to feel the religious and ethical “resonances” of the existence of a new European person who makes sense of his history, which is inseparable from Christian culture. This makes it possible to reproduce both the objective factors of the Christian worldview embedded in the plot, as well as the hidden meanings of the spiritual content of the opera work, its musical and linguistic resources. Objectives, methods, and novelty of the research. The purpose of the article is to trace the connections between the vocal and stage images of romantic opera with Christian religious themes, the interpretation of which is often a performance problem for modern artists-vocalists. The performance aspect of the problem of the presence of Christian content in opera works has not yet come under the “focus” of the researchers of this topic. The attempt to reveal Christian influences on the vocal and scenic images of opera works in this article is carried out on the platform of spiritual-semantic analysis (Aleksandrova, 2018) of genre and stylistic specificity of the operas by G. Rossini, G. Verdi, F. Halévy, and G. Meyerbeer. Results and conclusion. The opera works of Western European composers of the 19th century demonstrate the constant presence of images related to the Christian religious tradition, in particular biblical ones. This is the introducing of characters that are connected to Church life, or plot lines and motifs that unfold against the background of Christian history. In G. Rossini’s opera “Moses in Egypt” we meet the case of the most complete approximation of the libretto to the story from the Old Testament. A sign of the presence of Christian imagery in the semantic range of a secular opera work is the prayer genre represented by arias or choruses. Observations on the embodiment of religious themes (plot motifs that go back to Christian history, characters of personages related to church life, ideas and symbols of Christianity, genre semantics, interpretation of iconic figures by famous singers F. Furlanetto and R. Raimondi) in the operas of the Romantic era led us to certain conclusions about the specifics of vocal","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"25 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":"124512291","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":"Art “talismans” of Kharkiv: symbols and thoughts. In memory of Tetyana Vyerkina and Volodymyr Ptushkin","authors":"K. Pidporinova","doi":"10.34064/khnum2-30.01","DOIUrl":"https://doi.org/10.34064/khnum2-30.01","url":null,"abstract":"Statement of the problem. In 2022, Kharkiv I. P. Kotlyarevsky National University of Arts celebrates the 105th anniversary of its foundation and, despite the difficult conditions of wartime, it honours the memory of its outstanding artists – T. Vyerkina and V. Ptushkin. Continuing the national tradition, their creative legacy is a remarkable achievement of Ukrainian musical art. The creative experience of these prominent artists reveals the ways for the further successful development of the University and the domestic musical art, and its comprehending becomes one of the urgent research tasks. Recent research and publications. The life and creativity of T. Vyerkina and V. Ptushkin were reflected in the modern musicology studies (portrait-book “Tetiana Vierkina: to Change the World by Art”, 2016; Shubina, 2019; Verbitska-Shokot, 2007; Drach, 2009; Bondarenko, 2014; Derkach, 2015; Krichenkova, 2015; Sediuk, 2017; Savchenko, 2018; Kuzmina, 2019; Nikolaievska, 2020). In the context of the article the linguistic-cultural and musicological works on the theory of symbols and concepts were important (Svyrydov, 2011; Dmytrenko, 2015; Gazheva, 2021; Nikolaievska & Shapovalova, 2021). In connection with T. Vyerkina’s and V. Ptushkin’s creativity the symbolism of the concept as “talisman” was not considered. Objectives, methods, novelty of the research. The purpose of the study is to consider the individual contribution of People’s Artists of Ukraine, Professors T. Vyerkina and V. Ptushkin, to the development of creative traditions of Kharkiv I. P. Kotlyarevsky National University of Arts. The proposed cultural-epistemological approach, based on existential reflection, is innovative in the disclosure of the topic, which makes it possible to see the “concentric circles” of the influence of an artistic personality in the spatial and temporal coordinate system of culture. Metaphorically likening such an influence to the action of a “talisman”, we fill this concept with a symbolic meaning. Research results. A compositional-dramaturgical, genre-style and performing-interpretative analysis of V. Ptushkin’s romance “Talisman”, which was constantly performed by T. Vyerkina in a duet with the composer, is presented; her performance of the vocal part became “exemplary” from the composer’s viewpoint, which allowed this musical piece to “inherit” the status of a kind of stage talisman for both artists. The circles of influence of the concept-symbol “talisman” have been revealed: in art, at various levels, artists themselves, their works, ideas, , principles, schools, performance versions, i.e., that creative energy, which according to the model of concentric circles covers different layers of cultural life, often become “talismans”. The interpretation of the creative work by T. Vyerkina and V. Ptushkin, presented in the article, reveals the significance of the pedagogical activity of artists as “teachers-talismans”, bearers of the achievements of the “school”, and revea","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"12 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":"123955575","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":"Spiritual choral compositions of the Ukrainian composers of the first third of the 20th century: genre-stylistic and performance principles","authors":"Olena Yastrub","doi":"10.34064/khnum2-30.06","DOIUrl":"https://doi.org/10.34064/khnum2-30.06","url":null,"abstract":"Statement of the problem. The article deals with the spiritual and choral works of the composers of the first third of the 20th century on the examples of the liturgical and paraliturgical choral works of K. Stetsenko and O. Koshyts, representatives of the “new school”. (Kozarenko, 2001: 153) of Ukrainian sacred music of the first quarter of the 20th century. Recent research and publications testify to the relevance of the proposed topic. The collection «Olexander Koshyts and time» (Scientific Herald of the UNTAM, 2007, vol. 57) contains scientific articles devoted to various aspects of the creative activity of O. Koshyts. The studies by N. Kalutska (2001) and N. Suprun-Yaremko (2014) are devoted to his composer style. L. Parkhomenko’s monograph (2009) continues to be one of the fundamental works dedicated to K. Stetsenko. O. Zasadna and O. Chersak (2021) examines the process of Ukrainization of liturgical music during the period of national revival (the first third of the 20th century). A. Pater’s dissertation (2021) presents the creative activity of modern professional choirs at Ukraine in the context of the revival of spiritual music. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the genre-stylistic and performing principles of the selected spiritual compositions: the kontakion «Zi Sviatymy Upokoi» («With the Saints Give Rest») from K. Stetsenko’s «Panakhyda»(«Requiem») and the arrangement of the folk psalm «Oi Khto, Khto Mykolaia liubyt» («Oh, Who, Who Loves Nicholas») by O. Koshyts. The scientific novelty of the study is related to highlighting the fundamental qualities of spiritual choral composer work by K. Stetsenko and O. Koshyts in terms of performance interpretation and the continuity of the tradition of Ukrainian spiritual singing in the genre and stylistic dimension. The historical-cultural, genre, stylistic, structural-functional, interpretative, semantic, and systemic methods are used in the study. Results and conclusion. ● The foundation of K. Stetsenko’s and O. Koshyts’s composer work is the involvement of genres of liturgical and paraliturgical heritage (in the considered cases – memorial services, folk psalms) and the principle of psalmody; elements of folk song style and stylization of folklore images (lullaby in “With the Saints Give Rest”, sound image from the Kobzar and lirnyk tradition – imitation of the sound of the wheel lyre in “Oh, who, who loves Nicholas”). ● The choral work of both artists is characterized by certain common musical and stylistic features: a tendency towards multi-layered texture and expansion of the general range of sound in climaxes; involving the principles of antiphonal singing inherited from the established tradition of Ukrainian choral music; interpretation of the choir as an orchestra of voices; repetition of some syllables of the phrase in the chorus, which is characteristic of the tradition of group folk singing; major-minor variability. ● The example","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"1 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":"130774116","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":"Russian double annexation and the issue of religious consciousness in post‑soviet Georgian music","authors":"Gvantsa Ghvinjilia","doi":"10.34064/khnum2-30.07","DOIUrl":"https://doi.org/10.34064/khnum2-30.07","url":null,"abstract":"The article is dedicated to the сonsequences of Russian double annexation in post-modern and post-avant-garde Georgian music. As a result of the research, it was determined that Russian annexation changed the natural path of development of Georgian music. It is a well-known fact that in order to establish a national composition school, first of all, it is necessary to rely on the roots of national professional music (which in any case originates from the church music of a particular nation) from a stylistic point of view. As Georgian Orthodox chanting was chased from the Georgian Сhurch, they were completely unknown to first generation of Georgian composers. That is why the first Georgian composers were not honored to be the founders of the national composition school, and this became a historical misfortune of the first Georgian patriotic artists. During second annexation, due to the regime’s rejection of the Christian religion, Georgian composers were unabled to address the stylistic-intonational characteristics of Georgian chants. During the Soviet period, the regime banned music with religious content, and the use of church genres, as well as religious themes or church hymns in any genre of music. After the collapsing regime, the requirement to ban church genres or religious music was canceled, and it turned out that composers are often interested in religious themes and intensively refer to the stylistic and intonation, and mode characteristics of Georgian chants. Compositions of Maka Virsaladze and Eka Chabashvili are clear examples of it.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"42 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":"123685402","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":"Modernist features of B. Lyatoshynsky’s romances: difficulties of interpretation","authors":"D. Makliuk","doi":"10.34064/khnum2-28.01","DOIUrl":"https://doi.org/10.34064/khnum2-28.01","url":null,"abstract":"Statement of the problem. Borys Lyatoshinsky’s works marked the beginning of a new stage in the development of Ukrainian music. Thanks to the composer, European musical modernism penetrated Ukrainian musical culture and gave it a powerful impetus for the creative pursuits by a whole constellation of artists. However, Lyatoshinsky’s profound work, which was not infected by the artificial and deceptive optimism of socialist realism, often drew unfair criticism from the ruling strata of the USSR. It was only during Ukraine’s independence that Lyatoshinsky’s music finally gained proper recognition both in our country and abroad. The composer’s works, from piano preludes to symphonies, have become a permanent part of orchestras, ensembles, individual performers repertoire. But the proliferation of the prominent composer’s music inevitably raises questions about the interpretation of his works. After all, even the smallest works by Lyatoshinsky always have a clear and meaningful idea, are full of deep psychological meanings, and are created with the help of complex expressive means. Therefore, working with the composer’s music, even a hundred years after its creation, requires a performer to be very well prepared. The scientific novelty of the study is justified by the almost complete lack of research on modernist features of the composer’s romances and their influence on the interpretation of these works. The purpose of the study is to identify the difficulties of interpretation that a vocalist must overcome in order to perform Lyatoshinsky’s romances in a vivid and artistically convincing manner. Research methods. Musicological, comparative, figurative-semantic analyses helped to achieve the chosen goal. Results and conclusion. The study concluded that in order to perform the studied solo parts in an aesthetically pleasing manner, a singer, in addition to a thorough acting training, needs to be confidently competent in the various pitch systems of the twentieth-century music. Since only knowledge of the specifics of those tonal systems that differ from the major-minor system will help a singer to properly train their ears and voice to overcome performance difficulties and convincingly interpret Lyatoshinsky’s romances. Also, in this context, the issue of the special coherence between vocalist and pianist is extremely relevant, since the piano takes an equal place in Lyatoshinsky’s chamber-vocal works.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"158 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115756341","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":"Ukrainian folk instrumental ensemble music-making in the historical process","authors":"Bohdan Kysliak","doi":"10.34064/khnum2-28.02","DOIUrl":"https://doi.org/10.34064/khnum2-28.02","url":null,"abstract":"Statement of the problem. The ensemble is a type of collective musicmaking that dates back to ancient times and is an integral factor in the spiritual life of any nation. For Ukrainian culture, the traditions of the folk-instrumental ensemble have always been important, because they were associated with labor and ceremonial-ritual functions in society, people’s daily life, and secular forms of musical art. The article singles out significant elements of the process of academicization and chamberization of accordion ensembles in order to determine the characteristic features of Ukrainian folk-instrumental professionalism in ensemble music-making. In this context, the phenomenon of creative activity of “triple musicians” is highlighted, as a significant type of Ukrainian ensembleinstrumental performance. Special attention is paid to the crystallization of ensemble functions, and to the definition of the characteristic features of the Ukrainian harmonica and bayan culture. The bayan began to be introduced into European chamber-ensemble instrumental music only in the last decades of the 20th century; hence, the phenomenon of academization and chamberization of bayan ensembles is understudied, which determines the relevance of the research topic, prompting to make sense of their place in the general historical and stylistic process of ensemble music-making. The purpose of the article is to determine the characteristic features of Ukrainian folk-instrumental professionalism in the field of ensemble musicmaking, in order to popularize this type of performance in the Ukrainian national tradition. Recent research and publications. Relevant to the topic of the article is Yu. Loshkov’s work “Harmonica in Ukraine”, where “the specifics of harmonica performance in various spheres of domestic musical culture of the second half of the 19th and early 20th centuries” are determined (Loshkov, 2014: 238), and Igor and Liudmila Sniedkov’s article devoted to the Kharkiv bayan school (Sniedkov & Sniedkova, 2021), which contains information about the features of ensembles with the participation of the bayan. In M. Pliushchenko’s dissertation (2021) on timbretextural specificity of bayan and accordion transcriptions by Kharkiv composers of the late 20th – early 21st century, the parameters of Ukrainian instrumental and folklore professionalism are singled out. The scientific novelty of the presented study lies in emphasizing the role of folk-instrumental ensemble music-making in the historical-stylistic process and its peculiarities in Ukraine. Research results. The evolution of harmonica-bayan ensembles took place at first outside the traditions of classical chamber ensembles. The genesis of harmonica-bayan ensembles is closely related to the folk-instrumental tradition. In the aspect of the further movement of accordion ensembles towards academicization, as historically the first, such genetic and stylistic folklore features should be defined: the professionalism of i","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125426070","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":"Rosalyn Tureck and the principles of her work with baroque art codes","authors":"Marharyta Ushakova","doi":"10.34064/khnum2-28.04","DOIUrl":"https://doi.org/10.34064/khnum2-28.04","url":null,"abstract":"Statement of the problem. Musical art is one of the types of communication where people from different historical eras and cultures are in a kind of dialogue. However, it is necessary that all participants of the conversation either know the same language or have the “keys” to decode it, which, however, is not a guarantee that all participants of the communication process will adequately understand each other. This is due to the specificity of the perceptual process, the mosaic nature of culture, and the change of artistic paradigms. This is vividly illustrated in musical performance because the vast majority of modern artists work with texts from other historical eras. Recent research and publications. The study is based on works devoted to the questions of the understanding of the musical text (I. Sukhlenko), the performing interpretation (P. Thom, T. Verkina, M. Bondarenko, M. Sagalova and K. Timofeyeva), the philosophical foundations of rendition of musical works (G. Medina Riera, H. Hinrichsen), as well as the study of Baroque art (A. Paradiso-Laurin, U. Golomb, H. Meister, P. Williams, O. Slipchenko, I. Melnychuk and O. Dondyk). The purpose of the study is determination of principles of the performer’s work with baroque codes on the example of performing and editing versions of R. Tureck of “Aria and Ten Variations in the Italian Style” by J. S. Bach. The scientific novelty of the study based on the use of hermeneutic, interpretive and historical-cultural methods of analysis, lies in defining the basic principles of R. Turek’s work with codes of baroque art. Results. “Aria and Ten Variations in the Italian Style” by JohannSebastianBach is a vivid example of the boundless interpretative field of the outstanding composer’s work. Having analyzed the external and internal “reference points” of the work, its fundamental “interpretative codes” are defined: the title of the work, which has two components – “Aria” and “alla maniera Italiana”; genre; ornamentation; sound image of the instrument; Baroque era and symbolism of musical works. The activity of American pianist R. Tureсk is a bright page in the history of actualization of the works of the great cantor. That is why it was interesting to find out her principles of rendition of the interpretative codes of “Aria”: 1. Ornamentation. 2. Usage of modern resources for the realization of the composer’s idea. 3. A synthesis of ancient and modern, combining the experience of previous eras with modern perception of the music space. Conclusion. Baroque music has a whole palette of hidden meanings, senses, codes, and thus limitless interpretive potential. R. Tureck has once again proved this by sharing with the masses valuable comments and instructions on the pages of her pedagogical and scientific works, which open up a wide field for research.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121763689","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":"Spiritual choral music of modern Kharkiv composers: stylistic parameters","authors":"Anna Vyshnevetska","doi":"10.34064/khnum2-28.08","DOIUrl":"https://doi.org/10.34064/khnum2-28.08","url":null,"abstract":"Statement of the problem. The Kharkiv composer school is rich in artists who turn to the tradition of church music and embody it in various modifications. The concert type of sacred music, reflecting the style of the postmodern era, is clearly expressed in the work of O. Shchetynsky, V. Muzhchil, I. Haidenko, M. Shukh, and others. However, it is important to pay attention to the work of composers representing the church type of culture and known only in the narrow circle of regents. The purpose of the study is to identify the stylistic features of spiritual choral works by modern Kharkiv composers Volodymyr Fainer, Liudmyla Vyshnevska, Vasyl Borysenko, whose creative activity is connected with the direct practice of temple singing. Recent research and publications showed that the choral works by V. Fainer is explored rather well, first of all, in the articles of S. Anhelovska (2010), while L. Vyshnevska‘s and V. Borysenko‘s compositions almost are not researched. The scientific novelty of the paper lies in systemating of information about V. Fainer’s work, as well as in the first experience of genre-stylistic analysis of spiritual choral works written by L. Vyshnevska and V. Borysenko. Research methods. The study of the spiritual choral work of modern Kharkiv composers required the interaction of general and special scientific tools (historical, genre-semantic, stylistic, functional-structural research methods) taking into account the concept of ‘Homo credens’ in liturgical choral genres (Shapovalova, 2010). Results and conclusion. The style of thinking of the 21st century spiritual composers is characterized by a combination of tradition and innovation, by genre diversity, and stylistic searches. The artists, whose work is focused on the traditional models and liturgical function of the spiritual genres, deserve on special attention. So, V. Fainer created his own original style of church works, using polyphonic techniques subording to contemplative prayer moods. L. Vishnevska masterful uses emotional expressive melody, colorful harmony and choral timbres, developed dramaturgy, bright climaxes, due to that her choral works can be performed both at Divine services and in concert format. V. Borysenko gravitates to the tradition of ancient orthodox church chants, varying often only one theme by harmonic and textural-timbral means. In general, their creative work is oriented towards the traditional genre model in its primary confessional source with the use of the indnvidual author’s music language. Their works are marked by a sincere prayer orientation and high spirituality, which appeals to the ethical values of Christianity, deeply rooted in the national self-consciousness of Ukrainians.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132721170","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}