Aspects of Historical Musicology最新文献

{"title":"Coryphaeus of the Kharkiv piano school. Nataliia Oleksandrivna Yeshchenko. A word about the teacher","authors":"Bevz Maryna","doi":"10.34064/khnum2-26.07","DOIUrl":"https://doi.org/10.34064/khnum2-26.07","url":null,"abstract":"Statement of the problem. The article is devoted to the creative personality of Nataliia Oleksandrivna Yeshchenko (1926–2015), an outstanding musician and well-known teacher, Honored Art Worker of Ukraine, Professor of the Special Piano Department at Kharkiv I. P. Kotlyarevsky National University of Arts. The performance and teaching activities of N. Yeshchenko are studied in the context of the birth and development of the Kharkiv piano school. Modern Ukrainian musicology has a number of publications devoted both to the development of Kharkiv I. P. Kotlyarevsky National University of Arts over many years of its glorious history, and to the personalities who formed its composition, performance and pedagogical schools. In the field of piano art and pedagogy, the study of the Kharkiv piano school is carried out through understanding the works of its outstanding representatives. For example, substantial monographs by L. Lysenko, O. Kononova, N. Iniutochkyna, N. Rudenko and a team of authors led by L. Shubina are dedicated to such outstanding pianists as P. Lutsenko, V. Lozova, R. Horowitz, N. Yeshchenko, T. Verkina. The purpose of the article is to draw attention to the creative figure of Nataliia Yeshchenko, one of the most prominent teachers of the special piano department at Kharkiv I. P. Kotlyarevsky National University of Arts, to reveal the features of her performance and teaching activities, her role in the birth and development of the Kharkiv piano school. The theoretical ground of the study is based on the works on piano pedagogy and performance practice, reference books, archival materials, studies of Kharkiv musical culture and historiography of Kharkiv I. P. Kotlyarevsky National University of Arts at that time. The scientific novelty of the work is argued in a multifaceted analysis of Yeshchenko’s performance achievements and pedagogical principles, which developed in the further professional activities of her numerous pupils and in the formation of her own Yeshchenko’s school, as well as in the scientific use of materials from her personal archive. The personality-oriented research method made it possible to single out and comprehend individual episodes of her creative biography; the comparative method helped clarify her individual performance style and pedagogical principles of professional musician training; the historical and cultural approach contributed to the study of N. Yeshchenko’s creative personality in the context of the founding and growth of the Kharkiv piano school in the 2nd half of the twentieth century and led to the conclusion that she played an outstanding role in the development of musical culture and professional piano education in Ukraine at that time.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"70 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":"127262962","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":"CADENZA IN SOLO-ORCHESTRAL CONCERTO AT THE INTERSECTION OF SCHOLARLY VIEWS","authors":"Denys Kashuba","doi":"10.34064/khnum2-25.04","DOIUrl":"https://doi.org/10.34064/khnum2-25.04","url":null,"abstract":"Statement of the problem. Studying of research literature proves that the scholars express different opinions on typical traits of cadenza. Even though there are occasional coincidences in the meaning, it does not contribute to creation of universally accepted viewpoint on cadenza. Thus, a need arises to systemize views on cadenza and to generalize its semantical field. The purpose of the article is to reveal the nature of cadenza in solo-orchestral concerto by examination of modern scholarly views on this phenomenon. This problem caused the choice of such methods of research as axiological, statistic and comparative ones. Results and discussion. Even though cadenza is one of distinctive attributes of solo-orchestral concerto, there are some types, in which cadenza either does not become an important factor of compositionallydramaturgical process or is simply absent. In dominantly-solo type of concerto, marked by accentuation of virtuoso solo side, typical features of cadenza almost dissolve in general context of the work influencing the whole communicative process. Conversely, in a “parity concerto” (a term coined by I.Kuznetsov) cadenza becomes a concentrated expression of the very idea of solo performance contrasting to orchestral forces, thus contributing to preserving of genre qualities, which is especially needed in cases when concerto moves towards symphony. Such different types of cadenza’s “behaviour” predetermine the character of its connection to the whole work as it seems to be necessary, but in fact it is not strictly defined. This “self-sufficiency” of cadenza causes instability of its form and content revealed in historical projections and individual artistic conceptions. Thus, there are two types of reasons causing scientific polemics on defining essential and attributive traits of cadenza: objective ones, caused by necessity to adapt, and subjective ones, coming from cadenza’s nature itself. There are different opinions on such seemingly obvious trait of cadenza as improvisatory character. For instance, A. Merkulov believes that cadenza used to be improvised just in front of the audience is a myth, as he studied sheet music (including cadenzas) and documents belonging to the era of concerto’s formation, and these sources indicate that cadenzas were created either by the author of the concerto himself, or by other composers, or by the performer, who had composed the cadenza for the upcoming performance beforehand and memorized it. Furthermore, the scholar discovered collections of cadenzas recommended for the performer, so a latter even had the right of choice. These facts cause the scholars to distinguish between improvisation as a way of spontaneous creation of music and improvisatory nature as a trait of thematic material and a way of its presentation (E. Shlykova). The same applies to other sides of cadenza. The scholars propose to differentiate cadenza in historical perspective between: Baroque cadenza (element of imrovisator","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132570735","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":"HIS VOCATION – SCIENCE, ART, EDUCATION (CREATIVE WORK BY O. I. CHEPALOV, HONORED ART WORKER OF UKRAINE)","authors":"L. Kolchanova","doi":"10.34064/khnum2-25.11","DOIUrl":"https://doi.org/10.34064/khnum2-25.11","url":null,"abstract":"Introduction. The scientific and creative work of one of the most famous Ukrainian theater critics, Oleksandr Ivanovych Chepalov, is analyzed. O. Chepalov is a choreologist, playwright and journalist, Honored Art Worker of Ukraine, Doctor of Arts, and professor, who currently holds the position of Head of the Department of Choreographic Arts at Kyiv National University of Culture and Arts. The article turns the spotlight on the wide thematic range of O.Chepalov as a scientist and researcher: musical theater, historical explorations in the field of Ukrainian theatrical avant-garde of the early XX century, experiments in modern attempts to visualize the performing arts. Materials and methods. The biographical method is used as a basis for studying the work of O. Chepalov’s creative personality. The comparative method is used for parallel analysis of the artistic research, as well as the principles of general scientific methodology that can determine the logic and sequence of the cognitive tasks. In particular, the experience of the article author is reviewed, a graduate student communicating with O. Chepalov as with an academic advisor of the Ph.D. thesis “The phenomenon of actress and singer Y. P. Kadmina in the cultural processes of the late XIX century”. Similar experience of the academic advice work on theatrical research (V. Mizyak, Li Zhenxing) and dissertations in the choreological field (L. Kosakovska, O. Shabalina, K. Bortnyk, N. Kabachok, N. Chilikina, E. Yanina-Ledovska, I. Mostova) has been reviewed. Discussions. For convincing evidence, the analytical comments by reviewers of O. Chepalov’s books, as well as the texts of the bibliographic guide “Chepalov Oleksandr Ivanovych” (2015) with the involvement of the articles by famous scientists and masters of arts (L. Tanyuk, N. Kornienko, V. Sheiko, T. Vierkina, V. Mulerman, R. Poklitaru, D. Gorbachov) are included. Results. O. Chepalov’s monographs dated from 2001 to 2020 consider important theoretical questions about the role and place of the Ukrainian avant-garde artists (including M. Foregger, a director and choreographer) in the world art space of the respective time. In his \"Choreographic Theater of Western Europe in the XX century\" study, which has no analogs in the world science, the author managed to recreate a panorama of the modern dance development in all its diversity of stylistic and formative features. During 2011–2014, the magazine “Dance in Ukraine and the World” was regularly published on the initiative and under the editorship of O. Chepalov. This magazine covered the problems of national and world choreographic art, analyzed the most significant phenomena among cultural and historical events. In his book “Notes of the Phantom of the Opera” O. Chepalov considered the creative path of the Kharkiv ‘M. V. Lysenko’ National Academic Opera and Ballet Theatre in personalities and historical retrospection, where he held the position of Head of the Literary Department for 47 years","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115110405","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":"A MASK IN THE PRODUCTION OF S. PROKOFIEV’S OPERA “THE LOVE FOR THREE ORANGES” AT CXID-OPERA IN 2019","authors":"Armen Kaloyan","doi":"10.34064/khnum2-25.08","DOIUrl":"https://doi.org/10.34064/khnum2-25.08","url":null,"abstract":"Statement of the problem. In the practice of modern theatre, particularly in the performances that have long-lasting history of production, any component of director’s vision might be conceptualized, regardless of how important it might be seen traditionally. Thus, it becomes even more important to highlight main principles of such conception, to prove its rationality on the basis of both scholars’ works and real-life performance tradition. In the production of S. Prokofiev’s opera “The Love for Three Oranges” at CXID-OPERA (Kharkiv, 2019; chief conductor – D. Morozov, stage director – A. Kaloyan, artistic director – A. Baitenova, chief choirmaster – O. Chernikin), an extremely important role belongs to masks which are used by actors of all levels, from the protagonist to the characters who are on stage for no more than a minute. Analysis of recent researches demonstrates that S. Prokofiev’s “The Love for Three Oranges” has been studied thoroughly both in the composer’s homeland and abroad, especially given it was premiered in the USA. Scholars’ attention has also been brought to V. Meyerhold’s interpretation of C. Gozzi’s fairy-tales, including his director’s version of “The Love for Three Oranges”. The multiple relationship between S. Prokofiev’s opera and la commedia dell’arte as well as the very phenomena of Italian theatre have been examined. However, there is no research on how the use or refusal to use masks might influence a production and how it helps to establish a hierarchical relation between the characters. The purpose of the article is to identify the meaning and function of the use of masks in the genre-plot system of S. Prokofiev’s opera “The Love for Three Oranges” in CXID-OPERA’s production based on its visual imagery analysis. Results and conclusions. It is found out that the director’s use of the mask in creating the stage image of most of the characters allows him to further emphasize the genetic relation of the opera to la commedia dell’arte. Only a few characters appear on stage with an open face – Ten “Ridicules” (Cranks), Magician Tchelio, Fata Morgana and La Cuisinière (Cooky) – namely, those whose presence is not provided by the genre canons of la commedia dell’arte, those who do not “bow” to the plot-line but who are in control of it so or otherwise. The costumes of these characters differ from the outfit of the rest; in each case this contrast is conditioned by the character’s status and its role in the plot (for instance, Les Ridicules are the only ones wearing modern-day suits with bowties which allow to comprehend them as a mirroring of the spectators who watch the opera at a given moment). Thus, the use of a mask has a dual function: to demonstrate the genre genesis of the plot and to illustrate the hierarchy of the opera characters.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123927432","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":"PROFESSOR YULII VAKHRANIOV: THE ART OF PEDAGOGY AND PEDAGOGY IN ART","authors":"Kateryna Krasnoshchok, Olha Hryhoreva, Mariia Talvynska, Anatolii Tarabanov","doi":"10.34064/khnum2-25.10","DOIUrl":"https://doi.org/10.34064/khnum2-25.10","url":null,"abstract":"Statement of the problem. The professional activity and contribution of Professor Yulii Fedorovych Vakhraniov to the development of the Kharkiv piano school, musical pedagogy and domestic art studies has not yet been adequately covered. This challenge served as the main impetus of writing this work, which is a logical continuation of a number of studies devoted to the work of such outstanding piano teachers of Kharkiv National University of Arts as Regina Horovyts (Rudenko, 2001), Maria Yeshchenko (Kononova, 2009), Vsevolod Topilin (Pinchuk, 2012; 2018): Viktor Siryatsky (Sukhlenko, 2012) and others. The purpose of the study is to determine the role of the pedagogical and academic activities of Yu. Vakhraniov in the development of the Kharkiv piano school. The paper provides a brief analysis of the main scholarly studies of Yu. F. Vakharanev; an overview of his general pedagogical methods and principles due to which the article has a certain scientific novelty. Revealing the specifics of Yu. Vakhraniov’s pedagogical activity determined the application of general and special research methods, namely: historical, phenomenological and hermeneutic (interpretive) ones, the method of comparative analysis and systems approach when considering his pedagogical views and principles. Results. For many years of work, Yu. Vakhraniov has trained many professional musicians. He obtained multifaceted higher education: philological and musical, worked at Donetsk Music College, and then at Kharkiv Institute of Arts and Kharkiv Specialized Secondary Music Boarding School, graduated from the postgraduate studies at Kyiv Conservatory majoring in the History and Theory of Pianism (1969), defended his Ph.D. thesis (Vakhraniov, 1971) supervised by A. D. Alekseev. Later Yu. Vakhranev was awarded the academic title of a professor and for ten years he was the Head of the Special Piano Department (1977–1987) at Kharkiv Institute (University) of Arts. Among his fundamental research works, one should mention his reference book “Etudes, Op. 10 by Frederic Chopin” written in co-authorship with G. Sladkovskaya, monograph “V. Kosenko’s Piano Etudes” (1970), articles “National specifics of Igor Shamo’s piano work” (1969) and “Clavier and clavier music of Ukraine from the middle of the XVII – first quarter of the XIX century in historical and literary materials” (1992), monograph “The performance of music (Poetics)” (1994), which was not only a deep research work, but also a philosophical treatise. The work at individual piano lessons was substantiated from the view point of the concept and dramatization of the piece, its interpretative tasks; great attention was paid to the culture of sound, pedalization, development of various types of techniques, the art of mastering the key touch. Intonement inextricably linked with the art of sound production can rightfully be called the hallmark of the pedagogical principles of Yu. Vakhraniov. Each student was assigned individual tasks and he","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131632678","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":"“MUSICIANS’ PARADISE” IN MANNHEIM DURING THE REIGN OF KARL THEODORE","authors":"Volodymyr Kachmarchyk","doi":"10.34064/khnum2-25.01","DOIUrl":"https://doi.org/10.34064/khnum2-25.01","url":null,"abstract":"Statement of the problem. In the history of music culture of the mid-18thcentury, the emergence of Mannheim, as one of the centers of orchestral and ensemble art among the unanimously acknowledged Western European cultural capitals (Berlin, Vienna, Paris), was quite unexpected and sensational. A town that in 1719 housed a population of about 5000 rose to the top of the European musical Olympus in the 1750–60s and gained their resistible in formal status among artists as the “musicians’ paradise”. Such rapid rise to the European recognition can be explained by a whole mix of musical, educational and socio-economic factors of the cultural policy of the Palatinate Electorate, which resulted from the reforms of one of the “most educated princes of Germany” Karl Theodor. His work continues to be underestimated and underresearched in national musicology and requires a more detailed study. Analysis of recent research and publications. Among the latest works in Ukrainian and Russian, whose authors touch upon this issue, it is necessary to point out the dissertations and publications of V. Horbal, V. Darda and А. Dvornitskaya. Focusing on the issues of orchestral performance, the viola concerto genres in the works of Mannheim composers and the musical culture of Mannheim of a particular period, each of the researchers only sketchily mentions the personality of Karl Theodore. The purpose of the article is to reveal the role of Karl Theodor in the development of the music art of Mannheim and identify the main economic factors that influenced the formation of cultural policy in the Palatinate. The scientific novelty of the research consists in the identification of economic factors in Karl Theodor’s cultural policy and a comparative analysis of the financing of court musicians of the Palatinate and Prussia. The methodology of the research is based on the general scientific principles of historical reality cognition, where the central method is that of historicism and comparative analysis. The integrity and comprehensiveness of the study were implemented using a systematic method. The results of the research. The research explicates the role of KarlTheodor in the structure formation of the musical-theatrical complex and the court chapel of the Palatinate. It also reveals the main stages of the symphony orchestra formation under the direction of J. Stamitz and C. Cannabich and their contribution to creating a music-educational system to train the orchestra musicians. A comparative analysis of the level of funding for the court chapels of Prussia and the Palatinate has been carried out. The main financial and economic factors of Karl Theodor’s cultural policy and their influence on the process of forming the staff of the Mannheim court chapel have been determined. Conclusions. The importance of Karl Theodor’s contribution into the development of music art of the Electorate of the Palatinate is to create an effective system of mixed public and private funding of","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"293 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125169073","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":"INTROSPECTION AS A SIGN OF LYRICALLY-DRAMATIC GENRE TYPE IN E. ELGAR’S VIOLIN CONCERTO","authors":"Oleksandr Lysychka","doi":"10.34064/khnum2-25.03","DOIUrl":"https://doi.org/10.34064/khnum2-25.03","url":null,"abstract":"Statement of the problem. Edward Elgar’s instrumental concertos occupy the special place in European music. Most of the violin concertos of Romantic composers were written before E. Elgar created his own (1910); the concertos by J. Sibelius (1904) and M. Reger (1908) are closest to this work in time, and Elgar’s Concerto almost coincides with the chronology of K. Nielsen’s Violin Concerto (1911), which has already been, however, significantly influenced by neoclassical aesthetics. In five years, K. Szymanowski’s First Violin Concerto (1916) will appear, rejecting the romantic way of expression, and later a new “era” in the development of this genre will begin. Elgar’s Violin Concerto (1910), the first of his two instrumental concerts, is another step of the composer on the way to mastering various musical genres, the accumulation of new creative ideas. In a number of parameters, the work is closer to the First Symphony, becoming almost a doppelganger of it but with a solo violin, an instrument played by the composer himself. Thus, the study of the Concerto is relevant, at least, in three aspects: in the analysis of the creative evolution of the composer, for understanding his attitude to the concert genre, and for revealing the meaning of the composer’s self-expression. Consideration of the work in the aspect of the latter – identifying features of introspection in the music of the Violin Concerto as part of its genre structure – is the purpose of this study, which is the first attempt of its kind. Conclusions. Elgar’s Violin concerto follows the tradition of lyricallydramatic type of symphonism, which the composer employed in his First symphony written shortly before the Concerto. It can be seen both in thematically-intonational content and in special features of dramaturgy and composition (“throughout” themes, large duration, conflict dramaturgy). The genre of instrumental concerto suggests additional dimension of the work, relation between solo and orchestral parts, and in this case the composer maintains a balance in such things as distribution of themes and their development and interpretation of soloist’s part. The introspective character of the Violin concerto is most obvious in its Cadenza – the most significant episode for this genre – due to its significant length, the lyrical way of expression, reminiscences and derivative themes, the rejection of a clear metrorhythmic organization that allows the perception of Cadenza as a stop in time for lyrical reflection. Other aspects of introspectiveness include the predominance of lyrical themes, a large number of fragments with quiet dynamics and the genre’s predicted concentration of attention on the soloist, although the composer retains balance between solo and orchestral parts.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121530082","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":"COMIC GENRES IN LEONID LISOVSKY’S CHAMBER AND VOCAL WORKS: STYLISTIC ASPECT","authors":"A. Drobysh","doi":"10.34064/khnum2-25.06","DOIUrl":"https://doi.org/10.34064/khnum2-25.06","url":null,"abstract":"Statement of the problem. Leonid Lisovsky (1866–1934) is the Ukrainian and Russian composer, conductor, pianist, ensemble player, teacher, music critic, editor of musical works, translator, musicologist. He is the author of over 300 works in various genres, among which an important place belongs to compositions of comic genre. L. Lisovsky was very well known in his lifetime, but later he was completely forgotten. The relevance and scientific novelty of the research is determined by the necessity to study the person and creative heritage of the famous artist. The purpose of the offered research is to reveal the ways of creation of comic musical characters in L. Lisovsky’s chamber-vocal compositions and to identify stylistic peculiarities of this works. Cultural-historical, theoretical, musical-analytical, structural and systematic research methods were used when the history of Lisovsky’s chamber-vocal compositions were studying, the key principles of comic in music were identifying, the works of the composer were analyzing and their genre and style features were revealing. The results of the researches by O. Solomonova, B. Borodin, O. Freidenberg, I. Gendler on issues of the laugh culture and I. Gorbunova who viewed the comic genres in Ukrainian music were used as methodological basis for our study. Works by I. Trofimov and others are used for contextual analysis, as well as the studies of S. Koltysheva, M. Rzhevska and A. Litvinenko, where the person of L. Lisovsky presented in the biographical aspect. Results of the research. Based on abovementioned scientific sources, the principles of embodiment of the comic by the ways of musical art were highlighted. Some chamber and vocal works by L. Lisovsky were analyzed, such as the Suite for baritone and bass cantando “At the Bailif’s Gate” (words by O. Tolstoy), comic Romance for tenor and baritone “TheCuckoo and the Rooster” (words by I. Krylov), the fable “Woman” (words by K. Kropyva) and the vocal cycle “Four jokes by Alexander Pushkin”. The peculiarities of the composer’s reading the literary stories were disclosed. L. Lisovsky’s enthusiasm for satirical poetic texts in the works of the early period and especially in the 1920s were revealed. Conclusions. L. Lisovsky’s turn to the comic chamber vocal works becomes his response on the social and economic hardships and promotes to regeneration of his creative forces in the important periods of his life. For implementation of the comic poetic texts by musical resources L. Lisovsky uses the genre mixes. The comic imaginative and emotional spectrum in chamber and vocal music lengths from good humor to bitter satire. The composer uses romantic, late romantic and impressionistic stylistic peculiarities to create musical characteristics.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131244941","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":"THEATRICAL AND PEDAGOGICAL PRINCIPLES OF V. I. TSVIETKOV IN THE FORMATION OF THE UKRAINIAN ACTOR AND DIRECTOR","authors":"S. Hordieiev","doi":"10.34064/khnum2-25.09","DOIUrl":"https://doi.org/10.34064/khnum2-25.09","url":null,"abstract":"Vsevolod Ivanovych Tsvietkov (1918–2011) belongs to the famous artists of Kharkiv region. His name is associated with an extremely fruitful period in the activities of the leading theatres and theatre universities, in particular, O. S. Pushkin Kharkiv Drama Theatre, Kharkiv Institute of Arts (now – I. P. Kotlyarevsky Kharkiv National University of Arts) and Kharkiv State Academy of Culture. V. I. Tsvietkov’s acting, directing and pedagogical activity dates back to 1937–2005, he acted as a teacher in the 1960s. The background of V. I. Tsvietkov’s pedagogical principles was, first of all, his own creative experience gained during acting and directing, theoretical and practical achievements of outstanding masters from the school of psychological theatre (K. Stanislavsky, V. Petrov, A. Kramov, F. Shishigin, G. Tovstonohov). In the critical heritage dedicated to V. Tsvietkov, the problems of the stage originality and pedagogical creativity based on the specifics of his directorial views, are revealed only fragmentary (Sedunova, 2005; Kolchanova, 2015; Botunova, 2017). The stage and pedagogical activity of the artist has not yet become the subject of in-depth scientific research, so this article is the first attempt in this direction. The author of the article sets the purpose to systematize, generalize, supplement and expand information about the work of V. Tsvietkov and his principles of educating acting and directing youth, with the aim to reproduce his image of an actor, musician, director, and theatre teacher, addressing, first of all, to personal archival materials and previous works. V. Tsvietkov’s scenic searches are rooted in the creative discoveries of outstanding masters of Ukrainian and foreign theatre of the XX and the beginning of the XXI century, his “personal” page of aesthetic, professional, methodological research in the field of acting and directing, which are organically continued in theatrical pedagogy. The main part of the article examines the stages of formation and creative activity of V. Tsvietkov as an actor, director and theatre teacher. Summed up, that V. Tsvietkov, a talented director who was long seeking his way in directing theatre and cinema, methods of upbringing the actor, and finally found it, basing on the pedagogical discoveries of K. S. Stanislavsky, staged 80 plays, brought up a whole galaxy of Ukrainian actors, directors, theatre teachers, who nowadays successfully work in national theatres and abroad. Based on the analysis of the creative and pedagogical work of V. Tsvietkov, his contribution to the formation and development of the Ukrainian theatre school is determined. The artist successfully embodied the traditions of K. Stanislavsky and heuristic discoveries in the psychology of creativity in his directing and pedagogical method. Not least important for V. Tsvietkov’s creative method was the experience of joint pedagogical work with the luminaries of the Ukrainian theatre, who passed the school of Les Kurbas","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123593459","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":"GRAPHICAL REPRESENTATION J. BRAHMS’ COMPOSITIONAL TECHNIQUE IN PIANO QUINTET IN F MINOR OP. 34","authors":"D. Startsev","doi":"10.34064/khnum2-25.05","DOIUrl":"https://doi.org/10.34064/khnum2-25.05","url":null,"abstract":"Under analysis is the issue of notation functioning as a sign system in the process of fixing a musical work, which is relevant in modern musicology. Scientific publications outline various aspects of musical semiotics, but do not highlight the relationship between the specifics of compositional techniques and ways of its rendering. Graphic signs are studied in the proposed article from the standpoint of this relationship which determines the scientific novelty of the results. The purpose of the research is to reveal the ways of graphic representation of the composer’s technique in the musical text on the example of J. Brahms’ Piano Quintet in F minor Op. 34 using semiotic and structural-functional methods of analysis. Results of research. In order to conduct this research, analysis of graphical representation of compositional devices in J. Brahms’ musical text has been done. His characteristic traits of writing include highly developed motivic technique. The composer finds new variants of musical units without changes of their rhythmical parameters or inner interval relations. In works by J. Brahms, variation presupposes such operations on motives, in which the composer changes either their articulation or temporal parameters as a result of shifting musical units in regard to the metric “grid” of the bar. Hence, there have been revealed new functions of the musical notation which becomes an important tool to fix and stabilize the musical work. Conclusions. As the composer fixes his musical intentions, formation of individual graphic sign system occurs; it is based on traditional notation but is marked by different functional and logical connections according to author’s intentions. As a result of this, various slurs, accents, “hairpins”, dynamic marks and their succession become one of the ways, in which composer’s thought acquires graphic representation. The specifics of graphic signs functioning in J. Brahms’ music requires their analysis as semiotic objects and understanding of the rules by which they can be deciphered. These rules cause relations between sign-bearers and their interpretants. Slur with its primal meaning of legato, placed in a new context, becomes a marker of motivic structure. Further joining of the slur with the “hairpin” allows indicating the principal tone, “emphasis” in a motive which influences its articulation. Thus, a circle of interpretants occurring in certain contexts expands.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"137 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120987668","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}