Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo最新文献

{"title":"Mastery of Articulation in the Piano Performance","authors":"Nargiz Kengerli-Najafova","doi":"10.31866/2616-7581.3.2.2020.219166","DOIUrl":"https://doi.org/10.31866/2616-7581.3.2.2020.219166","url":null,"abstract":"Based on the scientific research devoted to the problem of articulation in the piano performing art, the article summarizes its main provisions. The author identifies two interrelated aspects of achieving performance articulation. The different functionality of these aspects allows us to present musical articulation in two types: as an author’s (or editor’s) one and as a performer’s one. The author's articulation is the primary basis, objective and unchangeable reality, the idea encoded in the musical text by the composer, and the performer’s articulation is a derivative, subjective art infinitely cognoscible and recreated by the performer. The purpose of the article is to study the problem of articulation in the performing activities of the modern pianists of Azerbaijan. Research Methodology. The articulation research process has been carried out through methods of analysis, synthesis, and generalization based on listening to performers’ recordings of piano works of various styles and forms. The scientific novelty is that for the first time, the concept of articulation is formulated as an objective reality of a musical text and as a subjective recreation in the music interpretation process, that is, as an author’s, editor’s and performer’s one according to the historical and scientifictheoretical analysis of this problem. For the first time, the analogy is drawn between the speech punctuation marks against the musical punctuation signs making by a pianist during a performance. The punctuation signs such as musical ones: dot, ellipsis, comma, exclamation and question are introduced. Conclusions. The leading role of the author’s (editor’s) and performer’s articulation in the music interpretation process, as well as the musical punctuation tools, which significantly influence and determine the mastership in achieving the dramatic integrity of the work, are specified. The special creative role of the musician in creating a performing articulation based on a deep knowledge of the author’s or editor's articulation given in the musical text (legato, legatissimo, non-legato, staccato, marcato, tenuto, accent) is emphasized. It has been proved that the performing articulation mastership is directly and consistently dependent on the study and analysis of the musical text, the deeper and wider the knowledge of the performer, the more options for creative readings and interpretations are created by the performer.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46146980","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":"Extensive and Intensive Manifestations of Activity Universalism of the Сreative Personality: Renaissance, Baroque, Classicism","authors":"Olha Komenda","doi":"10.31866/2616-7581.3.2.2020.219157","DOIUrl":"https://doi.org/10.31866/2616-7581.3.2.2020.219157","url":null,"abstract":"Запропоноване дослідження присвячене феномену універсальної творчої особистості, розглянутому в аспекті діяльнісного універсалізму. Мета дослідження – визначити й схарактеризувати особливості діяльнісного універсалізму творчої особистості в музичній культурі Ренесансу, Бароко та Класицизму. Методологія дослідження – авторський діяльнісно-структурний метод, що поєднує низку психологічних та мистецтвознавчих підходів до вивчення універсальної творчої особистості. Наукова новизна дослідження полягає у розробці та апробації теорії діяльнісного універсалізму творчої особистості. Висновки. У дослідженні простежено основні тенденції діяльнісного універсалізму особистості в ряді культур європейської традиції, доведено, що кумулятивний тип творчого універсалізму пов’язаний з типом музиканта-майстра, а синтетичноінтегративний – з типом музиканта-творця; з’ясовано сутність феномена універсальної творчої особистості Нового Часу; виявлено переламну функцію опери у становленні універсалізму особистості Нового Часу та роль Ж. Ф. Рамо як прототипа класичного універсала. Уточнено: зміст поняття універсальної творчої особистості; роль провідної та допоміжної діяльності у визначенні типу універсальної творчої особистості, а також роль універсальної творчої особистості і типів діяльнісного універсалізму в музичноісторичному процесі. Загальне теоретичне значення роботи зумовлено розробкою структурно-типологічного, функціонального та індивідуального аспектів феномена діяльнісного універсалізму; застосуванням інтердисциплінарного підходу до осмислення універсальної творчої особистості. Доведено, що формування універсальної особистості у ХV–XVI століттях відзначене тенденціями екстенсивної полідіяльнісності та структурної невпорядкованості, уXVII–XVIIIстоліттях – інтенсифікації та тяжіння до монодіяльнісності, і увесь цей час – домінування виконавства.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69792113","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":"Scientific Work of Ilham Nazarov, a Prominent Representative of the Modern Vocal Performance School of Azerbaijan","authors":"Vugar Humbatov","doi":"10.31866/2616-7581.3.2.2020.219158","DOIUrl":"https://doi.org/10.31866/2616-7581.3.2.2020.219158","url":null,"abstract":"The honoured artist of the Republic of Azerbaijan, Ilham Nazarov, is a prominent representative of the Azerbaijani school of vocal performance of the 21st century. He went down in the history of the art of vocal performance in Azerbaijan as the first performer with a countertenor sound timbre, wide vocal performance capabilities, and a sound range of 5 octaves. I. Nazarov’s field of activity is wide and diverse. Another direction of his multi-sided professional path is scientific creativity. The musician is the author of various programs, scientific articles, guidelines and manuals. The article also deals with the scientific activity of I. Nazarov and clarifies his features. At the same time, the author explains the importance of scientific works written by the performer for the musical science of Azerbaijan. We would like to note that the scientific work of I. Nazarov is studied in a broad sense for the first time.The purpose of this research is the study of the features of the scientific activity of I. Nazarov, the definition of his method of approach as a researcher, the scope of his scientific works.The research methodology consists of analytical and chronological analysis methods. Here are analyzed and systematized features of scientific creativity of I. Nazarov. The method of analysis as applied in the article is aimed at a thorough study of the musician’s scientific activity. The research analyzes scientific works authored by I. Nazarov and establishes a connection with his teaching activities.The scientific novelty of the research lies in the fact that here the scientific work of I. Nazarov is examined for the first time, as well as the importance of his method of approach as a researcher, the range of subjects of his works, research directions, innovations made into a music science of Azerbaijan, and the relevance of such research are identified. At the same time, the article deals with the research conducted in connection with the features of the countertenor sound timbre of I. Nazarov, as well as his research work considering the USSR People’s artist, prominent figure Muslim Magomayev.Conclusions. Based on the study of the features of the scientific activity of Ilham Nazarov, the following conclusions may be made. In the creative works of I. Nazarov, the research papers are of great importance. Despite the fact that the musician has been engaged in scientific activities since 2015, he is also the author of numerous scientific articles, guidelines, training programs, manuals, etc. The scope of the researcher’s topics is wide and diverse. We would like to note that some of the topics studied by I. Nazarov have been studied in the field of music science in Azerbaijan for the first time. From this point of view, these research papers are of great importance. Here we can note the study of the features of the countertenor sound timbre and the study of the work of the USSR People’s artist, Muslim Magomayev.The artist studied the features of t","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47004460","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 History of Ornamentation Development in Music, Principles of its Formation and Performance Style","authors":"G. Bakirova","doi":"10.31866/2616-7581.3.2.2020.219167","DOIUrl":"https://doi.org/10.31866/2616-7581.3.2.2020.219167","url":null,"abstract":"This article deals with the history of the development of ornamentation in keyboard music, the principles of its formation and performance styles. Ornamentation is one of the greatest means of expression in keyboard performance. It has ancient historical roots. In keyboard music, ornamentation was subject to various changes depending on the period. Ornamentation manifests itself in various forms in keyboard music. Thus, ornamentation is not just a means of embellishment. It is considered as the main component in the creation of a work. Embellishments are also essential as an aesthetic factor. The purpose of this research is to review the principle of the embellishments’ historical development, to classify the types of ornamentation in music and to determine the role of embellishments in music. At the same time, the research clarifies the concept of the style of ornamentation in the keyboard music of Western Europe. The research methodology is based on a comprehensive musical-analytical, theoretical and historical analysis, a synthesis of the Western European and Russian musicologists’ scientific literature regarding the subject of ornamentation. The research includes links to articles published with regard to ornamentation in music encyclopedias, and the conclusions have been scientifically substantiated. The scientific novelty of the research. For the first time in the framework of the musical science of Azerbaijan, the features and principles of the ornamentation performance in Western European keyboard music were studied. The findings of the study can be used for future research. Conclusions. Ornamentation is important in the keyboard music of Western Europe and acts as its main means of expression. The development of ornamentation in keyboard music is directly related to the art of improvisation. So, embellishments are considered as the main means of expression in the art of improvisation. In keyboard music, ornamentation is not only an embellishment of the melody. Along with the structure of the melody, it also plays an important role in creating the rhythmic structure of the work, the artistic content of the work, and the shape of the texture. Musicologists have considered ornamentation from the point of view of various prisms and classified it in various forms. In the modern period, ornamentation is divided into two groups in the form of embellishments and free ornamentation. © Gunel Bakirova, 2020 Recieved 26.08.2020","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48209159","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 Development of Amateur Choral Art in the Context of the Musical Culture of Ukraine in the Second Half of the 20th and Beginning of the 21st Centuries","authors":"Petro Andriichuk","doi":"10.31866/2616-7581.3.1.2020.204342","DOIUrl":"https://doi.org/10.31866/2616-7581.3.1.2020.204342","url":null,"abstract":"The article analyzes the specifics of the amateur choral art development from the second half of the XX century to the present in the context of Ukraine musical culture. It is emphasized that choirs are a form of revealing the creative potential of participants, act as a means of uniting people of different professions and ages by common interests, open opportunities to join the folk song heritage and participate in concert activities. The purpose of this research is to highlight the specifics and main trends in the development of amateur choral art in the second half of the 20th – early 21st centuries in the context of Ukrainian musical culture. This involves addressing the typology of groups represented in the domestic space, highlighting the key aspects of their concert and performing activities and identifying certain patterns of functioning in large and small cities and villages. The scientific novelty of the research lies in the determination of two socio-historical waves of influence on the development of Ukrainian folk choral art in the second half of the twentieth century, as well as the features of the folk choral groups functioning in large and small cities and in the countryside in Soviet times and in independent Ukraine. It also describes the factors that stimulate the preservation, transformation of organizational foundations and the growth of the creative level of amateur folk choral groups. The research methodology is based on the use of historical, comparative, source study, axiological and cultural studies approaches and the methods that follow from them. In particular, the historical-chronological method was used to establish the stages of development and continuity in the creative activity of folk choral groups, the axiological method to determine its socio-cultural significance, the comparative method for comparative characteristics of the functioning conditions of amateur choirs, the source study and cultural approaches help to consider the phenomenon of folk choral amateurishness is versatile, in a wide context. In addition, information obtained from official and unofficial surveys conducted in folk choirs of the Chernihiv region is used. Conclusions . The development of Ukrainian amateur choral art in the second half of the twentieth century was greatly influenced by two socio-historical waves. The first falls on the postwar period (1950-1960’s) when a huge number of vocal and choral groups were created at village clubs, city and factory houses of culture. The second (the 1990s) is related to Ukraine’s independence and the formation of completely new principles of the cultural and artistic life of civil liberties, the opportunity to participate in various festivals and competitions in Ukraine and abroad, and, as a result, rethinking the essence of amateur folk song, which is the basis of the repertoire of amateur choirs.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69791299","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":"Cyclical Composition’s Dramaturgical Principles of the Easter Canon (on the Irmologion Material of the 70s – 80s of the XVII Century)","authors":"Iryna Kaznokh","doi":"10.31866/2616-7581.3.1.2020.204335","DOIUrl":"https://doi.org/10.31866/2616-7581.3.1.2020.204335","url":null,"abstract":"","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42325297","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":"Tradition and Innovation in the Bandura Performances of Vasyl Yemetz","authors":"V. Mishalow","doi":"10.31866/2616-7581.3.1.2020.204339","DOIUrl":"https://doi.org/10.31866/2616-7581.3.1.2020.204339","url":null,"abstract":"In the XX century, specific individuals in the Ukrainian Diaspora preserved, developed and propagated aspects of bandura culture and tradition, much of which disappeared in Ukraine in the light of new political realities. This included such aspects as the loss of the Kharkiv type bandura, the Kharkiv method and technique of playing, and its traditional repertoire. During the 20th century, Vasyl Yemetz made a significant contribution to the development of the modern bandura and the establishment of the solo concert performance on the instrument. This study is an attempt to glean new information regarding traditional playing techniques he learned as a youth and new techniques he later developed, and also a reevaluation of his repertoire based on reminiscences and recordings made by the author in 1979. The purpose of this research is to focus on traditional, transformational and innovational aspects in the performance practice and playing technique of Vasyl Yemetz; to reevaluate those aspects of the kobzar tradition that he retained, and those that he modified in his concert performance practices, and to compare these to contemporary practices later developed in Ukraine. The research methodology is grounded in historic, systemic, sociological and cultural approach and related methods of scientific study, in particular, a historic-chronological analysis of the bandura playing techniques used by Vasyl Yemetz, in particular, the method of systematic classification and complex analysis of the playing techniques that he retained and also later developed. The study and analysis are directed toward the bandura playing technique and repertoire of Vasyl Yemetz and his philosophy regarding his approach to the bandura. The materials used in the preparation of this study include books and articles regarding the bandura, and specifically about Vasyl Yemetz, recordings on cassette tape and photographs made by the author. Separate conclusions and generalizations were made on the basis of personal interaction with the informant and also notes taken at that time. The scientific novelty of the research is the introduction into scientific circulation of an organological and ergological analysis of the activities of bandurist Vasyl Yemetz, the tradition, systematization of the various adaptations, and the development of independent innovations in the performance practice by this artist on this traditional Ukrainian folk instrument. Conclusions. Vasyl Yemetz was a unique man and musician. He made a significant impact on the development of bandura playing technique, repertoire and instrument construction. The artist combined in his work a traditional kobzar playing and innovations of modern concert performance. © Victor Mishalow, 2020 Recieved 15.03.2020","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41838032","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":"Ulas Samchuk’s “Living strings” in the Context of Bandura Art Source Studies (Dedicated to Ulas Samchuk’s 115th Anniversary)","authors":"V. Dutchak","doi":"10.31866/2616-7581.3.1.2020.204344","DOIUrl":"https://doi.org/10.31866/2616-7581.3.1.2020.204344","url":null,"abstract":"The article analyzes the literary and documentary study of the famous Ukrainian diaspora writer Ulas Samchuk (1905–1987) “Living strings. Bandura and Bandurists” from the standpoint of musical source studies. The author of the article examines the structure and directions of thematic searches of U. Samchuk’s work, which were initiated by studying the phenomenon of the most famous Ukrainian diaspora collective – the Taras Shevchenko Ukrainian Bandurist Chorus. The article points out still applicable philosophical and aesthetic spheres of the book, due to understanding of kobza-bandura as a striking symbol of Ukrainian culture, and kobzar art – as its traditional phenomenon. The purpose of this research is to analyze the literary and scientific research of Ulas Samchuk “Living Strings” from the point of view of modern musical source studies. At the same time, the solution of the following tasks seems to be relevant: to determine the structure and directions of thematic searches and studies carried out by the writer in the work; to perform a chronological classification of the material; to outline the philosophical-aesthetic sphere of the book; to find out the significance of Ulas Samchuk’s work in comparison with other sources on research of bandura art of Ukraine and diaspora. The research methodology is determined by the use of historical, source, comparative, axiological and cultural approaches, as well as their corresponding methods. In particular, the historical-chronological method used to consider the sequence and stages of creating U. Samchuk’s study, axiological – to determine its artistic value, comparative – to float with other kobzar and bandura art studies, source and cultural approaches will contribute to the various aspects of bandura players art analysis in the global cultural space. The scientific novelty of the article is to determine the place and importance of U. Samchuk’s work in the context of scientific research source studies of bandura art in Ukraine and diaspora, as well as to characterize the writer's literary and journalistic style in his cultural work. Conclusions . In U. Samchuk's work, the bandura instrument is a national symbol that unites Ukrainians in its terrain and emigration parts through time and space, and kobzarism is a special stratum of the people, possessing the “power of revival” in all periods of history and on different continents. The main areas of the writer’s study should be considered: historical-chronic, philosophical-aesthetic, performing, repertoire. Informative saturation and chronological sequence of U. Samchuk's work can serve not only as a history of creation and activity of the Taras Shevchenko Ukrainian Bandurist Chorus but also as a kind of kobsarism encyclopedia of the past and present, Ukraine and the diaspora. It is noted that in comparison with other bandura art sources of studies, Ulas Samchuk’s work is marked by a synthesized approach to the coverage of kobzarism as an integral part ","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42391756","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":"Spatial Effects in the Sound of Music","authors":"Hryhorii Hanzburh","doi":"10.31866/2616-7581.3.1.2020.204336","DOIUrl":"https://doi.org/10.31866/2616-7581.3.1.2020.204336","url":null,"abstract":"The purpose of this researc h is to learn the artistic and technical techniques that cause spatial sensations, representations and illusions in the perception of music. Speaking of music, it is customary to draw more or less justified analogies with the facts of everyday life, the phenomena of science or related art forms, such analogies can in some cases lead to errors, and in others to discoveries. Metaphorical images (including spatial ones) are discussed in statements about music. Cases of borrowing the terminology of nature and art sciences in musical-theoretical studies are analyzed. It is shown that the terms borrowed by musicology from the natural sciences and the humanities have different semantic depths. The research methodology of a comparative study of music and other forms of art, in particular, painting and theatre, methods of observation, comparison, theoretical generalization are used. Scientific novelty of the research . The staffage function of elements of contrast-composite backgrounds in the orchestra style of N. Rimsky-Korsakov is revealed. The genesis and meaning of the musicological term “misanphony”, formed by analogy with the term “mise en scene”, used in theatre and directing, is explained. Examples of the misanphonic and pseudomisanphonic techniques and effects used in the musical works of different eras’ composers are given (examples from the music of J. Puccini, L. Nono, G. Kancheli and others). The examples of musicology literature show and explain the fundamental difference between the terms “misanphony” and “stereophonic sound”. The conclusions relate to the understanding of misanphony as the localization and mutual displacement of sound sources at each particular moment of the musical work performance, the statement of the importance of spatial representations for listening comprehension and professional analysis of music. The statement of E. Kurth about the absence of a spatial moment in musical-sensual impressions is refuted.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43914105","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":"Comparison of the Acoustic Properties of Concert Halls (on the Example of Aesthetic Evaluation of the Sound of Musical Works)","authors":"O. Voitovych","doi":"10.31866/2616-7581.3.1.2020.204338","DOIUrl":"https://doi.org/10.31866/2616-7581.3.1.2020.204338","url":null,"abstract":"This article is devoted to the method of aesthetic evaluation of the concert halls acoustics based on the properties of the perception of musical material by the human hearing system. For this purpose, a set of important evaluation criteria was defined: such as space, width, timbre, intelligibility, etc. Subjective evaluation criteria are closely interrelated and correlated with the objective acoustic parameters of concert halls. regular spectators of concerts and performances. The results of the survey were systematized and a comparative characteristic of classical music sounding in the two selected concert halls was given. The purpose of the research of the article is to offer a method of aesthetic evaluation of the acoustic properties of concert halls based on the subjective perception of the musical material sounding. The research methodology is determined by such methods as analytical – in the study of scientific literature; theoretical – to define specific terminology, to describe the phenomena that occur during the research and the parameters by which subjective assessment is done; empirical – when listening to orchestras in concert halls with a subsequent expert evaluation of the results; comparative – in the process of comparing research results; methods of analysis and synthesis – to process research results, and interviewing methods – to obtain information from musicians and active listeners. The scientific novelty of the research. It is made an attempt to compare the sound of orchestral music in different concert halls with the help of scientific study of subjective perception of musical material. Conclusions. Analyzing the results of the evaluation, we can say that the sound of the orchestras in the examined halls is significantly different. Each concert hall has its own individual and unique acoustics. Therefore, this should be taken into account when choosing a repertoire of concert groups and planning concerts. The application of aesthetic evaluation mechanism based on the subjective perception of the musical material sounding gives a positive result, so its use can be considered justified.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46085674","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}