Aspects of Historical Musicology最新文献

{"title":"The evolution of the mutes for brass instruments (from Ancient Egypt to present)","authors":"A. Minenko","doi":"10.34064/khnum2-27.08","DOIUrl":"https://doi.org/10.34064/khnum2-27.08","url":null,"abstract":"The influence of mutes on the sound palette of instruments is very significant: they are able to create sounds of various timbres, which are used both in academic and pop jazz music. This device, which is necessary for a modern performer, has gone a long way to improve in accordance with the changes in the design of musical instruments and the technique of playing them. Therefore, the study of the evolution of mutes sheds light on the specifics of the development of wind performing. Despite the availability of some scientific information, the history of mutes still remains an area for discussions. The article traces the evolution of mutes for brass instruments from the beginning to the present day, and their varieties are singled out and described. Asystematic approach to revealing the topic made it possible to consider the main stages of the history of mutes and the directions of their use by musicians of the past. Analysis of documentary and scientific sources, comparison and generalization of information contributed to the rebuilding of an holistic panorama of the historical evolution of the mutes, which, together with their consistent descriptionclassification, was an innovative research task. It is resumed that mutes, which belong to non-traditional means of expression, have been used for a long time: their first samples were found during the excavations of Tutankhamen’s tomb in Ancient Egypt. Since then, each century demonstrates the constant presence of this device, first in ritual-religious and military actions, and later in the artistic environment. Historically, the first ones, according to preserved evidences, were mutes for trumpets. Popularity of mutes grew along with the need for a variety of timbre colors, due to the emergence of new stylistic trends and individual compositional solutions. With the improvement of the performance technique on brass instruments, the mutes included to the pedagogical process as the devices for strengthening the performance apparatus. Finally, today there is a need to ensure comfort of both the musician and his environment during the long classes of the concert performer and the brass student. Evolution of the mute led to the emergence of a significant number of its modern types, designed to create various sound effects, so the article contains an overview of those varieties that have gained authority among performers and composers. Discovery of new archival documents, corrections to the interpretation of the already known ones, as well as new archaeological finds are constantly clarifying the understanding of the history of mutes, and the process of developing new varieties of them is in constant motion. So, the topic of this research remains open.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"61 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":"116483286","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":"Piano sound phenomenon in English-language scientific discourse","authors":"Nataliia Sutulova","doi":"10.34064/khnum2-27.02","DOIUrl":"https://doi.org/10.34064/khnum2-27.02","url":null,"abstract":"Statement of the problem. The process of achieving an aesthetically appealing and artistically true piano sound has long been a subject of research for musicians. In recent decades, domestic performance practice has relied on this issue mostly on the professional literature created back in the Soviet period. But the process of integrating Ukrainian musical education and performance into the European and world cultural space requires the study of alternative sources, primarily English-language ones, that reflect the experience of performers in different countries of the world, as well as correlations and the introduction of relevant terminology into scientific and practical circulation. Analyzing recent publications, we established that the phenomenon of the piano in general and piano sound in particular is considered from different points in the works of J. Parakilas (2000), E. Hiebert (2013), V. Raad (1977), G. Fitch (2016a,b; 2022), Shen Li and R. Timmers (2021), M. Keane (2013), Chuan C. Chang (2009), I. Masters (2021), and others. The purpose of this article was to study the approaches to the phenomenon of piano sound available in the English-language scientific literature. For the first time, a number of Englishlanguage sources dedicated to the phenomenon of piano sound have been included in domestic scientific circulation. Systematic and comparative methods, as well as terminological analysis used in the study, made it possible to distinguish different contexts, in which the phenomenon of piano sound is presented in scientific discourse: performance-practical, psychological, historical, organological (due to the structural features of the instruments). Research results. One of the approaches to the study of the piano sound phenomenon is the study of the history of the piano, its place in European culture and its social functions, as in the work of J. Parakilas (2000), where the author describes the history of the functioning of the piano during the 18th–20th centuries. The sound of the piano in the historical, stylistic and organological contexts is considered by I. Masters (2021), who investigated the structural and sound features of the London and Viennese pianos (second half of the 18th century) and their influence on the specifics of the piano texture, structure of themes, articulation and stroke palette of the works of pianists and composers of the London and Vienna schools. A purely performance and practical perspective is found in Chuan C. Chang’s book (2009), which covers most aspects of piano playing. Another example of a purely practical approach to the study of piano sound is the articles by G. Fitch (2016a,b; 2022), where he considers the process of creating an aesthetically pleasing sound. Another perspective on piano sound and playing is interdisciplinary, where musicology interacts with acoustics, psychology, and physiology (Keane, 2013; Li, & Timmers, 2021). Conclusions. A review of professional sources shows that the piano ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"4 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":"133604952","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":"Creative figure of V. I. Sokalskyi as Kharkіv genius loci in Z. B. Yuferova’s res omnis aetatis","authors":"Roshchenko Olena","doi":"10.34064/khnum2-26.06","DOIUrl":"https://doi.org/10.34064/khnum2-26.06","url":null,"abstract":"Statement of the problem. The article aims to recreate the features of two historical portraits: the composer and musical critic V. Sokalskyi (1863–1919), whose name belongs to the history of the “pre-conservatory” musical Kharkiv, and the researcher of his work Z. Yuferova (1931–1999), whose monograph dedicated to V. Sokalskyi has become a matter of life (“res omnis aetatis”). The innovative element of the study is the development and introduction into musicology the dialogical research method, which allows identifying the researcher’s scientific method by analyzing the composer’s creative portrait, which she recreated in her work. The methodological basis of the study is supplemented by historical-cultural and historical-contextual analyses based on the material of Z. B. Yuferova’s monograph (2014, published posthumously) dedicated to V. I. Sokalskyi. Conclusions and results of the study. Dialogic research method made it possible to create a double historical portrait, which, on the one hand, reveals the features of the composer’s creative thinking, on the other hand, exposes the researcher’s professional qualities. According to Z. Yuferova, V. Sokalskyi is a pioneer of many genres in Ukrainian music; a person with high human virtues, chivalrous courage of his critical judgments, sincere service to the cultural flourishing of his native city. In turn, the personality of the researcher is characterized by her respect for historical facts, motivated problem analysis, systemic thinking, careful reproduction of the cultural background, reasonable conclusions, and encyclopedic knowledge. High professionalism embodied on the pages of Z. Yuferova’s substantial monograph gives every reason to agree with her assessments, and along with the recognition of the composer and music critic Sokalskyi as a “genius” of artistic Kharkiv at the turn of the 20th–21st centuries, to consider him a much more prominent all-Ukrainian figure. The introduction of V. Sokalskyi’s works into educational and concert programs should become an important prospect for the further revision of the history and renewal of the performance repertoire of the national musical culture.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125271846","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":"“Love thy fellow man”: about the history of creating of the Spiritual Concerto for bass and mixed choir on canonical texts and sayings of the Holy Fathers of the Church (Essay)","authors":"Muzhchyl Victor","doi":"10.34064/khnum2-26.09","DOIUrl":"https://doi.org/10.34064/khnum2-26.09","url":null,"abstract":"From the editorial group: While leaving the general concept of the publication as a collection of scientific papers unchanged, the editors found it possible, on the occasion of the 105th anniversary of Kharkiv I. P. Kotlyarevsky National University of Arts, to publish the material that, despite the lack of generally accepted signs of scientific study, may be of interest to the national and world music community and be useful to musicologists. The author of the only article in this additional rubric – a wellknown composer and teacher Viktor Muzhchyl – shares with readers his own memories about the history of creating one of his most famous works, a number of apt observations and deep reflections...","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124279380","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":"Konstanty Gorsky’s Songs on Polish texts: aspects of genre stylistics","authors":"Marynchak Hanna","doi":"10.34064/khnum2-26.08","DOIUrl":"https://doi.org/10.34064/khnum2-26.08","url":null,"abstract":"Statement of the problem. K. Gorsky’s creativity has not been studied enough. Relatively recently, articles by R. Aladova (2005), G. Serochinsky (2010), V. Luniakyna (2009), T. Bakhmet (2009) and other authors have been published due to the growing public interest in his creative figure. However, the vocal works by K. Gorsky have not yet been studied in their multi-level connections with national, historical and genre stylistics, as well as the predominant genre of solo singing, on the basis of which the composer formed the intonation specifics of his own chamber vocal style. Therefore, there is a need for further study of the vocal style of K. Gorsky, in particular, the inclusion of his works in a wide repertoire of concert and chamber singing. The purpose of the study is to identify the stylistic features of the key genre of K. Gorsky’s vocal works – the romance, which is most clearly represented in the cycle “12 Romances” based on the texts of the Polish poets – M. Konopnicka, W. Syrokomla, Z. Dembitsky (Dębicki). For the first time, an integrated approach is applied to the songs by K. Gorsky, as to original examples of this genre interpretation in the post-romantic era, with an emphasis on their style features – national and “personal”. The work on the research topic required the use of general scientific and special musicological methods, including historical-genetic, deductive approaches, genre-stylistic and performance analysis. Results and conclusions. The legacy of K. Gorsky (1859–1924), a virtuoso violinist, one of the founders of the musical culture of Kharkiv, includes vocal genres. In the mature period of his activity (1900s), the composer focused specifically on vocal genres, namely romances (he created about 100 pieces), arrangements of Ukrainian folk songs, cantatas on spiritual themes, choral concerts and operas. The main features of his romantic outlook, combined with the Polish musical mentality, are concentrated in “12 Songs” with Polish lyrics. Semantically, K. Gorsky’s romances gravitate toward lyrical contemplation, conveying its various states, from “objective” epics and sound imagery to emotional outbursts, which brings them closer to opera arioso. Within the framework of the cycle, there is an allocation and alternation of songs-romances of four semantic modes: folkpoetic, reflexive-lyrical, graceful-salon, free-declamatory reminiscent of “poetry with music”. Each of these groups is based on certain traditions and requires appropriate means of performance interpretation.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"141 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133537224","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":"L. Ukrainka – M. Lysenko’s «Oriental melody»: specifics of recreation of Oriental imagery","authors":"Mamona Angelina","doi":"10.34064/khnum2-26.04","DOIUrl":"https://doi.org/10.34064/khnum2-26.04","url":null,"abstract":"Statement of the problem. The article analyzes the ways of recreating oriental features in the song “Oriental Melody” (“Skhidna melodiia”) by Ukrainian composer Mykola Lysenko, based on a poem by Ukrainian poetess, playwright, short story writer Lesia Ukrainka. This song, or “solospiv”, as Lysenko called his vocal and piano works, was created in the last period of the composer’s work, when, working in this genre, he began to use poems by modern Ukrainian poets, including Lesia Ukrainka. This fact most likely caused some changes in the style of these works in comparison with Lysenko’s more traditional early works. “Oriental melody” has not been previously studied by musicologists, so this article conducts its composition analysis in order to understand its structure and ways of interpreting the poetic text The purpose of the study is to identify the specific embodiment of oriental features in the musical language of the song. Results and conclusions. Lesia Ukrainka’s poem “Oriental Melody” from her second Crimean cycle “Crimean Echoes” (“Krymski vidhuky”) is a love poem, in which oriental images are interspersed with exotic landscapes of the Crimea. The composer strives to follow the structure of the poem, which led to the creation of a five-part composition with a variational repetition of the first part at the very end. The article reveals that Lysenko’s “Oriental Melody” contains a number of well-established ways for Western European music to recreate the oriental image. In addition, the song contains features of recitative, sometimes giving the impression of a theatrical monologue. Lysenko often changes the meter, avoids repetition in rhythmic structures, using complex rhythms and seeks for through-composed type of composition. The lack of scholars’ attention to the song “Oriental Melody” can be explained by the dominance of the folklore paradigm in the studies of Lysenko’s music, which doesn’t focus on oriental themes. However, it is interesting how exactly this song became a meeting place for two different worldviews. Lesia Ukrainka was one of the brightest Ukrainian modernist writers, and Mykola Lysenko, who is considered the founder of the Ukrainian national school of composers, created his music in the style of late romanticism. Thus, although the oriental scenery of the song is recreated by a number of clichés, the sincerity of the protagonist is indisputable, and the work as a whole has its own artistic value.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133919439","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":"Baritone in M. Lysenko’s vocal chamber works","authors":"Makliuk Dmytro","doi":"10.34064/khnum2-26.03","DOIUrl":"https://doi.org/10.34064/khnum2-26.03","url":null,"abstract":"Statement of the problem. Mykola Lysenko (1842–1912) as the founder of Ukrainian musical culture has a multifaceted influence on the development of most of its genres. A significant part of M. Lysenko’s creative heritage consists of vocal genres, including opera and cantata, ensembles, choirs, solo art songs, and folk arrangements. This fact is quite natural, since the composer built his creative method on the basis of a thorough study and assimilation of Ukrainian song folklore. Despite the regular coverage in the musicological literature of various aspects related to M. Lysenko’s heritage, in particular chamber vocal works (the recent monographs by R. Skorulska & M. Chueva (2015), S. Verhun, I. Koliada, & Yu. Koliada (2015), articles by H. Karas (2019), L. Bozhko (2013), B. Filts (2014), N. Kharandiuk (2013), B. Kosopud (2017), V. Mitiushkin (2020), Ye. Avramenko (2020), A. Polkanov (2021), O. Bassa (2011) and others), the issues related to the role of the baritone in the composer’s solo songs were actually not involved in scientific studies. Such a situation encourages the intensification of research in the indicated direction and determines the scientific novelty of the obtained results. The purpose of this study is to determine the peculiarities of the baritone’s role in M. Lysenko’s solo songs. The research methods that contributed to the achievement of it were the musicological, semantic and comparative analysis of selected samples of M. Lysenko’s chamber vocal work, as well as the technological analysis of the vocal timbre-role specificity. Results and conclusions. The characteristic features of Lysenko’s vocal chamber works, which relate to the selection of poetic texts, genre typology, and the choice of timbres were examined in the study. Four solo songs for baritone were chosen for analysis. The selected samples were considered taking into account the following aspects: belonging to a certain genre group, ways of form organization, harmony features, nature of the piano texture. A separate point of analysis was the use of expressive capabilities of the baritone timbre in connection with the artistic intent of the songs and some technical characteristics of the voice: the covered range, registers, use of resonators, etc. The results of the analysis allowed us to come to the conclusion that in M. Lysenko’s chamber-vocal work, baritone solo songs are mostly “monologues” of dramatic and socially significant content. In order to embody the corresponding semantic content, the composer chooses namely the baritone – because the low register of the human voice or instruments in musical art often appears as a means of creating dramatic, tragic, philosophical images. So, the baritone in M. Lysenko’s chamber and vocal creative work is mainly the bearer of the lyrical and dramatic principle supplemented by a philosophical component.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124242005","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":"Folklore in Mykhailo Starytsky’s plays as a ground for the formation of Ukrainian music and drama theater","authors":"V. Olga","doi":"10.34064/khnum2-26.01","DOIUrl":"https://doi.org/10.34064/khnum2-26.01","url":null,"abstract":"Statement of the problem. The study and preservation of folk traditions played an important role for the Ukrainian society in the process of forming national consciousness in the second half of the XIX century. It was from that time that the theater movement, whose soul M. Starytsky was, became active, and ethnography significantly influenced both the artist’s theatrical activity and the development of the Ukrainian music and drama theater in general. The article examines ethnographic elements in M. Starytsky’s plays with the purpose to find out the role of folklore in his work as a factor that influenced the formation of the Ukrainian music and drama theater. The scientific and practical novelty of the paper are conditioned by a lack of the separate comprehensive study devoted to ethnographic component as a part of M. Starytsky’s drama legacy and a basic factor of establishing of the Ukrainian musical and drama theater. The general scientific methods of researching, such as analysis, synthesis, generalization, allowed to process a significant amount of material, to draw theoretical conclusions. The principles of objectivity, historicism and systematization made it possible to analyze historical processes in all their contradictions and diversity. The interdisciplinary approach permitted to attract the results of scientific research from the areas of music, theater, and art history. Main attention is paid to the analysis of the playwright’s use of descriptions of rituals, customs, traditions, folk morals of Ukrainians, as well as the examples brining into play the small folk genres, phraseology. The results of the study. The origins, features and functions of ethnography in M. Starytsky’s works are determined, in particular, it is proved that the playwright’s use of the descriptions of Christian and pre-Christian rites was primarily aimed at a true image of traditional Ukrainian society, where the ancient rituals, games, musical and dramatic actions were an important component. It is shown how the rites of the winter and summer cycles of the folk calendar, which are most saturated with various bright rituals and customs, are reflected in various ways in the writer’s plays. It is confirmed that ethnography in M. Starytsky’s work had a positive effect on the formation of the Ukrainian professional theater as musical and dramatic. Conclusions. The folklore-ethnography, in particular calendar-ritual, component is one of the important expressive means, which gives M. Starytsky’s works picturesqueness, deepens the drama, strengthens the characters, makes their stage embodiment more vivid and at the same time emphasizes the peculiarities of the social age: traditions are still quite strong, however, something new is gradually entering the life of Ukrainian society. Customs and rituals embodied on drama scene become the basis for the progress of Ukrainian theater as a musical-dramatic: reflecting the characteristic features of the people’s soul, the folk","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115906647","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":"Intergenerational diachronic connection as a communicative discourse in the folklore tradition of Slobidska Ukraine","authors":"Novykova Larysa","doi":"10.34064/khnum2-26.02","DOIUrl":"https://doi.org/10.34064/khnum2-26.02","url":null,"abstract":"Slobidska Ukraine is an area of late settlement, the folklore of which had been formed for over three centuries under the influence of various socio-historical factors. A significant role in the preservation of ethno-cultural information was played by the mechanism of intergenerational diachronic communication, which reproduced the genres of the entire folklore scope. The dynamic 20th century made its adjustments to the existence of tradition, as the destruction of monocentric rural institutions affected the ways of functioning of the authentic folklore, destruction of certain genres and rituals, their transition from the active form to passive, and further into an artificial plane of life. Our purpose was to mark, which links of the once powerful chain of “civil culture” had been damaged. what exactly caused these damages, and how in this closed system of the rural environment, where there was an awareness of meanings that were equally understood and appreciated by society, the line of misunderstanding and oblivion started to appear. Recollections of elderly people who were witnesses of social changes in Kharkiv Region in 1920–50, as well as documentary data were used as the material for the analysis. Modern functional methods – the development of sociological questionnaires, the involvement of the materials from our own field research – allowed us to create a factual basis for the research and determined the scientific novelty. The evidence of the oldest generation of traditions carriers showed the shocking consequences of the artificial transformation of the society in the 1920–30s, which included not only the destruction of folklore as a type of culture within a holistic social awareness, but also the intruding of a new socio-cultural conglomerate of “parallel culture” of club institutions, which was broadcast not diachronically, horizontally, as is customary in the oral tradition, but imperativelyhierarchically, i.e. vertically, according to the directives from the “above”. In the rural environment, a situation of shaky balancing between “traditional” and “pseudo-folklore” culture arose, not in favor of the first. Thus, the communicative functions, due to which the society’s objective perception of traditional meanings and its self-regulation were possible, was destroyed, and folklore became a field where various political forces were constructing new cultural meanings to the detriment of the traditional. In the conditions of the gradual disappearance of the music of the authentic tradition, with the aim of same understanding and appreciation within the community of its inherent cultural meanings, the communicative discourse can become a regulator and a corrective factor.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133303019","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":"V. Silvestrov’s Chamber Symphony “Spectra” in the context of avant-garde tendencies of Ukrainian culture of the 1960s","authors":"Іryna Romaniuk, Svitlana Shchelkanova","doi":"10.34064/khnum2-26.05","DOIUrl":"https://doi.org/10.34064/khnum2-26.05","url":null,"abstract":"Statement of the problem. At present, the creative personality of Valentyn Silvestrov appears to be significant taking into account a well-established mission of the artist as a spokesman of the Ukrainian art of today on a global scale. Today in the conditions of historical challenges and victorious endurance of Ukraine, the chamber symphony “Spectra” (1965), created over 50 years ago, is actualized as a manifestation of free thinking. Neither in national nor in the world musicology has this work been the subject of special research; this fact determines the relevance of the topic of the scientific research. Analysis of recent research and publication. The works by O. Horodetska and O. Opanasiuk are devoted to the study of V. Silvestrov’s work in the context of avant-garde tendencies of Ukrainian culture of the 1960s. The main objective of the study is to consider V. Silvestrov’s chamber symphony “Spectra” in the context of avant-garde tendencies of Ukrainian culture of the 1960s. The scientific novelty of the research findings is closely related to the actualization of the study of the chamber symphony “Spectra”, which is of considerable interest for Ukrainian music science in the context of the study of avant-garde trends in Ukrainian culture of the 1960s. The concept of the research is based on the following scientific approaches: historical-cultural, genre, stylistic, structural-functional. In addition, the semantic and hermeneutic methods were employed. Results. The artistic community of Kyiv in the 1960s played an important role in the formation of underlying aesthetic principles of V. Silvestrov’s early style. The composer belonged to the creative group “Kyiv avant-garde”. Individual artists of the group played a crucial role in the creation of V. Silvestrov’s “Spectra” (1965). The name of the symphonic composition is directly connected with the dramaturgy of S. Paradjanov’s unfinished feature film “Kyiv Frescoes” (1965). “Spectra” is a three-movement symphony for chamber orchestra. The musical language of the work is based on the involvement of sonorous sounds, pointillism and aleatorics. Freedom of embodiment of the author’s expression is revealed at all levels: speech, composition, style. Conclusion. The Symphony “Spectra” for Chamber Orchestra (1965) reflects the early period of V. Silvestrov’s work. It was important to take into account the cross-cultural context when considering the early period of the composer’s work. It is about the work of the creative group “Kyiv avant-garde”, which became a unique phenomenon in the musical culture of the Ukrainian sixties. The chamber symphony “Spectra” is a special type of symphony and is the embodiment of the originality of the artistic thinking of V. Silvestrov.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125473881","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}