Aspects of Historical Musicology最新文献

{"title":"Combinatorics as a constant principle of I. Stravinsky’s orchestral writing","authors":"H. Savchenko","doi":"10.34064/KHNUM2-21.12","DOIUrl":"https://doi.org/10.34064/KHNUM2-21.12","url":null,"abstract":"Background. I.Stravinsky’s orchestration is quite an original phenomenon; its essential characteristics are influenced not only by objective intra-musical factors (reconfiguration of musical language on the verge of XIX–XX centuries) or by subjective individual and stylistic determinants, but also by the changes, which occurred in the cultural context of the first half of XX century under influence of scientific and technical progress (Arkadev, 1992; Gerasimova-Persidskaya, 2012). The first two decades of XX century became the time, when the new generation of composers emerged, who reflected complexity of the world and different understanding of temporal and spatial relations in sound matter of their works. First, we mean C. Debussy, I. Stravinsky, the composers of the Second Viennese School and B. Bartók. Objectivation of the worldview largely influenced the orchestration as it is one of the means to organise musical matter in space-time. Literature review. Orchestration by I. Stravinsky is the object of research in the articles of V. Gurkov (1987) and A. Schnittke (1967; 1973). Valuable observation and commentary on composer’s orchestration are found in several monographs (Asafev, 1977; Baeva, 2009; Druskin, 2009; Savenko, 2001; Yarustovskiy, 1982). In the available works, orchestral writing by I. Stravinsky has not been examined, especially in the aspect of its constant principles. Results. Concept of “orchestral writing” needs to be clarified; it is widely used, although scarcely developed. We suggest our own definition of this concept. Orchestral writing is an individual system of technological devices and principles, determined by composer’s musical language and common, basic rules of orchestration, aimed at realisation of timbre and textural aspects of the work, conditioned by style, genre and artistic idea and incarnated in functional interaction of orchestral parts in horizontal and vertical axes. General principles of I. Stravinsky’s orchestral writing became discernible in his early works; we define them as multi-figure composition, combinatorics and plastique. Combinatorics can be understood as universal principle of I. Stravinsky’s compositional method and orchestral writing, which affects all the levels of compositional whole, the work itself. Combinatorics is widely used in visual arts, where it is interpreted as a method to find various combinations through rearrangements, moving, different configurations of given elements, their juxtaposition in a certain order. Used as a term to define orchestral writing, combinatorics supposes manipulation with small timbre and textural elements and structures; this is conditioned by type of the themes, used by the composer as well as by variability of intervals and motives. Frequent succession of thematic structures causes rushed tempo of changes of timbre and textural structures, which, in its turn, causes musical time to be densely filled with informational events, and musical space became h","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"2 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":"123870357","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 features of creative heritage by Mark Karminskyi: educational and methodological aspects","authors":"L. Popova, Olha Protsenko","doi":"10.34064/KHNUM2-19.04","DOIUrl":"https://doi.org/10.34064/KHNUM2-19.04","url":null,"abstract":"Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for his music and its successful functioning in the pedagogical process, in particular, in children’s music schools. The purpose and objectives of this study – to consider the artistic and aesthetic orientation of the creative heritage by M. Karminskyi and identify its distinctive features, focusing on the genre and style aspect of his works for children and youth and their methodological significance in pedagogical practice. Research methods are based on general scientific principles of systematization and generalization. The most important role was played by the interdisciplinary approach to the analysis of the composer’s creative heritage from the standpoint not only of musicology, but also of history, culturology, and pedagogy. For reflecting the spiritual atmosphere, where the composer’s talent was formed, the historicalbiographical approach was of great importance. Research results. The way of formation of M. Karminskyi’s individuality, development of his innate musical inclinations to successful realization of talent is crowned with creation of compositions of various genres, both largescale – partitas, operas, music to performances, and chamber – vocal-choral and instrumental miniatures, among which the piano music for children and youth audiences appealed to the style of Ukrainian folklore occupies a significant place. Ukrainian literature, in particular, works by Taras Shevchenko, Lesia Ukrainka, and Ivan Franko, which were carefully studied by M. V. Karminskyi as a student of the Faculty of Journalism at V. N. Karazin Kharkiv State University, had a significant influence on the formation of the composer’s worldview and aesthetic priorities. Probably, it was the love for literature that determined the programmatic narrative nature of M. Karminskyi’s compositions. However, the love for music itself prevailed: M. Karminskyi continued his studies at the Kharkiv Conservatory in the class of Professor D. Klebanov possessed in perfection by the musical artistic heritage and was able to transfer creatively this knowledge to students. M. Karminskyi’s later applied the skills acquired from him in his work. In those years, the Kharkiv School of Composition stood out among other music unions of Ukraine with a high level of creative competence: composers sought their own way and artistic individuality, creating a modern musical language. However, even in this highly","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129332092","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":"Musical dramaturgy of the Broadway musical on the example of “Aida” by Elton John and “Next to normal” by Tom Kitt","authors":"Jian Liu","doi":"10.34064/KHNUM2-19.23","DOIUrl":"https://doi.org/10.34064/KHNUM2-19.23","url":null,"abstract":"Introduction. The Broadway musical is one of the distinctive phenomena of American musical theater and show business. The performances gather numerous audiences and gives producers a crazy profit, displacing all other musical and theatrical genres. Turning to the musical, composers and librettists demonstrate two main approaches: creating an original plot and music (“Next to normal” by T. Kitt) or working with “ready-made” plots, the source of which are the cinema (“Pretty Woman” by B. Adams, 2019; “The Lion King” by E. John, 2019) and less often – the academic opera (“Aida” by E.John, 2000). Of course, the second approach is primarily commercial – the desire for originality is inferior to the desire to take advantage of the popularity of another product, which avoids the risk of losing audience and profits, however, both directions strive to use a certain compositional and dramaturgical patterns, which allow to avoid “breaking up” with the public. Theoretical background. In the musicological research of recent years devoted to the musical, the tendency to move away from its “classical” stage and expand the range of musical material becomes indicative, although the priority is still to cover the works of A. Lloyd Webber (A. Sakharovа, 2008; O. Andryushchenko, 2020), O. Rybnikov (Bobrova, 2011). Broadway musical of the XXI century as an independent topic of scientific research appears in the article by O. Prazdnova (2016), however, the author mainly evaluates it in terms of subject matter and popularity. Both selected works remain almost unexplained in musicological works – “Next to normal” by T. Kitt is mentioned by O. Andrushchenko (2020: 28) as a noteworthy interesting work by the composer of the “new generation”; “Aida” by E. John is mentioned by O. Prazdnova (2016: 246) as an example that the musical “still does not lose its connection with other genres”. Coverage of the musical and dramatic features of the two samples of Broadway musical represented by “Next to normal” and “Aida”, contrasting in genre subtypes, allows us to reveal the features of its genre specificity at the present stage, to compare the composer findings in the field of musical drama and evolve a certain genre invariant. The relevance of such a study in academic musicology is undoubted, given the relatively low degree of knowledge about the samples of this genre. The objectives of the article are to identify the musical-dramatic and compositional features of the musicals “Next to normal” by T. Kitt and “Aida” by E. John, their comparison and definition of key principles that are common and divergent for selected works. In accordance with the set goal, the structural method of researching was used, to identify the components of the composer’s text and their role in the dramaturgy of the whole, and comparative, which allows to match selected works in the parameters, selected for analysis. Results of reseaching. A comparison of two musicals that were staged on Broadway – “Aida","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133836098","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":"Stylization of Baroque genres in the Ukrainian violin miniature of the early 21st century: specifics of musical consciousness formation","authors":"A. Melnyk","doi":"10.34064/KHNUM2-19.09","DOIUrl":"https://doi.org/10.34064/KHNUM2-19.09","url":null,"abstract":"Introduction. Nowadays, continuing the neo-style trend in musical art started in the 20 century, increased attention is being attracted to the intentions of stylization and reinterpretation of a certain historical artistic models, where stylistic allusions (a kind of indirect citation, hint) use. This stylistic phenomenon has special spiritual and ethical preconditions that culturologists interpret in view of the so-called neo-restoration trends in culture. The above also applies to Ukrainian violin music, where the creative method of stylization, which has acquired such great importance in the art of the twentieth century, is actively in demand even today, in the modern postmodern style situation. Thus, the appearance of pieces in the Ukrainian violin repertoire, which even by their name declare its relation with the models of baroque genres, programming a certain creative idea, deserves to be studied in order to explore their direct relation to the original genre form and identify the algorithms for its stylization. All this, at least, will have a positive effect on the practice of the perception of stylization artifacts of a certain genre invariant, including the miniatures of the baroque type. The material of this research is the works of modern Ukrainian composers in the genre of violin miniatures, based on stylization of Baroque genre forms, which have taken a prominent place in academic musical creativity in general and in the history of the formation of the violin repertoire in particular. The stylistic variety of genre reminiscences in the Ukrainian violin repertoire is reflected in a number of materials by Ukrainian researchers (I. Andrievskyi, I. Hrebneva, V. Zaranskyi, I. Karachevtseva, V. Lapsiuk, I. Pilatiuk, S. Sandiuk, L. Skrypnyk, S. Yadlovskyi), where, in particular, the question of the demand for the so-called “violin miniature” (A. Haray, N. Pilatiuk) appears. However, the conceptual definition of a violin miniature today does not look completely methodologically adequate: the stereotypical norms of comprehending this class of genres touch exclusively the side of scale proportions, which contradicts the latest approaches to the interpretation of genre forms by the method of semantic analysis, namely, when the genre invariant is considered as a sign of a certain typed content. However, only taking into account the act of typification, the reference indications necessary for the formation of musical consciousness are established, which serve as a reliable guide in recognizing the genre nature of a work and discovering the cultural, historical and communicative ties necessary for its understanding. Thus, the purpose of this article is to reveal the peculiarities of stylistic modifications of baroque genres in the Ukrainian violin repertoire of the early XXI century and to propose methodological guidelines for analyzing the diversity of interpretations of the genre invariant under the influence of the historically actual style. Th","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"EM-14 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132835217","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 stylistic complex of “Three Pieces in C Major” for piano by M. Karminskyi: compositional and performing aspects","authors":"Svitlana Bilokur","doi":"10.34064/KHNUM2-19.05","DOIUrl":"https://doi.org/10.34064/KHNUM2-19.05","url":null,"abstract":"Background. In modern musicology, the issues of composer creativity for children are far from enough covered. This applies to both Ukrainian and foreign musicological literature. Aesthetic issues prevail in studies of children’s piano music, while the issues of composer and performing techniques related to the interpretation of such works become the object of study only occasionally. Still there aren’t special works devoted to piano music for children of Kharkiv authors, and information about this music is dispersed in publications of review or monographic plan, for example, such as the brochure by K. Heivandova (1981) about M. Karminskyi. This article proposes the consideration of the cycle (triptych) of children’s piano miniatures by Mark Karminskyi as a representative of the Kharkiv school from the point of view of the unity of composer and performing aspects and the specifics of their connection. The purpose of the article is to identify the features of embodiment the genre of children’s piano miniature in M. Karminskyi’s composer interpretation using the example of “Three Pieces in C Major”. The main objective of the study is to consider the genre stylistics of the pieces, reflected through the means of thematism, texture and harmony. In a methodological aspect, the article contains elements of a new scientific approach to the study of texture-harmonic complex as the main indicator of the style of children’s piano music, including in the aforementioned work of M. Karminskyi. From a practical point of view, the study can be of help to performers who turn both to the triptych of M. Karminskyi and to other works in the genre of children’s piano miniatures. The results of the study. Piano miniatures, including children’s ones, obey the laws of poetics of this genre, in which, according to E. Nazaikinskyi (2003), the principle of reflection of “big in small” is the main one. Among the other features of this genre, as the main one, we single out the desire of miniatures to unite into groups, cycles of a special kind in which the principle of “identity of the modus and the genre” operates (E. Nazaikinskyi, 2003, p. 372). This means the music pieces of same type follow each other without highlighting any special functions in the form-making. In children’s piano miniatures, such a grouping is normative. However, they also have their own specifics: the contrast, based on which any musical cycle is built, should be combined with the same type of pieces by genre signs and the presence of certain connecting moments, except for a common genre name. For example, the designation “Pieces” typical for cycles of children’s miniatures may have program subheadings aimed at deciphering the emotional and figurative content, which is especially important for children’s perception. In the cycle “Three Pieces in C Major” by M. Karminsky, almost all typical signs of children’s piano miniatures are presented. As a master, in whose work the theme of childhood and youth ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"221 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132289985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Spiritual chants for the female choir a cappella by IrynaAleksiichuk: features of the interpretation of canonical text","authors":"O. Cherkashina, N. M. Utesheva, O. Yakymchuk","doi":"10.34064/khnum2-17.04","DOIUrl":"https://doi.org/10.34064/khnum2-17.04","url":null,"abstract":"Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The holistic musical-theoretical analysis is applied to determine the figurative content of the work, to identify the peculiarities of form-building and the use of compositional ways of expressiveness (the intonational structure of the basic elements of the form, the tonal-harmonic plan, the methods of development of the thematic material). In the analysis of music the method of comparison was used (to identify correspondence between the means of musical expressiveness and the features of the canonical text). Results. The material of the analysis are four chants (“The King of Heaven”, “Glory to the Father, and the Son, and the Holy Spirit”, “My voice to the Lord”, “Holy, holy, Lord of Sabaoth”), which are united in the cycle “Spiritual chants for female choir a cappella”. In the process of researching the algorithm of sequence of the chants in the cycle is revealed, as well as the correspondence of musical means of expressiveness to canonical text. It is concluded that all chants expressly convey the meaning and the features of the canonical text. Musical structures clearly correlate to verbal. The greatest number of repetitions in the chants the stable formulations of the canonical text acquires: “Lord have mercy”, “Hallelujah”, “Glory to the Father, and to the Son, and to the Holy Spirit”, “Holy Lord”. The semantic significance of the canonical text is reproduced through the rich harmony and inventional polyphony, through the changes of time signatures, text repetitions, the wide choir range, dramatic development and contrasts of all means of expressiveness. Four abovementioned spiritual chants for the female choir a cappella on the canonical texts were written by I. Aleksiichuk in different times during 2002–2011. The order of the canonical text and the logic of the deployment of the musical material allowed the composer to combine them into a fourpart concert for a female choir. The cycle begins with the evening prayer “The King of the Heaven” (prayer to the Holy Spirit). This prayer is а part of the early and evening Church rules. Anumber of services that are performed during the day in the Orthodox Church opens by the evening Divine service, since the day, according to the Church’s Charter, begins in the evening. That is why in first the evening service is, which included the repentant prayers for everyday sins and gratitude to God for this day. The chant","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128743011","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 Confession” of a Child of the Century (Concerto for orchestra with solo viola by Anton Lubchenko)","authors":"I. Ivanova","doi":"10.34064/khnum2-16.15","DOIUrl":"https://doi.org/10.34064/khnum2-16.15","url":null,"abstract":"Introduction. Recent decades have seen a revival of interest the problems of genre-creating and typology of genres in musicology, an interest largely stimulated by the complexity of processes happening in this area of modern composers’ creativity. Given article considers a work by A. Lubchenko, entitled “Confession” (Concerto for orchestra with solo viola) from this standpoint. While the second part of the title, placed in brackets, doesn’t need to be commented, the first one, in quotation marks, must be considered additionally. Theoretical background. In order to comprehend it as sign of genre this article includes systematization of modern views on inherent traits of confession both in literature (I. Vertsman, A. Stoliarov) and music (O. Sheludiakova). Founding on scientific information of mentioned scholars next genre indicators of confessions are revealed: auto-biographic mood, first-person narrative with pre-destined goal, immaculate honesty of the confessor with himself and the receiver, his exclusive concentration on his own personality, general aim on self-consciousness etc. although there are differences between musical and verbal forms of ways of expression, confessions even in different types of art share “archetype of genre” (O. Sheludiakova). This allows to consider musical confession not as adaptation of its literature prototype, but as inherent musical genre, possessing essential and attribute features, corrected my given type of art and experience gained by it. So as to elaborate on this these, the article uses comparative method of research, aimed at comparison of genre archetype of confession and its embodiment in given musical work. Objectives. The aim of the article is to reveal a complex of means of expressions, used in the work by A. Lubchenko to reflect confessional mood in its inter-type comparison with literate genre. Results and discussion. Just as confession in literature absorbs features of another genres, such as hagiography and autobiography, its musical type, presented in the work by A. Lubchenko, uses ballade type of dramaturgy, one of the achievements of Romantic era. Actualizing principle of narration, a basis of literature ballade, musical ballade-ness, being a special dramaturgic model, embodied it through intonationally-thematic and structural means. Orientation of A. Lubchenko towards ballade, whether is it intentional or not, seems to be quite logical, because composer regards himself as a person, continuing the tradition of understanding the music as “the art of experiencing” (A. Mikhaylov), dating back to XIX century. Not only does connection of multiple layers of “Confession” become a sign of author’s composing style, it also contains important dramaturgical meaning, communicating with sound-images, appealing to listener’s experience, previously gained while hearing modern music. It is significant that the score features largely expanded percussion section, its playing with the brass section, that, being ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121297543","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 quartets by F. Mendelssohn as a phenomenon of the Romantic era","authors":"D. Kutluieva","doi":"10.34064/khnum2-16.08","DOIUrl":"https://doi.org/10.34064/khnum2-16.08","url":null,"abstract":"Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) ‒ in the historical and cultural situation of the last third of the 18th century, including the genre (string quartet and piano concerto), structural and compositional (sonata form), organological (instrument condition), performing (pianism development). I. Byaly (1989) and I. Polskaya (2001) consider the trio principle as the basis of ensemble genres, including the piano quartet. A conjunction of these opinions let us perceive the piano quartet as the result of the synthesis of various compositional and genre principles of ensembles, which formed the basis of the classical structure of the genre. Its creators are believed to be W. A. Mozart, the author of two piano quartets: No. 1 g-moll KV478 and No. 2 Es-dur KV493 (1785; 1786), and L. Beethoven, who composed four piano quartets: WoO 36 № 1 Es-dur, № 2 D-dur, № 3 C-dur (1785) and op. 16 Es-dur (1801). In these compositions of the classical era the defining attributes of the genre were multitimbrality, which manifests in keyboard and string instruments; ensemble players equality; signs of various types of utterance, including those inherent in a string quartet and clavier concerto involving a group of strings; sonatas and symphonies; as well as the type of composition, built on the model of “fast-slow-fast” with the obligatory sonata Allegro in the first position. In the romantic era, the boundaries of the genre expand in terms of content, structure, interpretation of the ensemble. The first attempt to increase the scale of the cycle belongs to C. M. Weber, who brought it closer to the composition of the string quartet through the introduction of Menuetto. However, the final fourpart cycle is set by F. Mendelssohn, who replaced Menuetto with Scherzo, which becomes the normative model for the romantic tradition of the genre. Objectives. The purpose of this article is to determine the role of F. Mendelssohn’s piano quartets in the evolution of the genre in general, and in the romantic era in particular. Results. Three piano quartets by F. Mendelssohn present a picture of his youthful attitude. The musician’s early composing ability allowed him to turn to the creation of works of this genre without fear. This genre usually attracts the attention of artists in their mature period of creativity, having mastered various genres, including chamber-instrumental ensembles (W. A. Mozart, R. Schumann, J. Brahms). It is easy to observe the commonalities of F. Mendelssohn and young Beethoven, who also composed the piano quartets in th","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114807707","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":"«Actual intoning» in the vocalperforming practice of Tetiana Vierkina (based on the romance repertory)","authors":"L. Shubina","doi":"10.34064/khnum2-17.01","DOIUrl":"https://doi.org/10.34064/khnum2-17.01","url":null,"abstract":"Background. Objectives and methodology of the research. An attempt is made to consider the vocal-performing work of the People’s Artist of Ukraine Tetiana Vierkina in the aspect of the “actual intoning” concept, which was developed in her PhD thesis. “Actual intoning” is interpreted by the researcher not only as the performer’s work, who turned the author’s text into the sound reality, into a living speech utterance, but also as the desire to fill her interpretation with relevant meanings that are significant for the modern era. The scientific work by T. Vierkina, devoted to the problems of intoning, grew out from a generalization of her many years of experience – artistic and pedagogical. However, in the field of view of the musicologists studying the performing art of T. Vierkina, mainly, her pianistic mastery proves to be. However, in Ukraine, as in the cities of Russia, Armenia, Georgia, Belarus, T. Vierkina is also known as a chamber singer, the owner of a very beautiful soprano, a performer with a peculiar manner of singing. Being not as powerful and dense as opera voices, the singer’s voice nevertheless sounds good in large concert halls with the accompaniment of symphony orchestras thanks to her technique of bright, sonorous sound. Having a recognizable, unique timbre, Tetiana Vierkina subordinates it to the tasks of expressively meaningful singing, finds her place among the intellectual type of singers. Two main directions in her vocal repertoire are defined – domestic, classical romance, pop songs of the 19th–20th centuries, on the one hand, and chambervocal music by Kharkiv composers, on the other. The purpose of this article is to consider only one direction in the vocal performing creativity by T. Vierkina related to her romances singing repertoire. The research is based on five romances representing the Pushkin-Glinka era –“You’ll never understand my sadness” by A. Gurilev to the poem of V. Beshentsov, “Don’t wake her at the dawn” by A. Varlamov to the poem of A. Fet, “When minute of the life is hard” to the poem of M. Lermontov – and the “Silver Age” of Russian poetry:“No, he didn’t love” by A. Guercia to the poem of E. Del Preite, in the Russian translation of M. Medvedev and “The Lord’s Ball” by A. Vertinsky to the poem of the author. An analysis of the interpretations of these works is included in the historical context, referring to some other interpretations of their musical text, to reveal the originality of the images and meanings created by T. Vierkina. The features of the artist’s creative formation and the circumstances of her life, which influenced her performing style, are taken into account. Thus, the general scientific methods of historical retrospection, comparison, generalization are used in this work, as well as the complex methodology of analytical musical-theoretical researches that correlated with B. Asafiev’s theory of intonation. Research results. The paper describes main features of the singing art of T. Vier","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124092740","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":"Woman in art: a breath of beauty in the men’s world","authors":"O. Mykhailova","doi":"10.34064/khnum2-17.11","DOIUrl":"https://doi.org/10.34064/khnum2-17.11","url":null,"abstract":"Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and their influence on its development has become of special relevance. The purpose of the article is to summarize segmental of information that highlights the contribution of women to the treasury of world art, their creative and inspiring power. Analytical, historical-biographical and comparative studying methods were applied to reveal the gender relationships in art and the role of woman in them as well as in the sociocultural space in general. The results from this study present a panorama of gifted women from the world of art and music who paved the way for future generations. Among them are: A. Gentileschi (1593–1653), who was the first woman admitted to The Florence Academy of Art; M. Vigee Le Brun (1755–1842), who painted portraits of the French aristocracy and later became a confidant of Marie-Antoinette; B. Morisot (1841–1895), who was accepted by the impressionists in their circle and repeatedly exhibited her works in the Paris Salon; F. Caccini (1587–1640), who went down in history as an Italian composer, teacher, harpsichordist, author of ballets and music for court theater performances; J. Kinkel (1810–1858) – the first female choral director in Germany, who published books about musical education, composed songs on poems of famous poets, as well as on her own texts; F. Mendelssohn (1805–1847) – German singer, pianist and composer, author of cantatas, vocal miniatures of organ preludes, piano pieces; R. Clark (1886–1979) – British viola player and composer who created trio, quartets, compositions for solo instruments, songs on poems of English poets; L. Boulanger (1893–1918) became the first woman to receive Grand Prix de Rome; R. Tsekhlin (1926–2007) – German harpsichordist, composer and teacher who successfully combined the composition of symphonies, concerts, choral and vocal opuses, operas, ballets, music for theatrical productions and cinema with active performing and teaching activities, and many others. The article emphasise the contribution of women-composers, writers, poetesses to the treasury of world literature and art. Among the composers in this row is S. Gubaidulina (1931), who has about 30 prizes and awards. She wrote music for 17 films and her works are being performed by famous musicians around the world. The glory of Ukrainian music is L. Dychko (1939) – the author of operas, oratorios, cantatas, symphonies, choral concertos, ballet","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131360181","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}