Aspects of Historical Musicology最新文献

{"title":"Musical iconography of Annunciation: personal experience","authors":"O. Shchetynsky","doi":"10.34064/khnum2-17.05","DOIUrl":"https://doi.org/10.34064/khnum2-17.05","url":null,"abstract":"Background. The objective of the article is to analyze the interaction, for sake of artistic unity of a work, of the musical, textural and theatrical structures and solutions in the contemporary opera as in a synthetic genre. The author uses his chamber opera “Annunciation” as an example of these processes and shows the ways certain dramatic and theatrical ideas determine musical solutions. Although since the middle of the 19th century composers sometimes wrote an opera text themselves, the common case was still a collaboration of two (sometimes more) creators: a composer and a librettist, each of them being an expert in their own particular field. Their collaboration and mutual flexibility are of great importance, especially at the initial phase of creation, when a composer makes a decision concerning fundamental features and structures of a future work. Since an opera libretto often consists of the fragments borrowed from previously created texts, a composer should comprehend the libretto in its new integrity. Understanding dramatic intentions of a librettist is extremely important, too. On the other hand, a good libretto should contain some elements of incompleteness (let’s call it “dramatic gaping”) to ensure the composer’s freedom in building musical forms and to encourage him / her to elaborate self-own personal solutions both in musical and dramatic (theatrical) fields. The results of the research. The text of Alexander Shchetynsky’s chamber opera, “Annunciation”, is inspired by the dialogue described in Chapter 1 of St. Luke’s Gospel between the Virgin Mary and the Angel Gabriel, who announced about future birth of Jesus Christ the Son of God. Gradual transformation of Mary who prepares to become the mother of God forms the action. Since both characters are positive and no conflict is developed between them, dramatic tension appears basing on the contrast between Mary’s happiness, when she hears the message, and the presentiment of her own and her Son’s future tragedy. Instrumental scoring (piano, celesta and metal percussion) is in no way the klavier variant, but the only possible version for performance of this opera. Percussion instruments, played by the pianist and partly by the singer, symbolize the Heaven. The pianist plays the grand piano, which stays at the stage. He is not a common accompanist but the second character (the Angel Gabriel) taking a direct part in the stage action, so the sounds of the piano is Angel’s secret speech. The idea to shape two characters with totally different means was suggested by the librettist Alexey Parin. His concept of putting the speech of the Angel not into a human voice but into the wordless “voice” of an instrument looked extremely promising and innovative. This “secret utterance” of the Angel, then, became the starting point of the opera and the source of its genre definition: the stage dialogues without accompaniment. The structure of the work is as follows (all the episodes go one after ano","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"30 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":"133008420","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":"Equal among equals. Ukrainian women in historical and cultural context","authors":"P. .. Jerelianskyi","doi":"10.34064/khnum2-17.02","DOIUrl":"https://doi.org/10.34064/khnum2-17.02","url":null,"abstract":"The article is an attempt to define a very special role of women in society, inherent in only Ukrainian historical realities. In particular, a somewhat non-trivial approach to the formation of a source base for the study allowed referring to works of fiction. Most attention is paid to the issue of women entering society medium in the times of the Cossacks. Among the conclusions – contrary to national, gender and social oppression for several centuries – Ukrainian women have maintained their commitment to universal human and Christian ideals and virtues. The role and place that women take in the social structure is an extremely significant criterion for assessing the level of civilizing development of one or other society. It was the words “Equal among equals” that one could quite accurately define the positions of Ukrainian women in the glorious and tragic times of the national history – during the emergence and heyday of the Cossacks. It was a time when Ukrainian women, not only a gentry, but also a simple Cossack women, invariably felt not imaginary but sincere self-respect both in the family and in the society. However, not only in Cossack times, but throughout the turbulent history of our country, Ukrainian women did not just “walk alongside of” their men, they often stepped forward, and their actions were decisive for the further course of events for many years to come. Unfortunately, there are reasons to consider the current (as of 2019) stage of research in the format of scientific inquiry, which directly relates to Ukrainian women in the historical and cultural context, only as an initial one. With this in mind, the aim of the proposed work is to begin filling in quite substantial gaps in the civilizing history of Ukraine. It was they, Ukrainian women – even from renowned Princess Olha – who became the worthy examples to follow for their compatriots. There are countless names of women, by whom Ukraine is proud of and who are respected all over the world – from the poetess Lesia Ukrainka, folk paintress Yekateryna Bilokour, opera vocalist Solomiia Krushelnytska up to bright personalities already from the contemporary generation of Ukrainian women. They did never and under no circumstances bow to a slavish worldview. In this regard the observation of a well-known European writer, made by him as far back as in the last century, is very accurate: “The Ukrainian woman is the Spanish woman of the East ... At every opportunity, her irrepressible Cossack nature flares up in her soul that does not know any repressor ...”. And further: “They are always ready to change ploughshares for spears, they live in small republican communities, as equals among equals ...”. We discover all this for ourselves in the “Female Images from Galicia” by Leopold von Sacher-Masoch. Paul of Aleppo, known also as Paul Zaim, an Arab traveller, who visited Ukraine twice in the middle of the XVII century, testified: “... Throughout the Cossack land we saw a strange thing –","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"152 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":"114413003","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":"Clara Wieck Schumann in the European scientific discourse","authors":"M. Cherniavska","doi":"10.34064/khnum2-17.14","DOIUrl":"https://doi.org/10.34064/khnum2-17.14","url":null,"abstract":"Background. The article is devoted to studying of versatile aspects of life and work of the outstanding German pianist and composer Clara Josephine Wieck Schumann (1819–1896) on little-known in domestic musicology materials of the European scientific literature. The review of scientific sources also includes the rare works given personally to the author by the relative of Clara Schumann, Frau Hannelore Österschritt, which is the great-granddaughter of her step-brother on the mother’s side, W. Bargiel. The above large array of systematized chronological and literary sources gives an idea of the scale and aspects of studying such a scientific problem as the analysis of Clara Schumann’s creative heritage to date. It turns out that her phenomenon as a supernova on the German sky made Europeans see a woman in a different way – as a creator, a bright personality, a public figure, a successful performer. The purpose of the article is the description and systematization of European science sources, covering the figure of Clara Wieck Schumann. Research methodology are based on general scientific approaches necessary for the disclosure of the topic, including logical, historical, chronological, source-study methods needed to synthesize and systematize of scientific sources. Results. The figure of Сlara Wieck Schumann – an outstanding female composer, a successful concert pianist, a teacher, a wife, a mother and a Muse of two brilliant composers of Romanticism – was so bright that she was able to break the all previous ideas of that time about the role of a woman in society. This is evidenced by the impressive scale of the interest of researchers to her personality and creativity, the interest, which has not been extinguished in Europe for almost two centuries. Build on the literature of European scientists from different countries devoted to Clara Wieck Schumann, one can come to the conclusion that during her lifetime the work of this prominent woman was arousing the great interest of musicologists and critics (G. Schilling, F.-J. Fétis, H. Riemann), and her musical works were known and demanded. One of the most important issues that are considered in scholarly works is Clara’s personality as a representative of women who have broken the centuries-old ideas and foundations about the place of latter in society. Some of the authors (La Mara, Eva Weissweiler) tried to prove the secondary character of feminine creativity, based on cliché about that Clara Schumann herself was not always sure of the value of her musical compositions. Other researchers (F. Liszt, E. Wickop, C. Dahlhaus) argued that the work of Clara Schumann occupies a special, leading place among the history of well-known women-composers. After the death of the composer interest to her musical creativity began to fade away. Confirmation of this is almost complete absence of her works in concert programs of pianists, and even not a complete edition of the compositions of the musician. Despite thi","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":"123660243","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":"On Gabriel Pierné and his compositions for piano and orchestra","authors":"O. Burel","doi":"10.34064/khnum2-16.10","DOIUrl":"https://doi.org/10.34064/khnum2-16.10","url":null,"abstract":"Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Pierné (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Pierné: musicien lorrain” by G. Masson was created in 1987, and the publication of the composer’s letters named as “Correspondance romaine” was published in 2005. In the 2000s, a lot of audio recordings of his best works were published, which testifies to the relevance of the author’s heritage and confirms the urgency of present topic of article. Objectives of this study is to focus researchers on G. Pierné’s personality and art, to consider his works for piano and symphonic orchestra – Fantasy-Ballet, Piano Concerto, Scherzo-Caprice, Symphonic Poem. Methods. The research is based on the historical biographical, the intonational, the comparative research methods. Results. C. Debussy, M. Ravel and composers of “Les Six” at their time outshined Pierné’s work. But years have passed and interest in the personality of this author has appeared. During his training in Paris Conservatory (1871–1882), G. Pierné achieved excellent results, having won in many student competitions. He studied composition in the class of J. Massenet (together with E. Chausson, G. Charpentier, G. Ropartz). Having won the competition for the Prix de Rome (1882), the young author was given the opportunity to live at Villa Medici (1883–1885). Spent time in Rome was one of the best episodes of his life. The first concert work by G. Pierné – Fantasy-Ballet (1885) for piano and orchestra was written there. The composition is based on the sequence of contrasting dancing episodes in the character of march, gallop, waltz, tarantella. It is significant that the ballet genre took pride of place in the work of G. Pierné later. The composer’s staying in Italy caused visibility, colorfulness, cheerfulness, feed activity, energy of images, using of genre motifs in FantasyBallet. The series of various episodes conveys a whimsical change of mood and resembles a sketches of impression. Returning to Paris in 1885, G. Pierné sought to strengthen his reputation as a soloist by entering the salon circles. At this time, he created many piano works, including the three-movement Piano Concerto c-moll (1886). This composition contains many dramatic moments which concentrated in the first and third movements of the cycle. However, as is often the case with French Romantic composers, such using of dramatic elements has a somewhat superficial, rhetorical character. The first movement is written in sonata form. The theme of the main subject (in c-moll), expounded by the piano octaves, is active and boisterous. A","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":"128693461","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 specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)","authors":"A. Fedenko","doi":"10.34064/khnum2-17.06","DOIUrl":"https://doi.org/10.34064/khnum2-17.06","url":null,"abstract":"Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded pa","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"42 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":"121085104","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":"Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)","authors":"O. Kalenichenko","doi":"10.34064/khnum2-17.10","DOIUrl":"https://doi.org/10.34064/khnum2-17.10","url":null,"abstract":"Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is remin","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"519 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":"116083728","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":"Artistic and aesthetic ideas in “Plays” for two pianos by P. Dambis","authors":"I. Sediuk","doi":"10.34064/KHNUM2-15.09","DOIUrl":"https://doi.org/10.34064/KHNUM2-15.09","url":null,"abstract":"Background. The piano ensemble as a special type of chamber music has become popular in recent decades, as evidenced by numerous international piano duo competitions taking place in different countries, music festivals, master classes. Whereas a large number of scientifi c works is devoted to four-hand duo, two-piano ensemble began to attract the active attention of researchers only in the present day. Despite the individual approaches to its specifi cs and selected music examples, the generic properties of this phenomenon, which distinguish it among other forms of duo music, remain uncertain. Also, the ensemble features the numerous works of the 20th century demonstrating the attraction of the newest composing techniques, enhancing the role of sound and numerical structures, the law of symmetry, etc., while preserving continuity with tradition require a profound study. Objectives. The purpose of the article is to uncover a meaningful idea as well as artistic and aesthetic principles in the macro cycle “Plays” for two pianos by P. Dambis. Methods. An integrated approach together with the theoretical and the comparative research methods was used. Results. A series of ensemble pieces for two pianos by the Latvian composer P. Dambis appears as a kind of quintessence of playing performance logic. During the period of 1973 to 1979, the composer wrote a cycle of 10 pieces, organized in 3 series. The author unites all the pieces under a single name “Plays”, thus revealing his understanding of the piano duo possibilities. The fi rst series dates back to 1973–1974 and includes three contrasting pieces that have different image and style reference. All of them bear the imprint of modern compositional technology, while maintaining an organic connection with cyclic genres. Each of the plays has its internal contrasts, as evidenced by the change of texture and intonation complexes. Emphasizing the second-third music phrases, ostinato repetition, multiple transformations variants of the original element very distinctly makes the Piece Nr. 1 resemble the neofolklore searches of the 20th century without a direct connection with folk sources. In the Piece Nr. 2, the play-dialogue unfolds in the image stylistic space of romanticism, creating an allusion to the famous “La Campanella” by F. Liszt, as well as to the unpretentious music world of F. Mendelssohn. The last Piece of this series demonstrates the synthesis of diatonic and chromatic scales, various types of motion, inversion of structures, shifting of accents, repetitious chanting, sonorant aleatoric synchronous performance of sound complexes. The second series of “Plays” (1975–1976) includes two Pieces; it continues with the variety of previously embodied constructive motifs, although it outlines them more sharply through the opposing ensemble parts. The technique of moving each of the parts into their tonal environment in the Piece Nr. 4 emphasizes their independence, causing the exchange of replicas as if","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"15 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":"121166426","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":"Theory of communication in the space of philosophy and scientific thought as a determinant of the analysis of R. Wagner’s creative process","authors":"O. Shapoval","doi":"10.34064/khnum2-16.03","DOIUrl":"https://doi.org/10.34064/khnum2-16.03","url":null,"abstract":"Background. The knowledge about R. Wagner has now acquired the status of a significant component of not only music, but also philosophy, cultural studies, literary studies, and in studies the authors address to the intonation-conceptual and philosophical foundations of the artistic concepts of the German composer. Such universality has a basis in the substantial depths of Wagner’ works, which are the embodiment of myth-making, the conceptual ideas of Gesamtkunstwerk and Kunstreligion. Objectives. The purpose of the research is to determine the scientific basis for the implementation of the theory of communication as determinants of the analysis of the creative process by R. Wagner through the prism of the heuristic quest of the genius composer and the inclusion of his achievements in the continuum of culture. Methods. In knowledge about R. Wagner methodological importance have the works of the famous scientist M. Cherkashyna-Gubarenko. The researcher examines the conceptual foundations of R. Wagner’s work: finds the influence of the German composer on the artistic formation of S. Prokofiev, reveals in the works by R. Wagner evangelical motifs, the Faustian model, which is a reflection of the archetypes, the problem of the embodiment of his works in the Opera house of today. Significant representative of knowledge about R. Wagner, the author of the doctoral thesis, the focus of which is the Opera the «Flying Dutchman» is E. Roschenko. Analyzing the embodiment of mythology in the musical art, scientist addressed to the conceptual foundations of the artistic practice of the great mythmaker R. Wagner. Great importance in the understanding of cognitive and communicative activity of Wagner plays familiarization with his euristic quest, which was carried out through the study of the music and book editions. Materials about the libraries of Wagner transferred to the archive of the Kharkiv Wagner society by M. Eger in the form of manuscript. The results of his research contribute to the expansion of ideas about Wagner’s universalism, which, in turn, allows us to hunting the principle of the composer – Gesamtkunstwerk – as not only a union of music, poetry and dance, but comprehensive intellectual and spiritual synthesis. Results. In science, there are many approaches to the study of communication. This publication highlights the scientific provisions that are methodologically important in the study of the process of communicative and creative process of the artist. The roots of the theory of communication reach antiquity. Therefore, first of all addressing to them, correlating philosophical reflections of ancient Greek thinkers with scientific and philosophical thought regarding the understanding of these processes in subsequent eras from the perspective of the chosen discourse of the proposed research. The dialectical method of Socrates, justified by Plato, involves the acquisition of true knowledge through reasoning in the form of questions and answers ","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"47 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":"115895031","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":"Manifestation of the “personal school” phenomenon in the creative activity of an artist (on the example of A. Leshchynsky’s multi-vector practice)","authors":"S. Kucherenko","doi":"10.34064/KHNUM2-15.01","DOIUrl":"https://doi.org/10.34064/KHNUM2-15.01","url":null,"abstract":"Background. In the modern musicology studies, there has been a universal classifi - cation of the phenomenon “school”: individual, local (regional) and national. However, the authors deliberately do not consider another kind of this phenomenon – the so-called “personal” or “internal” school. Meanwhile, this phenomenon is inextricably linked with the real work of musicians. The peculiarities of the existence of such a school are still not revealed, although it is the basis of the multi-vector activity of the creative person. A striking example of the noted is the practice of a talented violinist and teacher, one of the founders of the Kharkiv violin school – Adolf Arnoldovich Leshchinsky (1915–1995). Unfortunately, his name, unlike O. Gorokhov, O. Krysa, B. Kotorovych and others, is unlikely to be known to a wide range of contemporary musicians. However, the consideration of the insignifi cant heritage left by A. Leshchinsky allows us to restore interest to the Ukrainian artist and highlight the previously unknown facets of his creative work; to realize the specifi cs of the phenomenon of “the personal school”. Objectives. The purpose of the present article is to reveal the mechanism of action of the “personal (or internal) school” as the basis for multi-vector creative work on the example of the many-sided practice of A. Leshchinsky. Methods. The theoretical positions raised in the article are based on the universal concept of the school, which was proposed by the author in the dissertation on the basis of the quadratic matrix approach. Despite the fact that attempts to study the phenomenon, called the “personal school” by us, can be found in some works, in particular by A. Borodin and O. Vinogradova, its purposeful consideration is carried out in musicology for the fi rst time. The life of A. Leshchinsky, in turn, is highlighted only in several works of his contemporaries – I. Sirotin, P. Sirotin and O. Schelkanovtseva. Results. The results of the study indicate that the functioning of the personal school enables the musician to equally successfully realize his potential in various fi elds of musical art. As it is known, any creative work (composition, performing interpretation, scientifi c article, study program) is one of the forms of materialization of a particular idea. The latter, in our opinion, is an energy informational singular, which a person learns according to his individual traits, experiences, layers of the collective and personal unconscious. Before getting a sound or verbal expression, the idea goes a certain way in the mind of the artist. As a result, the resonant chain determines the musician’s choice of characteristic of their specialization techniques and methods. For example, the play of the violinist I. Perlman is distinguished by not only the technical perfection, the depth of sound and the density of the tone, but also by the sincerity and maturity of the senses, the thought of fragmentation and, on their basis, somewhat,","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"71 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":"122036725","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":"Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation","authors":"A. Melnyk","doi":"10.34064/khnum2-17.07","DOIUrl":"https://doi.org/10.34064/khnum2-17.07","url":null,"abstract":"Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors ‒ V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve max","PeriodicalId":302721,"journal":{"name":"Aspects of Historical Musicology","volume":"75 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":"126321261","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}