Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti最新文献

{"title":"Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development","authors":"Qiang Li","doi":"10.34064/khnum1-67.04","DOIUrl":"https://doi.org/10.34064/khnum1-67.04","url":null,"abstract":"Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Italian vocal art to Chinese. Objectives, methods, novelty of the research. In this investigation, we tried to find common and distinctive features in Italian and Chinese musical theater by comparison, as well as to identify the factors that influence the perception of the theater work by the Chinese public. The scientific novelty of the study lies in the fact that for the first time the path taken to adapt Italian vocal art to the Chinese language, the national musical theater and its audience is analyzed, and the role of tradition in this process. The main research method is comparative, with the help of which the common and distinctive features of Chinese and Italian musical theater are revealed; methods of historical musicology and cultural studies were also used. Research results. The development of Italian and Chinese musical theater in certain historical periods took place in parallel, so they have a number of similar typological features. Both Chinese and Italian theaters synthesize different types of art: singing, ballet, visual series (decoration, costumes), dramatic action. At the same time, they are fundamentally different manifestations of theatrical art. In Chinese opera, the visual component is of great importance – costumes, make-up, decor, etc., and the content and plot vicissitudes are deliberately simplified so that the audience is not distracted, but can enjoy the spectacle. The difference of Chinese opera is circus art: the actors had to have acrobatic and fighting skills and impress the audience with them. In Italian opera at the stage of its formation, the visual series was given great importance, but due to the fact that the authors of the first opera models (Florentines) considered as a model the Greek drama with its idea of moral improvement through catharsis, its dramaturgy is radically different from that of the Chinese theater; therefore, tragedies and dramas were not perceived by the Chinese audience who went to the theater to be entertained and enjoy the skill of the actors. For quite a long period after the penetration of European culture, the Chinese public did not perceive works of Western art, treated them as exotic and often did not understand their essence, aesthetics and value in general. The main obstacle was usually the language, but also the content of the theatrical works of European playwrights, translated into Chinese, ","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"43 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135460896","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":"Modern children’s choral art of Ukraine and China: presentation of masters’ experience (Serhiy Prokopov – Yang Hongnian)","authors":"Fan Tan","doi":"10.34064/khnum1-67.06","DOIUrl":"https://doi.org/10.34064/khnum1-67.06","url":null,"abstract":"Statement of the problem. The information space of the 21st century, including the cultural and educational areas, is characterized by tendencies towards synthesis and integration. So, modern children’s choral art of Ukraine and China appears as an art of cultural dialogue, in the process of which the spiritual values of a new type of a person are forming. The relevance of this study is determined by the need for analytical comparison and comprehension in the scientific discourse of the principles of creative activity of the leading representatives of the both cultural traditions in the field of children’s choral art. Despite the wide range of scientific works in the sphere of choral art, both, the historical and theoretical basis of contemporary children’s choral pedagogy in Ukraine and China, and its leading trends in nowadays remains relevant and requires special research. Objectives, methods and novelty of the research. The purpose of the article is to highlight the scientific, practical and pedagogical achievements of outstanding masters of modern children’s choral art of Ukraine and China, Serhiy Prokopov and Yang Hongnian. For the first time a comparative analysis of the scientific-practical and pedagogical experience of these outstanding masters is represented. The methods оf analysis and systematization, comparative, historical and culturological approach were attracted to research. Research results and conclusion. Summarizing the results of the analysis of the scientific, practical and pedagogical works of two famous masters of children’s choral performance of Ukraine and China, Serhiy Prokopov and Yang Hongnian, we noted that their methodological approaches are focused on the development of individual vocal and choral skills (singing arrangement, singing breathing, attack of sound, sound management, diction, articulation, timbre of the voice); on the formation of musical-auditory ideas (harmonic sense, coordination of hearing and voice, etc.); mastering the skills of choral singing (singing in unison and polyphony, rhythmic synchronicity, ensemble diction, etc.); on the development of emotional and figurative perception and thinking in children. Our research gives reasons to assert that the theoretical principles of two well-known choral conductors of modern children’s choral performances in Ukraine and China are based on the same priority approaches to choral pedagogy: humanistic, person-oriented, multicultural, comparative, systemic. The main factors that should be taken into account in the process of comparative analysis of the basic theoretical concepts of the both masters are the specifics of their national mentality determined by sociohistorical, cultural and educational conditions.","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"43 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135460895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Genre and style constants of B. M. Lyatoshynsky’s choral cycle “From the Past”","authors":"Olena Batovska","doi":"10.34064/khnum1-67.05","DOIUrl":"https://doi.org/10.34064/khnum1-67.05","url":null,"abstract":"Statement of the problem. The creative discoveries by B. M. Lyatoshynsky in choral music sphere played a significant role not only in forming the unique, deeply original musical language of the composer, but also in the further development of Ukrainian choral art. His a cappella choral opuses for a mixed choir based on lyrics by Ukrainian and foreign poets are very revealing in the aspect of innovative searches in the musical art of the 20th century. Recent research and publications. In the musicological literature, Lyatoshynsky’s choral works are considered quite thoroughly in the works of some researchers: I. Liashenko (1991), I. Hulesko (1994), O. Torba (2002), M. Novakovych (2012). A. Lashchenko (2013), O. Kozarenko (2015), V. Moisiiuk & V. Shkoba (2022). In general, the analysis of recent studies showed that the main attention is focused on the verbal-musical contexts and figurative poetics. Among the less studied aspects of Lyatoshynsky’s musical heritage, the issue of studying genre and stylistic features of his a cappella choral music is particularly acute, including the choral cycle “From the Past”, which determine the relevance of the presented article. Objectives, methods and novelty of the research. The purpose of the article is to identify the genre and style parameters of Lyatoshynsky’s choral cycle “From the Past”. For the first time in domestic musicology, the artistic and stylistic features of Lyatoshynsky’s choral cycle “From the Past” were analyzed in the aspect of dialogue between traditions and innovation. A set of general scientific and particular musicological approaches to the phenomenon under consideration was used to reveal the content of the declared topic. Conclusion. The analysis of Lyatoshynsky’s choral cycle “From the Past” allows us to draw conclusion about the innovative nature of this work, which became an “encyclopedia” of new genre and style guidelines in the context of musical culture of the 20th century. We noted that a characteristic attribute of the cycle is a dialogue aimed at understanding and combining different musical styles. In the choral opus, an organic connection is felt both with tradition and with the trends of musical art of the 20th century. When analyzing the choral cycle, it was proved that it is a vivid example of an organic combination of “old” and “new” music. The dialogue of cultural eras is realizing due to such main parameters as polymelodism and polyphonicity. The mentioned features embody the idea of genre-style synthesis in Lyatoshynsky’s compositions connected with such a cultural phenomenon as dialogue.","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"7 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135460891","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":"Alla Zahaikevych’s opera «Vyshyvanyi. King of Ukraine»: the experience of performance analysis","authors":"Oleksii Vietrov","doi":"10.34064/khnum1-67.02","DOIUrl":"https://doi.org/10.34064/khnum1-67.02","url":null,"abstract":"Statement of the problem. On October 1–2, 2021, the premiere performances of A. Zahaikevych’s opera “Vyshyvanyi. King of Ukraine” based on S. Zhadan’s libretto took place at the Kharkiv Opera Theater. It is a multifaceted art project that contained several equal components – music, printing of the opera libretto, advertising company, stage design, costume, use of video effects; one of the few modern Ukrainian opera works, which was written to order and perhaps the first Ukrainian opera, written in such a modern musical language. The purpose of this article is a scientific understanding of the process of creation and presentation of A. Zahaikevych’s opera. A combination of methods of generalization and systematization of information presented by several critical essays fixed the immediate impressions of the performance, as well as the method of interpretive analysis aimed at understanding the author’s idea of the musical work and the specifics of its presentation is applied. Results and conclusion. The purpose of creating the opera was an artistic presentation of the new modern Ukrainian nation. The fate of Vasyl Vyshyvanyi attracted the attention of the authors as it allows drawing parallels between the events of the present and the past. In the imaginary space of the opera, historical figures whose voices are “heard” by Vyshyvanyi are presented. A series of memories forms the dramatic structure of the work, revealing to the viewer the events that influenced the course of history. Awareness of a significant of fateful choice of the people, who even today, almost 100 years after the events that became the plot of the opera, choose the right to self-determination, define the importance of mass scenes. Choir and ballet artists appear before the audience sometimes as refugees, then as hunters, cadets, soldiers, people at the train station, revealing and commenting on the context of the events. Thanks to the juxtaposition of live and electro-acoustic sound, A. Zahaikevych achieved the embodiment of a wide range of human emotions and voices, although the performance of vocal parts posed very unusual tasks for the soloists. Playing the role of the Man in Black, for the first time I encountered the need to sing in the Sprechstimme technique, paying attention to the conversational character of the vocal part, which is formed by the use of small durations, dotted rhythm and syncopation, the interweaving of three-part pulsation with two-part, numerous pauses between words and even syllables, the use of whispering and falsetto singing, tonal uncertainty. The composer also provides for the use of microphones, which allows to enrich the palette of vocal means of expression and to densify the musical texture by means of electronic processing of the sound of vocal parts. Most of the time, the actors of the opera are in the depth of the stage on a huge metal structure with a total weight of 5 tons. It is divided into three tiers, which evokes associations with th","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135460893","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":"Towards a tradition: the evolution of Ph. Glass’s music theater","authors":"Olena Vashchenko","doi":"10.34064/khnum1-67.01","DOIUrl":"https://doi.org/10.34064/khnum1-67.01","url":null,"abstract":"Statement of the problem. The music theater of Ph. Glass is an important part of both the work of the composer himself and the musical culture of the 20th – 21st centuries, which is confirmed by the constant interest of researchers. However, it has been discovered unevenly, and the late operas of Ph. Glass remain almost unlit, which does not provide an opportunity to follow evolution of this genre. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the genre metamorphosis of the opera in Ph. Glass’s music theater based on the analysis of three operas – “Einstein on the Beach” (1976), “Akhnaten” (1984), “The Perfect American” (2013) – and to determine the trajectory of the evolution of the composer’s musical theater. The scientific novelty of the research lies in the fact that for the first time it is proposed to consider the evolution of Ph. Glass’s musical theater as a movement towards tradition; parallels with the musical genre in the opera “The Perfect American” are revealed for the first time, and the features of the baroque opera in “Akhnaten” are clarified. The structural-functional method, genre-stylistic analysis, comparative analysis are used in the study. Research results and conclusion. The analysis of three operas by Ph. Glass illustrates the movement towards tradition. In “Einstein on the Beach” (1976), which was not originally conceived as an opera, the features of this genre appeared on a significant scale, preserving the verbal component (parts of readers), vocal (chorus) and stage (pantomime, choreography, scenery), while there is no traditional linear plot, fixed text libretto and characters – bearers of solo vocal parts. “Akhnaten” includes a number of operatic components absent in “Einstein”, in particular, a linear plot, written text libretto, characters with solo vocal parts, a chorus part with a verbal text, an expanded orchestral composition, traditional operatic forms (arias, duets, trios, choirs, ballet scene). Other features, such as the choice of the plot, the use of the countertenor, the role of wind instruments (trumpet), and the use of chaconne, show the reference to baroque model of opera. In “The Perfect American” the connection with tradition brings closer the work to the American “mainstream” due to the reliance on the genre of the musical. This is reflected in the two-act structure with the disproportion like in a musical, in the pairing of events and scenes, the role of duets, the system of reprises, as well as the approach of choral melodies to popular songwriting. As a result of the analysis, it is concluded that, having started his journey in the field of music theater with the radically innovative “Einstein”, Ph. Glass made a crooked evolutionary loop, first delving into the past (baroque opera), then returning to the present and approaching the border of academic and popular music (musical).","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"23 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135460894","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":"Digital technologies in training the accompanist: practical dimension","authors":"Kateryna Pidporinova","doi":"10.34064/khnum1-67.08","DOIUrl":"https://doi.org/10.34064/khnum1-67.08","url":null,"abstract":"Statement of the problem. The modern distance learning changes pedagogical strategies, methods, approaches, and the educational process. Institutions of art education, where training involves personal communication between the teacher and the student in the process of individual practical classes, found themselves in the most difficult situation. Therefore, it is important to understand the practical achievements of art universities in the field of distance learning as proven ways to overcome the remote “gap” between a teacher and a student. Recent research and publications. The problems of distance learning, taking into account the creative specificity, are investigated in the articles of the following Ukrainian scientists: Hubarieva et al., 2021; Lytvyn et al., 2021; Ponomarova et al., 2021; Davydov et al., 2022; Dedusenko et al., 2022; Ohrimenko et al., 2022; Prudnikova & Prudnikova, 2022; Tkachenko et al., 2022; Fabian et al., 2022. The works devoted to the formation of a pianist-accompanist are Molchanova, 2019, 2021, 2022; Nikitska & Savchenko, 2022. Objectives, methods and novelty of the research. The purpose of the study is to consider the positive and negative effects of distance education on the performing formation of a pianist-accompanist using digital technologies. A comprehensive approach is applied, combining the methods of analysis and generalization, systematization and projection, comparative, empirical, and experimental methods in accordance with the performance ensemble specifics. The scientific novelty consists in the study of practical developments in the distance learning of pianists of the Piano Accompaniment Department of Kharkiv I. P. Kotlyarevsky National University of Arts (Ukraine). Research results. The distance education in Ukraine has been complicated by the state of war, the departure of specialists abroad, funding restrictions and changes in educational policy. The formation of the accompanist is carried out by two strategies: together with the vocalist / instrumentalist and in the absence of soloists. All study participants face certain problems. For a pianist-apprentice, these are: loss of time on technological tasks, lack of sound display, unbalanced load. For soloists, these are: impossibility of synchronous performance, lack of emotional communication, singing or playing to the recorded accompaniment. For teachers, these are: the lack of direct contact with the ensemble members, the difficulty of correcting the sound, the obligatory verbalization of all remarks. Digital technologies that provide remote training of accompanist are as follows: 1. Google Meet and Zoom video conferences (“the teacher’s presence” effect); 2.MOODLE and GoogleClassroom platforms (organization of independent work and creation of online classes); 3. YouTube and Google Disk resources (access to video files with performance of compositions); 4. Messengers Viber, Telegram, ChatOn, WhatsApp, etc. (communication); 5. Editing appli","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135461951","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":"Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development","authors":"Jian Liu","doi":"10.34064/khnum1-67.03","DOIUrl":"https://doi.org/10.34064/khnum1-67.03","url":null,"abstract":"Statement of the problem. Despite the fact that the musical is one of the leading theatrical genres of American musical culture, no attempt has yet been made to identify its invariant parameters. The purpose of the study is to determine the main features of the genre invariant of the musical and its interpretation in the musical “Wicked” by S. Schwartz. The scientific novelty of the research lies in the fact that for the first time S. Schwartz’s musical “Wicked” is considered from the point of view of embodying the features of the genre invariant. The follows methods were used in the study: structural and functional analysis, which helps to reveal the main components that make up the musical genre; genre-stylistic analysis – aimed at identifying a genre invariant; comparative analysis to juxtapose the features of the libretto and compositional and dramaturgical principles of the musical “Wicked” with the structure of the genre invariant. Research results. Based on the overview of the researches, we consider such invariant traits of the musical genre as: 1) a two-act structure with a more detailed first act and a shorter second act, because that the second act is aimed at the resolution and contains much less new material; 2)the presence of three key dramaturgical nodes – the finale of the first act, which brings with it a plot twist (or the development of the main character line), which should bring the audience back after the intermission; 3) the thematic unity of the musical, which is provided by repetitions of large musical fragments or whole numbers, which we propose to call the reprise system; 4) thematic unity at the micro level, which is ensured by the use of cross-cutting themes and leitmotifs; 5) the leading role of the duet as the main compositional","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"89 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135461952","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":"Singing in the original language in opera-choral performance: from practical experience","authors":"Olena Chumak","doi":"10.34064/khnum1-67.07","DOIUrl":"https://doi.org/10.34064/khnum1-67.07","url":null,"abstract":"Statement of the problem. In modern vocal and choral art, singing in the original language is an international performance practice that requires compliance with certain requirements. In this regard, singers face the peculiarities of the phonetic systems of different languages, articulation and diction difficulties, which leads to errors in pronunciation, and the transfer of singing skills in the native language to singing in a foreign language turns into an accent, incorrect pronunciation of a foreign text, which can even lead to semantic distortions This circumstance becomes particularly relevant and of very important practical importance, for example, in foreign tours of opera companies and choral groups. In Ukrainian musicology, there are many research works on the problems of opera and choral art, however, the problems of performing works with a foreign language text are not covered enough, although some issues of phonetics related to vocal performance have been considered (Madysheva, 2002; Borovenska, 2022; Ponomariova, 2015). The relevance of the proposed topic is determined by the lack of research specifically devoted to the performance of opera parts with foreign text by a choir. Objectives, methods, and novelty of the study. The purpose of this study is to highlight the importance of phonosemantics of language as a means of realizing the artistic idea of a musical piece, the integrity of its national-mental image, and to highlight the main stages of work on a foreign language text in an opera choir. The novelty of the research lies in the fact that for the first time the relationship between the complex of vocal and choral performance tools and the intonation and phonetic features of the language of the original opera performance was examined; the stages of work on a foreign language text in an opera and choral performance are presented from a new angle, namely, with regard to the correct pronunciation of the text; details of the work on a foreign language text with an opera chorus are presented taking into account one’s own practical experience. In the course of the research, with the help of comparative and intonation-phonetic analysis, certain distinguishing features in the phonetics of different languages were revealed. Empirical, performance-interpretive, structural-functional, systemic research methods made it possible to determine the basic stages and directions of the choirmaster’s work with the opera choir when performing the work in the original language. Research results and conclusion. The systematization of work experience, in particular one’s own, on choral parts with foreign-language text in operas, made it possible to identify its main forms and directions, distributed in stages, namely: 1) consultations of a linguist teacher with the practical instructions and fixation of latter; 2) preparation of a choral score for working with a foreign text (parallel signature of the text using the “phonetic alphabet”, which is devel","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"67 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135460892","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":"«Lacrimosa» by Oleksandr Shchetynskyі: music written in wartime with the faith in triumph of Humanity and Light","authors":"Hanna Savchenko","doi":"10.34064/khnum1-66.07","DOIUrl":"https://doi.org/10.34064/khnum1-66.07","url":null,"abstract":"Statement of the problem. Recent research and publications. The piece titled “Lacrimosa” for six instruments by Oleksandr Shchetynsky has been written in the beginning of full-scale war, when the Russian troops were dislocated near Kyiv, when the city was shelled every day. The relevancy of this topic of research is caused by a need for musicological comprehension of a musical piece, written in the times of war as a critical situation. Theoretical basis of the article is founded on the sources from the different spheres of humanitarian knowledge. The usage of the term “crisis” caused appeal to the works on psychology, philosophy and aesthetics (Bulakh, 2016; Stasevska, 2016; Frankle, 2020; Fromm, 2013) with the aim to accentuate personal, spiritual aspect of this phenomenon. The main theses of the article by Australian scholars (Meyrick & Barnett, 2020) are used to emphasise importance and necessity of creative activity as a mechanism allowing to preserve humanity in the conditions of a crisis. The work by А. Erll (2011) became a foundation of the idea about musical text being a reminiscence about traumatic past or present times. The research by P. Rud (2021 a, 2021 b) is an important addition to studying O. Shchetynsky’s work. Objectives and scientific novelty of the studу. The purpose of the article is to research Oleksandr Shchetynsky’s “Lacrimosa” for six instruments (2022) in the context of a spiritual crisis that took place in the beginning of full-scale war of Russia against Ukraine. Novelty of the study is caused by comprehension of a musical work in several dimensions: 1) as one that was written “here and now”, one being an objectification of artist’s reflection on the war; 2) one continuing the row of instrumental works on spiritual themes in the context of the composer’s creativity, his search in the spheres of sonority and organization of the sound in the time and space; 3) the one being the part of Ukrainian and European musical cultures of XXI century. Research results and conclusion. O. Shchetynsky’s “Lacrimosa” continues a row of spiritual works by the composer, being a text of memory, which bears the information about traumatic present codified in it. The concentration on today (“darkness”) is combined with a semantic vector directed to the future (“victory over it”) determines the specifics of the temporal organization of the work, where there is a movement towards a cathartic melody in the spirit of a Ukrainian folk song. Semantic multidimensionality of the prayer, that becomes a code programming the composition, defines the organization of sound space as well, which has lines and layers of different significance interacting with each other, as well as work with the sound and sound matter, that is essential for O. Shchetynsky’s compositional technique. Elegant construction of the composition is caused by well-thought organization of different attributes: pitches, motives, themes, rhythms, textures and timbres. Thus, the end","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648541","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":"Creative interaction of the Eespere brothers and its reflection in the René Eespere’s Piano Concerto","authors":"Stanislav Pylypenko","doi":"10.34064/khnum1-66.05","DOIUrl":"https://doi.org/10.34064/khnum1-66.05","url":null,"abstract":"Statement of the problem. The piano heritage of René Eespere, despite its uniqueness, has been neglected by researchers. Nowadays, there is no evidence that the Estonian master’s works have ever been mentioned in the national musicological literature. The Piano Concerto was composed on the initiative of the Estonian pianist Tarmo Eespere, the composer’s brother. In its first version, the work was performed only once. Thus, the composer’s piano music, in particular the Piano Concerto, as well as Tarmo Eespere’s interpretations, require detail research and comprehensive coverage by musicologists. The context of creative communication between the two Estonian musicians is of particular interest. Recent research and publications. The article relies on the works of foreign authors who highlight the piano work of Estonian composers in the context of general trends in the development of Estonian musical culture – H. Olt (Olt, 1980), J. Tall (1983); press materials – E.Arujärv (2013), interview– E.Colucci (2012), as well as private correspondence of the author of the article with the composer and the first performer of the concert. The theoretical basis of the article includes the works of Ukrainian musicologists dedicated to the genre of the concerto – V. Rakochy (2021), the analysis of interpretations of musical works – V. Moskalenko (2013); the compositional techniques of the second half of the 20th century – D. Malyi (2021), K. Onyshchenko (2019), and also the articles by Ukrainian scholars – T. Verkina and others (2020), I. Ivanova and others (2020), L. Serhaniuk and others (2021), which are aimed at highlighting the performance issues and typology of composer styles. Objectives, methods, and novelty of the research. The purpose of the study is to establish the role of the creative interaction of the Eespere brothers through the identification of the basic semantic features of René Eespere’s Piano Concerto and their representation in the performance version by Tarmo Eespere. The genre-stylistic, functional-structural, and interpretative methods of analysis are used in the study. The article discusses aspects that contribute to the understanding and implementation of the content of the Piano Concerto. The author’s and performer’s concepts of the work are revealed. For the first time, not only in Ukrainian musicology, but also in the world one, René Eespere’s Piano Concerto became the focus of attention. Research results and conclusion. The article analyses the principles of the Piano Concerto dramaturgy, the complex of its expressive means, and the interpretative peculiarities of the concerto genre. Brief description of the content and musicological analysis of the work is given. The interpretation of this Concerto by Tarmo Eespere is characterized. The conclusions emphasize that René Eespere created an original, in terms of content and intonation, work based on European classical canons, where the nationa","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648540","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}