Aspects of Historical Musicology最新文献

{"title":"Style dominants of Martha Argerich’s musical creativity","authors":"Yevheniia Prodou","doi":"10.34064/khnum2-28.05","DOIUrl":"https://doi.org/10.34064/khnum2-28.05","url":null,"abstract":"Statement of the problem.Musicology has accumulated quite a significant array of scientific works devoted to the study of individual performing style. But it is necessary to state that it remains insufficiently studied what features of the style of musical creativity of a particular personality are such that, on the one hand, are markers of its recognizability, and on the other – are responsible for its integrity. They can be defined as core or dominant.Creativity of M. Argerich embodies the basic trends in the development of modern piano art, and her influence on the development of modern pianism is difficult to overestimate, which determines the interest in identifying the style dominants of her musical creativity. Resent research and publications. The concept of style is one of the key concepts in modern musicology, where it is interpreted as a multilevel system. The prevalence of an individual style among others (Kaplienko-Iliuk, 2021), consideration of the style dominant as a factor that determines the formation of the performance idea (Sukhlenko, 2018) are presented, as well as the definition of the termin “style dominant” (Vardanyan, 2021) and the peculiarities of M. Argerich’s interpretation (Schwan, & Dragulin, 2021). Among methods used, the following can be outlined: historical, which reveals the properties of the development of piano art of the romantic tradition; comparative, necessary for comparing the performing versions of the composers’ works; stylistic, which outlines the specifics of the artistic expression of the individual; interpretive, which helps to identify the mechanisms of formation and implementation of the concept of the composer’s / performer’s musical work. The purpose of the research is to determine the style dominants of Martha Argerich’s creativity. Results and conclusions. Performing creativity is a multicomponent phenomenon, which consists of various factors that are subject not only to professional skills, but also adjusted by the personal structure, which consists of psychological and physiological characteristics, worldview and life guidelines. Since the style of the performer is one of the main features of an artistic individuality, it is obvious that the style dominant is an indispensable component of the comprehensive formation of this uniqueness. M. Argerich is an influential musician in today’s artistic culture, as the dominants of her style, including romantic orientation, tendency to chamber music and virtuosity, are appealing to both young audiences and professionalswith extensive musical and historical experience.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"68 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":"131794467","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":"“School” of trombone playing as a means of developing European trombone art of the 19th century","authors":"A. Minenko","doi":"10.34064/khnum2-28.03","DOIUrl":"https://doi.org/10.34064/khnum2-28.03","url":null,"abstract":"Statement of the problem. The historical context of the influence of trombone players on the performance style of European schools has not yet been studied despite the widespread use of method books “The schools of trombone playing” by all musicians, from amateurs to professionals. However, in the past, leading teachers and methodologists mainly from conservatories presented the performance trends of that time and developed new ones in their works, which guided the further development of the future generations’ performers. Recent research and publications. The issue of method books and their influence on European trombone schools was actively studied at the end of the 20th century (Guion, 1988; Lapie, 1995; Weiner, 1993, 1995, 1999 a, b). In this context, an important place belongs to the article “Slide trombone training and method books in France (1794–1960)” (Sluchin & Lapie, 1997), which contains a lot of information about method books of that period, the evolution of European trombone schools, the contribution of method books authors to the development of trombone playing in the nineteenth century and a detailed analysis of the most influential authors. The most significant recent works are dissertations that examine the history of the Paris Conservatory, the creativity of prominent trombone teachers and their works on methodology (Velázquez, 2019; Carlson, 2015). Ukrainian researchers have not studied this issue yet. The purpose of the article is to study the influence of the method books “The schools of trombone playing” on European trombone art. Research methodology. The focus of the research is to study the most famous and innovative method books of the nineteenth century. The article applies the historical and chronological approach as the leading one in the study and organization of the research material; comparative approach to find the main differences between these “schools”; systematic and analytical approach to identify the most significant differences and their influence on the development of trombone mastery; historical and cultural approach to study the process of formation of national European trombone schools. The novelty of the study is manifested in the chronological classification of all known trombone schools in the nineteenth century and a detailed analysis of the most influential ones. Results and conclusion. Having analyzes the most significant European schools of trombone playing from the very first work by A. Brown, written in 1794, to the work by J. B. Arban, we have traced the process of historical development of the technical skills of musicians and identified the sources of the European method of trombone performance. In this context, the role of France is revealed as outstanding, because the first trombone class opened at the Paris Conservatory led to the emergence of the first original “school of playing”. This was followed by a whole cascade of similar works, first in France and then in other European countries","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"89 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":"128729541","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":"Jacques Brel’s song “Ne me quitte pas” and its performance versions: genre-stylistic and linguistic aspects","authors":"A. Tymoshenko","doi":"10.34064/khnum2-28.06","DOIUrl":"https://doi.org/10.34064/khnum2-28.06","url":null,"abstract":"Statement of the problem. One of the hallmarks of pop music culture is that in this sphere the song is much more associated with its performer than in classical music, let alone folklore. We know the songs mostly by the name of its performer, not by the lyricist’s or composer’s. In those conditions, practice of continuous appeal of different singers to the same song becomes even more significant and calls for its research. The article is devoted to “Ne me quitte pas”, a song that has interpretations differing in era, style, genre traits, language, whose first performer, Jacques Brel, is one of the most prominent figures in French chanson of the XX century. The purpose of the article is, at first in Ukrainian musicology, to compare selected renditions of “Ne me quitte pas” taking into consideration genre-stylistic and linguistic aspects. The main research method used in the article is comparative, applied both to different interpretations and to translations of the lyrics. Results and conclusion. In more than 60 years of its existence in performance tradition, the song “Ne me quitte pas” was interpreted multiple times. And its every performer was adding something to it, enriching it with something individual, but to a different degree. The performers like Mireille Mathieu suggest their own vision of this song, which does not result in drastic transfiguration of stylistic and genre parameters of the song, it remains roughly the same, just performed by another singer, albeit he creates his own individual image. The others versions fundamentally rethink the spirit, the essence of “Ne me quitte pas”: Barbara turns it in almost prayer-like recitation, Juliette Gréco transforms it into something akin to theatrical monologue with rather unusual instrumental part, Wyclef Jean makes out of it a modern hip-hop track, etc. This diversity of variants betokens almost endless creative potential enshrined in this song, its openness to various experiments, in other words, its possibility to be actively used in modern musical life, which is interpretative in its core essence. Moreover, this song having two fundamentally different English translations (rather free one and almost literary one) shows that there is “public demand” in these tools of broadening the potential audience of French chanson, even despite significant problems arising when doing these kinds of tasks for translators.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"7 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":"126487983","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":"Author’s dedication as a semantic code of an artist’s worldview position","authors":"Liudmyla Povzun","doi":"10.34064/khnum2-28.07","DOIUrl":"https://doi.org/10.34064/khnum2-28.07","url":null,"abstract":"Statement of the problem. The tradition of authors’ dedications in composers’ works has developed in musical art during several historical and stylistic epochs. According to our observes, there are several types of dedications, which differ in form and content: a dedication to a specific person who inspired or influenced the storyline of the artwork; dedications, in which the addressees remain encrypted in the initial letters of the name and surname, allowing readers/performers to guess the history of the work’s creation; dedications, which were composed of quotes from other authors’ works that provide the opportunity of a dialogue between the composers; finally, dedications that perform the function of a memorial, imprinting the sound images of a historical time or a significant event. All the types of dedications, together with the title text components, carries a certain semantic code, outlining the worldview position of the author. The purpose of the article is to consider the phenomenon of authors’ dedications based on the chamber-ensemble works by composers of various stylistic schools using a combination of analytical, historical, cultural, and musicological research methods. The scientific novelty is the analysis of the semantics of dedications of the chamber instrumental and ensemble works of composers of different historical and stylistic epochs, from Baroque, Classicism, Romanticism to our days. Results and conclusion. The author defines the dedication as an independent text that performs special function, revealing the personal and meaningful layers of the author’s intention in subtexts and background meanings and forming a certain “horizon of expectation” for future listeners / performers. Meaningful concentration on the deep psychological layers of human consciousness is a special form of embodiment in the tradition of dedication by composers in their own works: in Baroque times to the Creator for the ability to create; in the classicist epoch to listeners and sponsors; during Romanticism era – to loved ones and relatives; at the modern stage – to the outstanding personality of the artist and great historical events. Each author’s dedication enriches the presented (musical / literary) text, filling it with new meaning, “deciphering” what the author may have intended to say, and “recoding” the proposed content of the work. And, since each of these opuses is intended for public presentation, the author defines the dedication genre as a delayed, timed communication channel with potential performers, readers, and listeners for whom, alongside with the author of the artwork, there will always be a figure who inspired the realization of a certain artistic idea.","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":"134107522","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":"Jazz in the context of «global village» principle","authors":"I. Paliy","doi":"10.34064/khnum2-27.03","DOIUrl":"https://doi.org/10.34064/khnum2-27.03","url":null,"abstract":"This article addresses one of the manifestations of interaction between different music domains, using the sphere of jazz as an example. In the course of evolution, the art of music has developed five relatively independent domains based on fundamentally different principles of musical thought. Globalization, which has intensified in the 20th century and continues to grow in the 21st, gave birth to a new domain called by us “unionique music”. This domain is the object of our research. The relevance of this study stems from the fact that unionique music compositions do not fit the standard principles of genre classifications used by academic music scholars. At the same time, an important feature that unites these compositions is the combination of such spheres of music as jazz, rock, “traditional” music of Western European academic tradition, ethnic music and folklore. Nevertheless, the degree of impact of a particular music domain in different compositions has different indicators. This article focuses on the analysis of unionique music compositions that contain expressive means of various domains, but at the same time are founded on the jazz-based principle of music playing.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"212 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117291669","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":"ЕErnest Chausson: periodization of artistic path in the context of the style formation","authors":"Aliona Milanina","doi":"10.34064/khnum2-27.07","DOIUrl":"https://doi.org/10.34064/khnum2-27.07","url":null,"abstract":"Statement of the problem. In the history of French music the work of Ernest Chausson (1855–1899) played a connecting role between the late romanticism of S. Franck and the early impressionism of C. Debussy. The personality and work of the French composer are sufficiently deeply studied in European and American musicology; it is natural for Ukrainian researchers to join the process of this study. Despite the outstanding importance of the composer’s work in both French and world music, there are no problematic studies devoted to the study of his legacy in domestic science. The music of the French master, in particular, vocal music, remains little-known in Ukraine. One of the debatable issues of studying the work of E. Chausson is the periodization of his legacy, since the discrepancies existing in the works of researchers hinder the understanding of his creative evolution. After all, the chronological distribution of the artist’s work takes into account complex historical, socio-psychological and artistic processes, as well as the specificity of his creative method and related stylistic changes. The purpose of the article is to summarize the known periodizations of E. Chausson’s work and to develop synthesized one in order to remove existing disagreements. Solving this innovative task required the study of a number of works of foreign scientists using historical, historiographical, comparative approaches, as well as genre and style analysis when referring to the creative work of E. Chausson.Information on the periodization of E. Chausson’s creative heritage is provided both by encyclopedic publications (Warszawski, 2005; Latham, 2009, etc.), and by some scholars who refer to the music of E. Chausson (Chiang, 2006; Moroncini, [2022]; Hanon, 2022). At the same time, certain chronological differences can be traced in the information provided by scientists. Results and conclusions. The application of the basic position of domestic musicology regarding the change of the “intonational image of the world” as a criterion for distinguishing historical periods (Chekan, 1997) and the experience of foreign scientists made it possible, as a result, to prove the feasibility of dividing E. Chausson’s work into three periods: early (1877–1886), where tangible lateromantic influences of J. Massenet, S. Frank and R. Wagner, middle, mixed, (1886–1889), marked by the interaction of late-romantic and impressionistic traits, and the final (1889–1899) stage of formation of the composer’s individual style. Such a periodization, without excluding existing ones, will contribute to a clearer understanding of E. Chausson’s creative evolution, which should facilitate the work of a musician-performer.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127895412","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":"Henri Duparc in the history of the mélodie genre","authors":"T. Zharkikh","doi":"10.34064/khnum2-27.06","DOIUrl":"https://doi.org/10.34064/khnum2-27.06","url":null,"abstract":"Statement of the problem. Henri Duparc (1848–1933) has firmly entered the history of the French melodie genre. However, his work has not been properly studied by modern domestic musicologists. Although two composers, Gabriel Fauré and Henri Duparc, are generally recognized as the most prominent representatives of this genre, the vocal work of G. Fauré attracted the attention of many scientists and performers, in contrast to the music of H. Duparc. The restoration of historical justice in relation to the heritage of the French composer justifies the topic of this article. The purpose of the article is an attempt to comprehend H.Duparc’s interpretation of the melodie genre by analyzing one of his vocal miniatures – “Phidylé” a setting of a poem by Leconte de Lisle and highlight the composer’s role in the history of the genre. The historical and biographical contextual approaches, genre, structuralfunctional, phono-semantic methods of analysis and the study of the performance dramaturgy of H. Duparc’s miniature led to a number of conclusions. Conclusions and results of the study. In Duparc’s interpretation of the poem, two ideas interact: the exact reflection in music the poem meaning and the transformation of the poem due to its musical detailization. The study revealed the features of the composer’s style and the role of the composer as the founder of the melodie genre: – it was H. Duparc who founded such features of the genre as a deep emotional and lyrical intonation and sensuality compared to a poetic text; – original reproduction of the signs of “endless melody” (influence of R. Wagner’s work) and opera monologue; – equality of parts in the “duet” of the vocalist and pianist-accompanist; – “orchestral” sound of the piano texture. Thus, H. Duparc stands at the origins of the “golden age” in the history of the melodie genre as a representative and defender of the late romanticism aesthetics. The vocal works of H. Duparc gave a powerful impetus to the genre of French melodie. The reproduction of the dramatic tension of feelings, the search for perfection in music testify to the significance of the composer’s contribution to the melodie genre, while the small number of his works is certainly compensated by their musicality. Since the vocal works of H. Duparc create a certain difficulty for foreign performers in the verbal and phonetic aspects, as well as in the artistic and interpretive aspect, it seems necessary to continue their in-depth analysis.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115265522","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":"National vocal tradition as a current object of musical research","authors":"Iryna Tsurkanenko, Wang Sige","doi":"10.34064/khnum2-27.01","DOIUrl":"https://doi.org/10.34064/khnum2-27.01","url":null,"abstract":"Statement of the problem. In the modern conditions of cultural globalization, national identification is the object of special attention, and this also applies to all spheres of musical art. The study of national vocal traditions both in the form of national vocal schools of academic art and in the sense of manifestations of the national musical tradition is one of the urgent areas of music science. It can have socio-cultural, historical, genre-stylistic, performing dimensions. However, this field of musicology is still developing in several extensive ways, rarely combining into complex scientific investigations, on the basis of which a certain kind of methodology of musicological analysis of the phenomena of vocal art may be born. The analysis of publications on the chosen topic shows that, in addition to academic musicological works devoted to the national specificity of musical art (Draganchuk, 2008; Lyudkevych, 1999; Liashenko, 1973, 1991; Romaniuk, 2009), interdisciplinary studies combining knowledge of musicology, sociology, history, psychology, cultural studies have recently appeared (Nikolaievska, 2020: Applegate, 1998; Gottlieb, 2019; Kelly & Mantere & Scott, 2018; Knox, 2019). Studies of performing schools (Dedusenko, 2000), in particular, national vocal schools, as a rule, relate to the history of their development within the framework of academic European vocal art (Hnyd, 1997; Stakhevych, 2013; Totska, 2012; Tsebrii, 2021; Shuliar, 2010, 2012), and do not often take into account the specifics of traditional musical culture (Kornii, 2002; Lyudkevych, 1999; Applegate, 1998; Schwartz-Kates, 2002). Therefore, the study of the national vocal tradition as a complex phenomenon requires special attention of modern musicology. The above determines the scientific novelty of the presented study, which is related to the differentiation of the concepts of vocal school and national vocal tradition in the aspect of musical performance and musicology. The purpose of the scientific work is to outline the ways and perspectives of musicological research of the national vocal tradition. The methodological basis of the research is a combination of several areas: scientific investigations devoted to the specifics of national manifestations in music; research on national vocal schools; scientific works from a wide contextual range of musicological issues. The results and conclusions of the study. The national vocal tradition in today’s multi-cultural, multi-style, multi-genre conditions has various manifestations, which requires its complex scientific research. It is necessary to note the difference between the concepts of the national vocal tradition and the national vocal school – the latter is a component of the national vocal tradition, which combines traditional musical culture and academic musical art, represented both by musical compositions and their presentation, i. e. musical practice. Thus, the national vocal tradition is a complex concept that ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"157 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123532543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour","authors":"Liu Ting","doi":"10.34064/khnum2-27.05","DOIUrl":"https://doi.org/10.34064/khnum2-27.05","url":null,"abstract":"Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicological reception of the early aria genre using the example of the French “air de cour” as the personification of European Baroque aesthetics. The genre, which is little known to both Ukrainian and Chinese vocalists, is considered from the standpoint of a cognitive approach, which involves a combination of practical singing technology with the understanding of the aesthetic guidelines of the baroque vocal style as an original phenomenon. One of the manifestations of it is the “sung dance” (singing in ballet) as the embodiment of artistic synthesis rooted in the musical and theatrical practice of France during the time of Louis XIV with its luxurious court performances, a bright component of which were “airs de cour”. To reveal the chosen topic it was necessary to study scientific literature in such areas as the issues of performing early vocal music (Boiarenko, 2015), the history and modernity of vocal art (Shuliar, 2014; Hnyd, 1997; Landru-Chandès, 2017); peculiarities of the air de cour genre, which are highlighted with varying degrees of detailing in different perspectives in the works of European and American scholars: 1) in publications on the synthetic opera and ballet genres in the time and at the court of Louis XIV, in particular ballet-de-cour (Needham, 1997; Christout, 1998; Verchaly, 1957; Harris-Warwick, 1992; Cowart, 2008); 2) special studies (Durosoir, 1991; Khattabi, 2013; Brooks, 2001); 3) monographs on Baroque music (Bukofzer, 1947); 4) reference articles by authoritative musicologists (Baron, 2001, the editors of Encyclopaedia Britannica and others). A study that would focus on the aesthetic principles of the modern vocal interpretation of air de cour as a sample of the early aria genre has not been found. Research results. Air de cour, the origins of which are connected with the secular urban song (voix-de-ville) in arrangements for voice and lute and lute transcriptions of polyphonic vocal works of the Renaissance, was popular in France, and later, in Europe at the end of the 16th and 17th centuries. As part of the popular synthetic theatrical spectacle – ballet-de-cour, which combined dance, music, poetry, visual and acting arts and flourished at the court of Louis XIV as an active means of sacralizing the king’s person, “air de cour” even in its name (which gradually replaced “voix-de-villes”) alludes to the social transformations of the F","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115656791","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":"Tania Maria’s creative work in the context of trends in the development of jazz in the second half of the 20th century (on the example of the 1980s compositions)","authors":"Olena Voropaieva","doi":"10.34064/khnum2-27.04","DOIUrl":"https://doi.org/10.34064/khnum2-27.04","url":null,"abstract":"Statement of the problem. The globalization process of modern music art constantly creates new phenomena in the research field worthy of detailed study and scientific justification. The active expansion of Jazz in different parts of the world and its interaction with the local folklore and home music production led to the formation of such phenomena as Latin Jazz that presented the world a number of outstanding performers and composers who opened up new horizons for the further development of musical art. Among unique pearls of Latin-American Jazz, the creative personality of a Brazilian performer (piano, vocals) and composer Tania Maria should be highlighted. Analysis of recent research and publications showed that Tania Maria’s creative work in the context of Latin Jazz development has not been sufficiently studied at the present time, being limited mainly by short references to biographical articles and interviews with the artist in foreign online publications. Thus, Tania Maria’s work requires a much deeper study that determines the feasibility and scientific novelty of the proposed research, which aims to reveal the genre and stylistic specificity of Tania Maria’s work in the 80s of the 20th century, the period, when the complex of her individual compositional and performing characteristics was formed. The result of the study was the disclosure, based on historical-genetic, comparative, analytical methods, of the genre-stylistic origins of Tania Maria’s “intonation vocabulary”, where the metrorhythmic and melodic structures of Brazilian samba and the hot-jazz component closely interact with each other, as well as the intonation-textural features of some compositions of the 1980s from the albums “Piquant” and “Come With Me”. Conclusions. Tania Maria’s creative work in the 80s of the 20-th century exemplified by compositions “Yatra ta”, “It’s Not for Me to Say” and “Come With Me” is a combination of genre and stylistic features of funk, Latin-American samba and elements of pop music (jazz-Latin-pop-funk). The musical art of the second half of the 20th century demonstrates a variety of styles and trends that were quite quickly “re-intonated” in the jazz language, which testifies to the universality of jazz as a unique form of musical thinking, creativity and cooperation of musicians. The combination of these styles is organic in line with the trend of development of musical art of that period and at the same time is the basis of Tania Maria’s unique performance style as a representative of both, South American and European jazz music.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122182352","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}