Ukrainian musicology最新文献

{"title":"«Both Dead and Alive…»: Prophetic Ideas of Taras Shevchenko In Antin Rudnytsky's channel «Poslanie»","authors":"Alina Varshavska","doi":"10.31318/0130-5298.2021.47.256746","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256746","url":null,"abstract":"Ukrainian emigration culture is an exciting and understudied page of diaspora research. Almost three decades after a long life, the names of its prominent figures are actively returning to the history of our culture, in particular Antina Rudnytsky - the primary representative of the urban elite of the American diaspora. The life-giving work of washing covered the period three-quarters of the twentieth century. He was a talented composer, pianist, conductor, music, and public figure who lived half of his life in USA (1937-1975). Still, He remained a conscious Ukrainian, a patriot who, even in exile, carried out activities related to Ukraine, its history, and modernity.\u0000In the 1950s and 1960s, the composer redoubled his decision to develop the Ukrainian diaspora's public life actively. In 1957, Antin Rudnytsky willingly responded to the request of the community and the Taras Shevchenko Scientific Society to write a symphonic cantata on the words of the immortal Shevchenko's Message (\"To both the dead and the living ...\") on the centenary of Taras Shevchenko's death.\u0000The cantata \"Poslanie\" played an essential role in uniting the Ukrainian national forces in the United States and Europe, Australia, and Canada. This proved that the state of Ukraine and faith in them would never fade in the hearts and souls of the Ukrainian people, both in the diaspora and in mainland Ukraine.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116909100","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":"Repertoire Policy of Theatrical Centers in Hlukhiv in 1900–1920","authors":"Anna Myronenko","doi":"10.31318/0130-5298.2021.47.256723","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256723","url":null,"abstract":"The aim of the study is to systematize the repertoire of Нlukhiv theater centers in 1900–1920 and to identify the main factors influencing its formation.\u0000The object of research is the theatrical centers in Hlukhiv in 1900–1920.\u0000The methodology of research of the chosen problems uses the system-analytical and typological methods. Their application contributes to a comprehensive approach in the analysis of the repertoire of Нlukhiv theater centers in the paradigm of historical, political and socio-economic conditions in 1900–1920.\u0000 The relevance of the study. Analysis of the repertoire policy of the theater centers in Нlukhіv is not an urgent problem today. However, this process is an opportunity to identify the main trends in the formation of tastes of the Нlukhiv public, which is a kind of marker of the social and cultural level of development of the population. The study of the choice of repertoire of this period will allow to recreate a holistic panorama of the development of theatrical art in the city, to identify the leading factors and problems that shaped the tastes of the population; to reflect the main trends in the influence of the socio-political situation in the country on public inquiries and the general repertoire policy of Нlukhіv theaters.\u0000Findings and conclusions. Quite conditionally, the repertoire of Нlukhіv's theatrical centers can be divided into groups:\u0000\u0000plays by O. Ostrovskyi;\u0000plays by contemporary writes (late nineteenth - early twentieth century);\u0000comedy plays;\u0000children's productions;\u0000ideologically oriented plays;\u0000plays forbidden by censorship;\u0000plays on Jewish themes.\u0000\u0000The policy of forming the repertoire correlates with the historical background of Нlukhіv in 1900– 1920. The main factors influencing the choice of repertoire can be called: ideological and political (ideologically oriented plays, plays banned by censorship, plays on Jewish themes), consumer (plays by O. Ostrovskyi, plays by contemporary writes, comedy plays).\u0000The problem in the study of the repertoire policy of Нlukhіv's theatrical centers in 1900–1920 is the lack of reference to the authors of plays in the source base, which makes it not impossible to systematize part of the repertoire.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121725416","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":"Vocal Cycle of Yaroslav Vereshchahin «Laughing Spring»: Formation of Musical and Poetic Integrity","authors":"Sofiia Trusenko","doi":"10.31318/0130-5298.2021.47.256745","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256745","url":null,"abstract":"As it is known, one of the main principles that determine the cycle is its integrity, which is especially defined in the dramaturgical idea. Integrity formation is always a separate task for the composer. After all, each of the miniatures can exist as a separate unit. The composer's main task is to find internal connections and combined logic. The process of organizing the cycle, of course, depends on many factors and is always individual. Therefore, despite the fact that the general theory, in which integrity issues are developed, is more or less presented in the scientific literature, addressing this topic will always be relevant. In addition, the work that is analyzed, has not yet come into the field of scientists view, which also enhances the relevance and novelty of the study.\u0000Main objective of the study is to identify the peculiarities of the formation of musical and poetic integrity in the vocal cycle of Ya. Vereshchagin \"Laughing Spring\". The object of research is the vocal cycle of Ya. Vereshchagin based on V. Mordan’s poem “Laughing Spring”. The subject of research – ways of organizing musical and poetic integrity in the cycle of Ya. Vereshchagin \"Laughing Spring\".\u0000The methodological basis of the study are methods of analysis of poetic text, features of the interaction of word and music, structural and genre analysis.\u0000The vocal cycle of Ya. Vereshchagin \"Laughing Spring\" is analyzed for the first time in this research. In particular, the methodology of analysis of vocal genres and vocal cycles was developed. The principle of the composer’s selection of V. Mordan’s poems for the vocal cycle was clarified and the specifics of constructing the poetic basis were studied. Analysis of the poetic source allows us to talk about the rather careful work of the composer on the formation of integrity at the initial, pre-intonation level. It can be traced that Ya. Vereshchagin chooses poems by V. Mordan with a common watercolor basis and landscape themes. The selected poems are similar in structure and have a small volume. The composer builds from them the corresponding storyline: a calendar cycle, a life cycle. In addition, he chooses poems that have a common phonetic sound – the ones that have many vowels and very often when pronouncing the emphasis is on vowel sounds.\u0000The conclusions form the main features of the integrity of the cycle at the verbal and musical levels. Thus, it is noted that the cycle, written not on the \"poetic cycle\", but on individual poems by one author – V. Mordan, thanks to the diligent work of the composer at almost all levels of interpretation of the poetic source (from pre-intonation to the end result) becomes a kind of guarantor of perception this cycle as a single, integral piece of music.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"85 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126968508","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":"«Sinfonia da Requiem» by Benjamin Britten: Semantic and Constructive Features of the Requiem","authors":"Maryna Haiduk","doi":"10.31318/0130-5298.2021.47.256737","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256737","url":null,"abstract":"Relevance of the study «Sinfonia da Requiem» by B. Britten in modern musicology is essential as this work is demonstrative of four interconnected artistic processes: modification and emancipation of the requiem genre, the evolution of Britten’s art, development of European modernistic symphonism, and reception of musical culture of the middle of the XX century at the events of the Second World War. The artistic and historical content of the symphony allows deepening the general scientific ideas about the specifics of the passing of these processes.\u0000The scientific novelty of the study is that B. Britten’s «Sinfonia da Requiem» is considered from the angle of revealing direct and indirect features of the requiem genre. To do so, a purposeful genre-intonational analysis of the thematism of the work was employed for the first time.\u0000Main objective(s) of the study: to find key musical components (genre features of the requiem and intonational leitmaterial of the composition) and connect them, thus decoding the ideological, genre, and intonational conception of «Sinfonia da Requiem».\u0000Methodology. The methodological orientation of the article provides a detailed analysis of the constructive component of music «Sinfonia da Requiem» to determine the semantic content of the composition as an opus belonging to the genre tradition of the requiem, significantly rethought in the compositional practice of the twentieth century.\u0000Results of the study. The way of modification and emancipation of genre features of requiem is considered. The ideological and philosophical essence of this genre is formulated. The context of B. Britten’s creation of «Sinfonia da Requiem» is determined — through socio-historical, biographical, and creative factors. The specifics of the embodiment of semantic and constructive features of the requiem genre in the orchestral composition «Sinfonia da Requiem» are determined. The intonational leitmaterial of the composition, which forms the intonational concept of it, is distinguished. Features of transformation of intonational leitmaterial, including genre modulations are traced. A study of the genre-intonational nature of the symphony’s themathism is carried out and variants of semantic interpretation of the main thematic formations are offered. The nature of the genre component of the composition’s dramaturgy is described, in which three groups of genres are traced: military, dancing, and lyrical.\u0000The significance of the research lies in supplementing the scientific panorama of English orchestral music of the first half of the twentieth century and in promoting the formation of a more balanced view of the specifics of Britten’s instrumentalism, which was formed and evolved on the basis of exchange with other, including vocal-instrumental genre traditions.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121676329","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 Formation of the Professional Arts and Entertainment Music Development Paradigm on the Case of Album Home Music of the ХІХ - Beginning the ХХ Century","authors":"Taras Dubrovnyi","doi":"10.31318/0130-5298.2021.47.256743","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256743","url":null,"abstract":"Relevance of the study. Through the prism of the tradition of home music of the 19th - beginning of the 20th centuries, the music albums that formed the basis of the repertoire of home music salons are considered. The example of two noble families from Lviv and Odessa shows the importance of such collections for the formation of the individual's personality, perception of the world and spiritual development, as well as influence on the formation of aesthetic tastes. The genre features of the works included in the collections as well as the quantitative correlation of professional composers and amateur composers are analyzed.\u0000The main ground in the development of amateur art was home music. Professional music activity for Ukrainians Galicia was almost inaccessible, so they played mainly in a home atmosphere and could reach only the level of amateurism. Families of composer-priests, who essentially made up the elite of the Ukrainian milieu, played a decisive role in this, and accordingly, a special role in the development of Galician musical culture belongs to them. On the example of the tradition of home music, the stratification of the development of musical art into professional and entertaining is explored. The influence of representatives of the \"peremyshl school\" on professional art, spiritual creativity and entertaining, salon music is considered. The influence of the Austro-German popular Leadertafel songs and Biedermeier style, which, on the example of the albums analyzed, formed the basis of music collections and, in general, had a direct impact on the formation of both professional choral and spiritual composer art and \"light\" music. The combination of samples of \"high\", \"low\" culture and kitsch played an important role in the process of final creation of the \"style face\" of national music art and the establishment of the paradigm of the national composing school.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122650285","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 Concept of Training a Doctor of Art from Music Directing","authors":"O. Kasianova","doi":"10.31318/0130-5298.2021.47.256713","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256713","url":null,"abstract":"The relevance of the research is due to need to train highly qualified professionals in today's sociocultural challenges, able to generate creative ideas in the implementation of creative projects, able to respond quickly to changes in the market of theater services, to be competitive in the fleeting space.\u0000Scientific novelty - outlining the concept of formation of professional competencies of the artist in the synthesis of domestic traditions and foreign innovations, taking into account the specifics of the mental perception of works by the Ukrainian audience. Main objectives of the research is the process of preparing a doctor of art in music directing in the context of Ukraine's integration into the European educational and artistic space and to determine the specifics of the integrative educational and creative training of the doctor of art in musical directing in the context of world tendencies of musical theater development.\u0000The methodology of the research is the application of a comprehensive intersectoral approach based on the synthesis of systems analysis (the concept of modern directing in a new paradigm of musical theater) and the structural-functional method (algorithm of integrative training of doctors of art in creative graduate school).\u0000Findings and conclusion of the research is the influence of globalization and integration processes has affected the paradigm shift of musical and theatrical art in a positive sense - the information exchange of experience; professional growth of artists; application of art technologies; joint solution of urgent problems; in the negative - the dominance of foreign repertoire over domestic with the priority of foreign language content; commercialization of the theater; changes in value orientations; hedonistic orientation of interpretations of works. Factors influencing modern musical directing are the need to find means of expression for adequate perception of the Ukrainian audience of a foreign text; combining the aesthetic and value aspect with the financial and economic content of the play; inadmissibility of vulgarized interpretations of works; mastering the techniques of artistic reconstruction, authentic, modern, art-technological solution of performances; mastering the specifics of dancers, international and festival projects. The concept of training a doctor of art in music directing involves a creative rethinking of global innovative directing practices on domestic soil, taking into account the peculiarities of the Ukrainian mentality, cultural traditions, and achievements of national educational and art schools with gradual integration into Europe.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123817187","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":"Opera by G. Rossini \"Il Barbiere di Seviglia\" Through the Prism of Director's Analysis of a Creative Artistic Project","authors":"Tamara Forsiuk","doi":"10.31318/0130-5298.2021.47.256719","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256719","url":null,"abstract":"The phenomenon of popularity of the opera «Il Barbiere di Seviglia» by G. Rossini in the context of the global communication of cultures from different countries of the world, the search for a dialogue to their interaction is considered.\u0000The relevance of the research suggests the need to solve the problem of director's interpretations of the opera in the context of the revival of the Rossini style of singing in accordance with the author's score.\u0000The scientific novelty is determined by defining new approaches to the interpretation of the opera, identified in the conceptual vision of the director's idea of his own project.\u0000The purpose of the study is to determine the concept of director's interpretations of the opera by G. Rossini «Il Barbiere di Seviglia» in the context of the new paradigmatics of musical theater.\u0000Research methods selected: historical and biographical — to clarify the features of the work by G. Rossini in the context of the formation of Italian opera; genre-stylistic, comparative — to outline the specifics of the musical drama «Il Barbiere di Seviglia» by G. Rossini, its differences from the work of the same name by G. Paisiello; interpretive — to consider the directorial versions of postmodern opera; prognostic — to determine the vector of the conceptual vision of the director's idea of his own project.\u0000The main results and conclusions of the study are in the following aspects. It has been found that G. Rossini's opera «Il Barbiere di Seviglia», written on the border of classicism and romanticism, laid the foundation for a new style - Italian romantic opera, which influenced the formation of European national opera schools. It is proved that the musical dramaturgy of G. Rossini's opera «Il Barbiere di Seviglia» by S. Sterbini's libretto differs from J. Paisiello's opera of the same name by Petrofellini's libretto, which is not illustrative as in the latter, specifics of the original source by P. Beaumarchais. The director's incarnations of the opera are the Italian and Russian versions at the Helicon Theater, Russia, and two versions at the National Opera of Ukraine and the Academy's Opera Studio. The conceptual vision of the graduate student of her own project «Il Barbiere di Seviglia» by G. Rossini is predicted, which provides an original synthesis of authentic and modern interpretive styles, traditional and innovative means of expression with their tendency to syncretism based on a combination of scientific achievements and domestic directors.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134441419","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":"Operetta «Key on the Pavement» by Jacques Offenbach: Modern Directing and Analytical Aspect","authors":"O. Petrenko","doi":"10.31318/0130-5298.2021.47.256720","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256720","url":null,"abstract":"The phenomenon of operetta in the context of small forms, сreativity of J. Offenbach through the prism of directorial research and experiments in modern musical theater on the example of the work «The Key on the Pavement» has been studied.\u0000The relevance of the study is clarified, which is the need to rethink and modernize the genre of operetta in new historical conditions and in new scientific perspectives.\u0000The purpose of the research is outlined, which is to determine the original directorial approaches of the iconic incarnations of J. Offenbach's operetta «The Key on the Pavement» in the context of the peculiarities of the musical drama of the work.\u0000Selected research methods: historical and biographical – to analyze the periodization of the work of composer J. Offenbach; genre-stylistic for the analysis of operetta musical drama; interpretive – to identify the features of different productions of «Key on the Pavement»; prognostic – to outline the prospects of stage incarnations of the chosen topic and its further scientific research. The metamorphoses of the operetta genre in new socio-cultural conditions are considered, the urgency of contemporary appeals of artists to the chosen subject is clarified. The place of the operetta «The Key on the Pavement» in the context of the periodization of the creative activity of J. Offenbach, the peculiarities of its plot and musical drama. The vectors of director's interpretations of the operetta in the context of rethinking the author's concept of the work in accordance with the realities of today are analyzed.\u0000The scientific novelty of the publication is determined – the search for a modern, original directorial solution of the operetta in the context of modern vectors of its incarnations. Prospects for further stage interpretations and research of the chosen theme of J. Offenbach's work in the context of modernization of the operetta genre in accordance with modern public demands and the possibilities of the theater stage are predicted.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125284776","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":"Composer and Performance Cooperation as a Communicative System in Violin Art","authors":"Nataliia Myronova","doi":"10.31318/0130-5298.2021.47.256735","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256735","url":null,"abstract":"The research relevance. Unfortunately, in our days we have no fundamental works that would explore the socio-communicative nature of art as a separate scientific problem. In this context, the communication between the composer and the performer has an extremely important, multilevel and responsible mission. Because the co-creation of two artists should be aimed not only at embodying the composer's idea and revealing the individuality of the performer but focused on the listener's perception (of course if two participants in musical communication expect the success of their work among the audience).\u0000Analysis of recent research and publications. Many scientists have addressed the problem of communication in various fields, in particular: Y. Habermas, V. Kashkin, A. Sokolov, F. Sharkov C. Kuli, Y. Kosenko, V. Vladimirov, V. Shirokov, M. Tarasova, O. Berehova, I. Savransky, N. Saprygina, T. Goncharenko, T. Traverse, L. Voevodina and many others.\u0000During the writing of the article were used the printed memoirs of prominent violinists and composers, in particular: L. Kogan, D. Oistrakh, J. Sigheti, G. Rozhdestvensky, S. Prokofiev, M. Skoryk, V. Runchak, etc., fragments from the exclusive interview of the modern Ukrainian violinist B. Pivnenko, which she gave to the author of the article. The scientific novelty.\u0000The scientific novelty is that in the article for the first time in Ukrainian musicology composer and performer co-creation in violin art appears as a communicative system in which both participants of communication equally influence the process of creating a musical composition. In this article you can find the materials that have not been published anywhere before – fragments of interviews with the famous modern Ukrainian violinist, the first performer of many compositions of modern composers Bohdana Pivnenko, about the communication of the composer and performer.\u0000The purpose of the article is to determine the composer's idea about the idea of a musical composition, its embodiment, sound and performance approach to the realization of the composer's idea, the disclosure of the content of the composition and the character of its images; to focus on the communicative side of composition and performance co-creation which is required by modern Ukrainian violin music.\u0000The methodology based on a set of complementary methods: theoretical, method of holistic analysis and comparative.\u0000Conclusions. The complication of the language of modern music today poses the new tasks for performers, requiring new expressiveness. In addition, this is where a special role given to the performer – to make clear the complex work for the listener. In this point of view, the relationship and interdependence between the composer and the performer becomes even more relevant. Further research of the communicative nature of composition and performance will provide a better understanding of its patterns and transformation in the contemporary art space.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127996247","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":"Work on Technology in the Class of Professor Aza Roshchina","authors":"N. Maltseva","doi":"10.31318/0130-5298.2021.47.256740","DOIUrl":"https://doi.org/10.31318/0130-5298.2021.47.256740","url":null,"abstract":"Peculiarities of work on piano technique in the class of the Kyiv teacher of NMAU named after P.I. Tchaikovsky Aza Roshchina - a bright representative of the Kiev piano school is considered. The main directions of work on the technical apparatus are analyzed, special attention is paid to the teacher's recommendations on the setting of each finger. Methods of improving the technical apparatus of the pianist, based on the pedagogical principles of Aza Roshchina, are generalized.","PeriodicalId":303149,"journal":{"name":"Ukrainian musicology","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134280025","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}