Aspects of Historical Musicology最新文献

{"title":"MOLIÈRE’S COMÉDIE-BALLET “LES FÂCHEUX” AS THE BEGINNING OF A NEW MUSICAL AND THEATRICAL GENRE","authors":"Oleksandr Chepalov","doi":"10.34064/khnum2-25.02","DOIUrl":"https://doi.org/10.34064/khnum2-25.02","url":null,"abstract":"Against the background of contemporary artists’ interest in the cultural heritage of past ages, today we can observe an experimental combination of works by Lully, Rameau, baroque music of Henry Purcell, who was Molière’s contemporary, with elements of modern choreography (P. Bausch, T. Brown, M. Morris, L. Scozzi, D. Hervieu, B. Massin and others). Such productions by leading choreographers of the XX–XXI centuries actualize a certain reassessment of the artistic consequences of the “Sun King” era. Present scientific research purpose is to refute the theory of “temporality” of the existence of the comédie-ballet genre as well as the lack of prospects for using the principles of this genre outside the cultural boundaries of the Louis XIV age. After all, even such a well-known modern expert of this historical epoch as Philippe Beaussant is skeptical about the possibility of further successful development of this genre. Probably because apart from Moliere, none of the modern authors at the court of Louis XIV had either a certain flair or relevant experience (Beaussant, 2002: 148). Present scientific paper relevance lies in the fact that in Ukrainianlanguage scientific literature the issue of the significance of comédiesballets in the evolution of the world dramatic and choreographic arts is considered from the modern point of view for the first time. Along with the methods of analysis, comparison, generalization and systematization of information presented in the world scientific literature on Moliere’s work, historical and biographical approaches were used in the research process. The results of the research confirm the thesis of the leading theater critics of the Soviet era, O. Gvozdev (2008: 180), that the opera and dance elements of ‘ballet de cour’ are noticeably transformed in Molière’s comédies-ballets, and, what’s most important, they are dramatized under the influence of comedy story-line. It is summarized that “Les Fâcheux” continues the line of development of French ‘ballet de cour’, but the combination of its components in the artistic integrity on the basis of comedic plot has become a new original phenomenon. The desire to add logic to the ballet action led to the fact that in the circumstances of comedic action, the dance developed in the plot direction, often turning into a pantomime, involving an element of acting. In turn, under the influence of buffoonery and dance element, the tempo of the play becomes more revived, there is a rhythm and a certain “musicalization” of theatrical action, paving the way for the reform of French ballet, which was later carried out by Noverr under the direct influence of Beaumarchais and Gluck.","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":"132487119","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":"D.KLEBANOV’S CONCERTO FOR DOMRA AND SYMPHONIC ORCHESTRA IN THE CONTEXT OF GENRE DEVELOPMENT","authors":"Yana Danyliuk","doi":"10.34064/khnum2-25.07","DOIUrl":"https://doi.org/10.34064/khnum2-25.07","url":null,"abstract":"Statement of the problem. D. Klebanov played an important role in the development of domra concerto genre in the middle of the 20th century. Ocheretovska N. (2015), Savchenko H. (2021), Kosenko H. (2018), Shapovalova O. (2011) have studied D. Klebanov’s composer style, in particular, his orchestral thinking. However, the creative principles that guided him when writing Domra Concerto, as well as genre and style features of this composition went unexplored. This determines the relevance and scientific novelty of this study aiming to reveal the features of Klebanov’s composer thinking, which are reflected in his Domra Concerto and influenced the further development of the concerto genre in domra music. When analyzing the Concerto, genre-style, organological, performance and comparative research methods were used. The results and conclusions. By the time Klebanov’s Concerto appeared (1951), the domra repertoire included only various works of small forms. The emergence of the concerto genre launched a number of domra concertos, where single-movement concertos predominated, while the three-movement cycle was represented by only a few works by D. Klebanov, V. Ivko, B. Mikhieiev. Klebanov’s Concerto consists of three movements (fast – slow – fast), which are written in forms typical for the classical sonata-symphonic cycle (sonata in the first, refrain’s variations in the second and rondo-sonata with variations in the third movement). The tonal thinking inherent in Klebanov’s orchestral compositions is fully preserved. The theme of sonata exposition is contrasting; sub-themes have a songlike character clearly manifested in the second part. The cadence of the first movement embodies domra characteristic features, namely the cantilena and virtuosity; domra is presented as a multi-timbre instrument with wide coloristic possibilities. Klebanov uses a folklore quotation in the Concerto Finale (Ukrainian folk song “The reapers went to the field”) and stylizes Ukrainian folklore in other parts. This combination of quotation and stylization was later used in other orchestral and chamber compositions. Thus, Concerto by D.Klebanov is the first example of a cyclic concerto form in Ukrainian domra music, which gave birth to a number of works in this genre, especially by Kharkiv composers (V. Podhornyi, I. Ivanov, B. Mikhieiev, A. Haidenko), where the genre palette extends from the three-movement concerto, respectively, to the concertino, poem-concert, concerto-toccata, concerto-epos and concerto-suite. Despite the fact that Klebanov’s Concerto belongs to an academic model, Ukrainian melody penetrates into every part of the form, turning this composition into a vivid example of the national domra concerto.","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":"129947781","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":"“SUICIDE” ON THE KHARKIV STAGE: MUSIC AND STAGE READING BY S. PASICHNYK – H. FROLOV","authors":"Liubchenko Valeriia","doi":"10.34064/khnum2-24.11","DOIUrl":"https://doi.org/10.34064/khnum2-24.11","url":null,"abstract":"Statement of the problem. The article examines the theatrical heritage of Les Kurbas, the founder of Shevchenko Kharkiv Academic Ukrainian Drama Theatre (originally called «Berezil»). Les Kurbas is the reformer of the Ukrainian theater; his theatrical ideas demonstrate a new understanding of the synthesis of the arts. He concentrated his creative aspirations not only on acting, but also on all components of the performance, in particular on music. The paper examines methodically the application of the basic principles of Les Kurbas Theatre – the co-authorship of the director and composer – in Kharkiv theatre. The article also studies the works by H. Frolov – talented Kharkiv composer. The critical legacy dedicated to the works of Les Kurbas does not fully illuminate the uniqueness of his views regarding directing and the originality of the musical language in the genre of dramatic performance (CherkashynaHubarenko, 2002; Hordieiev, 2003; Yermakova, 2012; Labinska, 2012). There are a number of works devoted to the issues of music in theater (Kurysheva, 1984; Kozyurenko, 1986; Tarshis, 2010; Matsepura, 2013; Lesakova, 2017; Oseeva, 2019; Kovalchuk, 2017; Nurtazin, 2013; Spagnolo, 2017). The novelty of our research. The paper investigates musical component in the current practice of Shevchenko Kharkiv Academic Ukrainian Drama Theatre and creative method of its leading composer H. Frolov. The aim of the article is to reveal the interconnection of music with the stage elements of the performance. The study of the stage play “Suicide” in Kharkiv Drama Theater required the implementation a number of scientific approaches: historical and genetic, studying the modern function of music in the analyzed dramatic performance in Kharkiv Drama Theater, the origins of which go back to Kurbas “Berezil”; a comparative analysis, revealing the ways of preserving old traditions in modern performance; genre analysis, investigating the embodiment of the comedy dell arte in the musical scenes; stylistic analysis, revealing the composer’s thinking in making the director’s decision regarding stagecraft. The presentation of the main material. The article analyzes a musical component in the stage performance “Suicide” based on the play by Nikolay Erdman (1928), reinterpreted by our contemporaries – the stage director Stepan Pasichnyk and the composer Henadii Frolov. The work reviews the production itself and the acting troupe. The article outlines the inheritance and development of the traditions in Les Kurbas Theatre regarding the mutual work of the composer and director, aimed at the organic fusion of the stage action and musical accompaniment of the performance. Conclusions. Dramaturgical and genre-compositional analyzes of the performance detected such distinctive features of the individual style of H. Frolov as: musical organization of the stage with one intonation, which, depending on the drama, can be flexible and transformative, acquiring new meanings and qualities ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129351041","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":"POLYPHONIC GENRES IN PIANO CREATIVITY OF CHINESE COMPOSERS","authors":"Mengzhe Zhang","doi":"10.34064/khnum2-24.08","DOIUrl":"https://doi.org/10.34064/khnum2-24.08","url":null,"abstract":"Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publications on the theme. А large number of modern authors study polyphony from the point of physical and mathematical research methods (Igarashi, Yu. & Ito, Masashi & Ito, Akinori, 2013; Weiwei, Zhang & Zhe, Chen, & Fuliang, Yin, 2016; Li, Xiaoquan et al. others, 2018). This approach does not reveal the factual musical component of polyphonic genres. In the 20th century, musicologists explored polyphony in musical folklore (Wiant, 1936; Fan Zuyin, 2004; Li Hong, 2015) and in professional Chinese composing (Sun Wei-bo, 2006, Winzenburg, 2018). The scientific novelty. This article studies the role of Chinese composers in the development of the world polyphonic piano repertoire of the XX – early XXI century. The methodological basis for the analysis of polyphonic works was the theoretical concepts of P. Hindemith, Peng Cheng, Fang Zuin, Li Hong, Sun Wei-bo. The results of the study. The research outcomes demonstrate the evolutionary development of the genre diversity of Chinese piano polyphony as well as those composers who created magnificent musical pieces. Conclusions. Chinese composers have fully mastered the art of modern counterpoint, represented by the genres of polyphonic program pieces (He Lu Ting), invention (Xiao Shu Xian, Du Qian, Sun Yun Yin, Chen Chen Quang), polyphonic suite (Ma Gui), large polyphonic cycle ( He Shao, Chen Hua Do, Xiao Shu Xian), fugue (Li Jun Yong, Yu Su Yan, Chen Gang, Tian Lei Lei, Duan Ping Tai, Zheng Zhong, Xiao Shu Xian) and small cycle “Prelude and Fugue” (Ding Shan Te, Chen Zhi Ming, Wang Li Shan). Creatively assimilating and rethinking the experience of Western polyphonists, Chinese composers have filled their polyphonic works with national features, firmly linking them with the origins of Chinese traditional and folk music. The polyphonic way of transmitting musical material becomes the most expressive at the moments of profound creativity and musical dramatization.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128782046","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":"Genre and style specifics of Sonata for Double Bass and Piano by Paul Hindemith","authors":"Dikarev Serhiі","doi":"10.34064/khnum2-24.07","DOIUrl":"https://doi.org/10.34064/khnum2-24.07","url":null,"abstract":"Statement of the problem. The works of Paul Hindemith, one of the most outstanding composers of the twentieth century, is distinguished by its universality. P. Hindemith is known as the author of a large number of sonatas for various instruments, among which is Sonata for Double Bass and Piano. The genre and style specificity of P. Hindemith’s chamber sonatas cannot be considered in isolation from the peculiarities of the instruments chosen by the composer, the sound image of which contributed to the formation of certain specific genre features. Sonata for Double Bass and Piano, which became the culmination of the development of double bass music in the composer’s work, can be considered indicative in this respect. Analysis of recent research and publications. There is a great deal of research works devoted to P. Hindemit’s compositions, particularly chamber sonatas, as well as to the peculiarities of his style. One of the most fundamental works is the monograph by T. Levaya and O. Leontieva (1974), which deals with the works of the composer. Among other researchers who turned to the work of Hindemith, we should mention B. Asafev (1975), V. Polyakov (1987), T. Morgunova (2000), V. Batanov (2016). Despite the fact that the stylistic and genre principles of P. Hindemith’s work are outlined in detail in the works of domestic musicologists, most researchers have overlooked the Sonata for Double Bass and Piano by P. Hindemith, which certainly deserves a detailed analytical understanding both in the context of the genre and in terms of the development of double bass performance. Main objective of the study. Today, Sonata for Double Bass and Piano by Paul Hindemith, the performance of which requires significant technical and artistic skill from double bass players, occupies an important place in the double bass repertoire, which is why this article is relevant. The purpose of the article is to determine the genre and style specifics of Sonata for Double Bass and Piano by P. Hindemith in order to further understand the development of solo and orchestral double bass means of expression and rapidly increase the repertoire for double bass in modern art. The scientific novelty of the article lies in the insufficient study of P.Hindemith’s double bass work in the context of Ukrainian double bass school. As a result of the structural-compositional and genre analysis it was possible to conclude about the uniqueness of Sonata for Double Bass and Piano by P. Hindemith as a vivid example of the composer’s search for non-standard means of expression, which lies in choosing the timbre of the solo instrument and the specifics of formative factors. The research methodology includes the following scientific methods: ● historiographic approach (in the aspect of clarifying the data on the double bass compositions by P. Hindemith); ● stylistic approach (in connection with the study of the composer’s work); ● genre approach (which is necessary for referring to certain genr","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116415973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The specificity of the interpretation of Rodelinda’s pa rt from G. Handel’s opera “Rodelinda”: interpretological approa","authors":"Xin Yuan","doi":"10.34064/khnum2-24.05","DOIUrl":"https://doi.org/10.34064/khnum2-24.05","url":null,"abstract":"Statement of the problem. Among the questions that arise, let us single out those that will form the basis of the proposed article devoted to women’s parts in the opera “Rodelinda”: HIP traditions and staging strategies; vocal roles and their possible modifications / transformations under the conditions of specific directing and performing solutions. Analysis of recent scientific publications shows that ‘Handeliana’ is currently very voluminous. Thus, the works of W. Dean (1969), J. Knapp (2009) and C. Hogwood (2007), which have been republished several times, are considered thoroughly; L. Silke (2014) summarized the experience of predecessors and presented new dimensions of scientific understanding of Handel’s legacy. Fundamental are the studies by L. Kirillina (2019). The problem of performing vocal music of the Baroque era has been actively discussed in the works of I. Fedoseev (1996), N. Harnoncourt (2002), G. Kaganov (2013), M. Burden (2009), A. Jones (2006), О. Kruglova (2007), G. Konson & I. Konson (2020). The purpose of the article is to single out the main parameters of the baroque performance of women’s parts in G.F. Handel’s opera “Rodelinda” taking into account the performing traditions and modern trends. The research methodology is focused on the concept of “authentic performing strategy” (Yu. Nikolaievska, 2020), positions of comparative interpretology (Ch. Zhiwei, 2012) and interpretative approach, aimed at studying the specifics of the performance versions. The scientific novelty of the article lies in the application of an interpretive approach to the study of G. F. Handel’s operas. Results. In the 1938 recording (conducted by G. Leonhard), Rodelinda was performed by the famous Cecile Reich, in 1959, 1973 – by Joan Sutherland (in London and Netherlands productions). Closer to the authentic versions is the one performed by Sophie Danneman (1996); there is also a famous recording of 2005 with Rene Fleming (Metropolitan Opera), who was brilliant as an actress (which is required by the plot), but she admired and “played” her voice a little, which does not quite correspond to the principles of authenticity. One of the stars of the Glyndebourne Festival (1998) was the performer of Rodelinda’s part – Anna Caterina Antonacci, who performed her part with the necessary psychological and vocal accents, but, perhaps, somewhat dry and removed, which is why the listener is also removed from the heroine’s tragedy. In 2011 N. Harnoncourt recorded “Rodelinda” (in the title role – Danielle de Niese, who owns the entire arsenal of means inherent in baroque performance). Lauren Woods (recording of the 2016) is one of the most famous performers of the baroque repertoire. Critics have noted her perfect articulation, acting ability and “impressive vocals”. Simone Kermes, who critics call “the mad queen of the Baroque”, is distinguished by bright and temperamental performance, especially incomparable in the interpretation of baroque operas. Conclusions.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126000558","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":"“Unexpectedly British”: accentuation of THE nationally English in Edward Elgar’s “Fa lstaff”","authors":"Lysychka Oleksandr","doi":"10.34064/khnum2-24.02","DOIUrl":"https://doi.org/10.34064/khnum2-24.02","url":null,"abstract":"Statement of the problem. The relevance of the article lies in revealing the peculiarities of the composer’s way of appeal to the national cultural heritage. The aim of the study is to determine the principles of embodiment of “the nationally English” in the symphonic etude “Falstaff” by Edward Elgar. The main method of the research is drawing parallels, on the one hand, and between the embodiment of the English national character through the image of Falstaff in musical and dramatic works, on the other. Research results. A conclusion is made that the main factor creating strong ties between the “symphonic etude” and the national tradition is spectacular national characterisation. Moreover, for the sake of applying the “English” the composer consciously and significantly changes his musical language. The author turns to very detailed programme (unlike general type of programness in most of his works), and that allows him to scrupulously depict the plot of Shakespeare’s chronicle on which he focuses on. Elgar also portrays overtly humoristic situations, for the first time in his symphonic works, because it would be impossible to disregard this side of Falstaff’s character, as it is the contrast of comical in the beginning and solemn in the denouement that create the tragic effect. The structural side of the composition is also unprecedented as it is formally has one movement, but the composer himself divides it in four parts (ignoring the arrangement of events in “Henry IV” in two parts) while all the parts are connected in various ways. As a result of this, “Falstaff” becomes the longest single-movement symphonic composition of Elgar. The composer favours linear type of musical thinking, integrating it with sudden “flashes” of thematically significant elements in different strata of the texture, and this all combined provides completely lush, unpredictable sonority of the orchestra. On the top of this, the author extensively uses themes with obvious genre genesis, especially in order to depict Shallow’s Gardens, although it is possible to find more traditional for Elgar passages with generalised type of intonation. Such characteristic for Elgar principles, as multi-thematism and elusion of the tonal centralisation (while using quite traditional chords in every given moment) find their new meaning regarding illustrative role of the music. A conclusion is made that the “Britishness” of the symphonic etude lies not in the use of folk intonations or allusions to the past of professional music, but in meticulous attention to W. Shakespeare’s text: both on levels of portraying or interaction between the “characters” and form-creating according to the scenes. Despite the fact that E. Elgar’s musical language seems to be quite distant from Falstaff’s comical essence, the composer was able to find means adequate to the character’s image, such as “wandering” tonal structure; superficial, but rather important analogy between quite large scale of a single-mo","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125685441","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":"PRINCIPLES OF ORCHESTRAL STYLE IN SYMPHONIC FRESCOES “TARAS BULBA” BY SERHIY TURNIEIEV","authors":"Bohatyrov Volodymyr","doi":"10.34064/khnum2-24.10","DOIUrl":"https://doi.org/10.34064/khnum2-24.10","url":null,"abstract":"Statement of the problem. The works of Serhii Petrovich Turnieiev – Honoured Artist, composer, professor – have made a significant contribution to the musical culture of Ukraine. His creativity attracts the attention of musicologists from different generations and needs more extensive study. The novelty of the research. The article makes up for the shortage of scientific works covering the orchestral style of S. Turnieiev in connection with his compositional thinking. The work highlights the leading role of orchestration – an important expressive and logical-constructive tool in the music of the twentieth century – in organizing the artistic integrity of the Symphonic Frescoes “Taras Bulba”. Literature review. The theoretical basis of the article is the work on the study of orchestration and orchestral style (Kars, 1990; Blagodatov, 1963; Shabunova, 2008; Korobetskaya, 2011, Halmrast, 2000; Hundsnes, 2010;. McAdams 2019; Monel, 2012; Otto, 1983; Rakochi, 2020; Urniecius, 2018; Wallmark, 2019). In addition, the paper refers to the articles defining the term “Symphonic frescoes” (Tikha, 2009; Tishchik, 2019; Belova, 2020). The aim of the article is to study Symphonic Frescoes “Taras Bulba” by S. Turnieiev from the standpoint of orchestral style. The article uses analytical, genre, style, historical, structural-functional, comparative, systematic generalization methods of research. Results and conclusions. The orchestration of Symphonic Frescoes “Taras Bulba” by S. Turnieiev is characterized by: 1) a variety of orchestral texture as a supplier of semantics, which gives the orchestration semantic and logical-constructive functions in organizing a large-scale work; 2) a combination of functional and coloristic orchestration; 3) orchestral flavor, sound, picturesqueness; 4) large strokes, avoidance of details, which is motivated by the genre of the work. The orchestration analysis of S. Turnieiev’s large-scale symphonic work “Taras Bulba” made it possible to draw the following conclusions regarding his orchestral style: 1) the composer’s orchestration is determined by the principles of his compositional thinking and aesthetic ideas; 2) the orchestration of the work is influenced by the genre of the work and the individual genre decision; 3) the composer chooses the orchestral ensemble сonsidering the practicality of the performance and the concept of the work; 4) there is an interpenetration of functional and coloristic orchestration in accordance with synthetic composer’s thinking. The composer operates with different types of texture, which has an important form-making and dramatic role, and applies traditional and innovative techniques.","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122761029","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":"G. Ph. Telemann’s Concertos for Four Violins withoutbassocontinuoin the aspect of onomatopoeic and figurative rhetoric","authors":"Kholodkova Olena","doi":"10.34064/khnum2-24.03","DOIUrl":"https://doi.org/10.34064/khnum2-24.03","url":null,"abstract":"Statement of the problem. In musicology there has long been a tacit belief that Baroque music is the music of rhetoric, rhetorical figures and affects. In Baroque aesthetics, rhetoric, which is an important element of Baroque poetics, is perceived as an integral part of the content of a musical piece that together with form, harmony, counterpoint and musical expression form its integral substance. The study of Baroque music from the perspective of the rhetorical aspect gives a clearer comprehension of the work, understanding the context, and the competent interpretation of the composer’s idea. Analysis of recent research and publication. The theoretical assumptions of this article are based both on historical treatises (M. Praetorius, Ch. Bernhard, J. Mattheson) and authoritative works of researchers who studied theoretical issues of historically informed performance of the late XX – early XXI century (D. Bartel, L. Dreyfus), including relatively new works (M. Zgółka, P. Zawistowski, A. Mocek). M. Zgółka (2016) adopts a rather traditional approach to rhetoric, which operates with rhetorical figures and affects, and at the same time offers an innovative division of rhetoric into three varieties. Referring to the most important treatises L. Dreyfus (2004) makes us think about the relevance of making parallels between oratory and musical rhetoric highlighting common features and differences. A. Mocek’s (2019) view on musical rhetoric and on the studies devoted to it is quite critical. The main objective of the study is to examine G. Ph. Telemann’s Concertos for Four Violins without basso continuo from the perspective of figurative and onomatopoeic rhetoric. The scientific novelty. In this research for the first time, Telemann’s Concertos were analyzed from the perspective of onomatopoeic and figurative rhetoric. The concept of division of rhetoric into three categories (onomatopoeic, figurative, symbolically mystical) was proposed by the Polish violinist and theorist M. Zgółka (2016). The author uses the following methods in this research: historical, typological, comparative and structural-functional analysis. Results. The analysis of four concertos demonstrates that G. Ph. Telemann uses not only figurative type of rhetoric but also onomatopoeic, successfully combining these two categories. In comparison with, for example, A. Vivaldi or H. I. F. von Biber, the palette of sound imitative techniques in the concertos of G. Ph. Telemann is not so diverse and comprehensive, however, elements of onomatopoeic rhetoric can be found both in fast and slow movements: sound of organ or bells as well as sound images of nature. The composer does not refuse from the elements of figurative rhetoric. Like in his duo sonatas, these are mainly represented by figures that describe a melodic motion. Such techniques are often found in polyphonic quick movements. In the lyrical slow movements, similarly to the duo sonatas, harmony, polyphony and intervals are brought to ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128194442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The genre of folk song settings: the ways of interaction of traditional and professional musical art","authors":"Ling Zhang","doi":"10.34064/KHNUM2-21.07","DOIUrl":"https://doi.org/10.34064/KHNUM2-21.07","url":null,"abstract":"Logical reason for research. The contemporary music science is becoming an increasingly multifaceted research field. This is connected with the evolution of musical art in general (its language, genre system, stylistic diversity), and its interaction with other manifestations of human creativity, and with new aspects of studying the achievements of world and national culture. One of the topical perspectives of scientific attention over the past decades has been the attention of musicologists to musical practice, in particular, to musical performance in all its multi-vector manifestations – in its genesis, historical retrospective and general cultural, civilizational context, in its syncretic unity with the composing creativity, in its palette of forms and genres of musical practice, in the traditions and perspectives in musical science and the existence in modern cultural conditions. Innovation. The presented article is devoted to the genre of folk song settings in the aspect of the specifics of the ways of interaction between traditional and professional musical art. By traditional we mean folk musical creativity of an oral nature, of “collective” authorship, and by professional – academic musical art of a composing, author’s nature (both types of musical creativity in the European culture). Each of these types of creativity has its own specificity in the primary source – the genre, style, figurative, linguistic, performing one, and the ways of interaction at these basic levels affect both the genre of folk song settings and its stage presentation. In the theoretical aspect, the genre of folk song settings is the result of a synthesis of composing and performing interpretation, and in the performing aspect, in fact, an interpretation of interpretation, which determines new perspectives of its study. Objectives. The purpose of this research is to characterize the ways of interaction between traditional and professional musical art on the example of the genre of setting a folk song in genre-style and performing aspects. Methods. The main methods of the presented research are the genre one and the performing one. The genre method is necessary both for characterizing the basic constants of the folk song settings genre, especially those related to the synthesis of traditional and professional musical art, and for identifying the specifics of this genre in the performing aspect. The performing method makes it possible to identify those features of the genre of folk song settings that are associated with its performing specificity as one of the most important areas of manifestation of the above-mentioned synthesis. Results and Discussion. One of the burning thematic areas of modern musicology is vocal music, its genre, style and performing specifics. It is related to the issues of the interaction of words and music, the methods of expressiveness, the stage presentation and the interpretation of vocal compositions, in particular, taking into account the","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131482339","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}