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This study highlights some metro-rhythmic elements a conductor uses when expressing the upbeat, contretemps and anacrusis. Also, it shows the firstly analytical (technical) and then practical approaches of the essential issues. The entire study is provided with musical examples, as well as with practical exercises meant to resolve these issues. The object of study is focused on the technical segment.
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The article focuses on the rules of organ playing presented by Jacques Boyvin in his Traité abregé de l’accompagnement pour l’orgue et pour le clavessin (Paris, 1705). Boyvin, born about 1653 in Paris, and died 1706, June 30th, spent most of his life in Rouen, the capital of Normandy. There, since 1676, he occupied the position of cathedral organist, earning fame of one of the most accomplished organists of the second half of the 17th century. His main musical output consists of two collections of organ music: Premier livre d’orgue contenant les huit tons à l’usage ordinaire de l’Eglise, published in Paris in 1690, and Second livre d’orgue contenant les huit tons à l’usage ordinaire de l’Eglise (Paris, 1700) and the above-mentioned treatise, which is considered to be one of the most important sources regarding keyboard playing practice at the turn of 18th century. In the first chapter Traité abrégé Boyvin discusses the main rules of music composition and he explains the symbols used in the transcription of basse continuë. In the second chapter he concentrates on various aspects of practical harmony of sounds. The third chapter includes a list of remarks on practical and performing aspects, which should be followed while playing the organ and the harpsichord. The last chapter (Des transpositions) deals with the important issue of scales transposition, which is often applicable in liturgical music. The important part of this article is the first in Polish literature of the subject, translation of the whole treatise, and the collection of organ exercises (preludes) originally published at the end of the treatise. The author of the article hopes to provide satisfactory amount of information both for organists and musicologists interested in the 18th century French music theory.
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Hristina Medić has recently discovered two scores by Ladislav Grinski, a long forgotten Belgrade composer who died in a concentration camp during World War II. The pieces are Sonata quasi Fantasia for solo violin and Quatre pièces for violin and piano. After that in Zagreb was discovered Suite Orientale for symphony orchestra. This paper deals with presenting and analyzing these newly discovered Grinski’s pieces. While analyzing each composition separately, the paper aims at offering a better insight into the creativity and the poetics of the composer thus providing a more precise position of Grinski within the frame of his time and simultaneously presenting a comparative analysis of similar pieces of his renowned contemporaries, namely: Sonata fantasia by Ljubica Maric, Légende de Yéphimia by Miloje Milojević and Balkanophonia by Josip Slavenski.
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The article scientifically substantiates the value of the mass in the history of musical art. Genesis of the mass and its development as a leading spiritual vocal and choral genre of the European middle Ages and Renaissance are considered. The peculiarities of composition and musical language of the oratorio «St. Matthew Passion» by Metropolitan Hilarion are identified. It is proved that the formation of the logic of melodic development, composition and harmonic solutions of the oratorio has been influenced by the traditions of Western music. Factors here are the images, themes, and artistic techniques, which are taken from the Byzantine and Russian Church services. Analysis of music of Pavel Lungin's “The Conductor” has revealed the importance of the oratorio “St. Matthew Passion” by Metropolitan Hilarion to understand the meaning of the work. The interaction of the visual and auditory aspects leads to a polyphony of meanings. This polyphony enriches the understanding of works of art.
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In the scope of the present study, thirty-four non-verbal works belonging to Erzurum province from TRT repertoire were evaluated taking the frequencies of curtain use, and their duration values, series and sound field into consideration. The study is based on the calculation of the use and duration frequency curtains employed in thirty four non-verbal works in Erzurum province. Statistical findings of the works evaluated are shown in tables and graphs. It is thought that this evaluation method may be important since it is used for the first time to examine the non-verbal works of Erzurum province and the detections based on the numerical data obtained can be used in the examination of other forms of folk music (rhythmic verbal works, rhythmless non-verbal works).
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The SOLF EASY project addresses pupils and students who are studying the SOLFEGGIO discipline in vocational schools of music and music universities. We will present and develop an application through which studying solfeggios can be simplified, through which the classic method may be replaced by an alternative, so that the time dedicated to this activity will be saved by using the application during a commute, for example from home to school and sung and read operations will be replaced by one with added value, by listening, played and sung. SOLFEASY application will be available via playback on Android or iOS operating system. The project is developed by a group of students and professors and takes place in several stages: registration of materials through a digital piano connected to a computer, saving them in MIDI format and as a scores through the Sibelius program, development and delivery of the application that is currently functional and in the testing phase. The operation will connect to a server where it will retrieve a list of MIDI files, which we will display in the application. It will be possible to download and open each MIDI file using a MIDI SHEET MUSIC application. This application will take MIDI sites and you will find, recognize notes and display them on the screen in a piano format. The application will be available on Google Play to be downloaded by all users of Android mobile operating systems and App Store for IOS operating system users. In the promotional period, we will broadcast this application free of charge in 10 vocational schools for a number of 700 students.
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One of the main features of human society’s progress in the last thirty years is the development of technology. All walks of life have been influenced by new technology and we consider this to be a positive thing. Nevertheless, there are certain situations in which technology cannot replace the old methods, but only support them. This paper analyses one of those particular cases when technology should be used with care, namely the singing lessons which are taught through electronic means of communication, without a direct contact between teacher and student.
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The article examines the problem of contradictions between different ideas about what is the essence of music. Having lost its original purpose as a guide the spiritual life of man, the position of the art in the modern world makes you think about what is the essence of true music.
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The article analyzes the performing styles the XVIII–XX centurycomposers, deeply and meaningfully performed by the outstanding Ukrainian pianist Oleg Kryshtatalskyy. The pianistskillfully performs romantic works by F.Chopin, Lysenko, professionally and knowledgably Sonata in G major by W.A.Mozart and inspirationally – by a famous Ukrainian composer A. Kos-Anatolsky, originally and expressively – Concert№ 2 for piano and orchestra (conducted by S. Turchak).
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The purpose of the work. The research covers the main methods of work of the famous Ukrainian conductor and teacher Orestes Oliynyk with the student chorus of Uman State Musical School. Chorus management as an individual process requires not only methodical teaching skills, but also intuitive approaches in communication with the singers and the ability to motivate them. Methodology of research is the use of historical-hereditary method as a basis for revealing of the creative accomplishments of the conductor as an artistic personality. The above methodological approach allows to reveal and to analyze those innovations in the work of the choir used by the conductor in his choral classes. This makes it possible to reveal innovative approaches in the chorus management on the personal level. Scientific novelty of work lies in the fact that in the Ukrainian musical pedagogy this study for the first time reviews and analyzes the main methods of work of Orestes Oliynyk with the student choir of Uman State Musical School. Attention is paid to an integrated approach to teacher-choirmaster training of future highly qualified conductors. The study defines sequence of skills development, which effectively contribute to the deep professional knowledge acquiring of future choir managers. Conclusions. Conductor-choral work of Orest Oliynyk with the student choir of Uman Musical School was an example of skillful management of creative team. He was able in a short time to develop his own method of qualified conductor-choirmasters training that was effective and educationally motivated. Overall, it was a creative direction and encouraged students to create on the individual and the collective levels. The system of training of highly qualified personnel, developed by Orest Oliynyk, was a success not only among students and graduates, but among his fellow teachers.
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The article studies the questions of analysis of musical compositions from the viewpoint of philosophy of music. The generalization of existent concepts with further development of principles of philosophy of musical analysis in a combinatorial consolidation of classical musicology and “discursive” analysis has been done. This allows comprehending formal, structural, substance and semantic aspects of organization of musical materials and their integrity. It is proved that creations, reproduction and perception of compositions are the processes of self-awareness through the piece of music. Variability of interpretational versions of meaning comprehension of the composition is formed in medial channels at the turn of interchange of art and musical information between its generator, translator and recipient. The importance of philosophy of musical analysis in the research of compositions of chamber art of representatives of Ukrainian school of composition has been outlined.
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The features of performing casts and types of instrumental presentation in the German pre-classical orchestra are being touched upon in the article. The analysis was based on the operatic works of the famous German composer of the first half and middle of the 18th century, Johann Adolf Hasse, written in the Dresden period of his oeuvre. The performance casts o f the orchestral chapel of the Dresden Royal Opera lead by J. A. Hasse have been analyzed. Operetic works of the composer are being studied by the lifetime hand-written music scores. The research methodology implies the application of analytical and comparative methods. The first one allows determining the performance casts in the operas o f J. A. Hasse, and the second one - developing their typology.
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The article analyzes the genre system of contemporary music for accordion Ukrainian composers. Discusses the features and catalogued the types of genre synthesis, proposed classification of new genre manifestations, reveals the nature and characteristics of the new genre forms, genre neologisms and precedents. Examples of genre synthesis at the level of the combination of genre features sonatas and polyphonic cycle with a Fugue can be seen in the works of other Ukrainian composers for the accordion. Another kind of genre synthesis – the combination of solo instrumental circular shape with symphonic dramaturgy methods. This increased simfonic in the instrumental works provokes their authors to use them in doubled genre names. Also interesting examples of genre synthesis are works that represent the combination sonatest with other simple and expanded forms. Really innovative in fact experimentation with musical form and genre is bayans creativity of the composer V. Runchak. A number of genre models seamlessly molded into a single extensive and powerful drama observed in a detailed review of his symphonies "Passion of Vladislav" for Bayan, reader, rock band, video sequences and Symphony orchestra. Composition, which consists of two parts – "Epitaphie" and "Passacalie" (looks at the picture M. Ge "What is truth?") at the macro level combines the features of a genre such models as: passion, Symphony, instrumental concert, Symphony concert, a two-part polyphonic cycle, Passacalie. For many contemporary composers in their own creations genre sphere, and with it formotorola component often come to the fore in the palette of expressive means that allow them to reach creative solutions, and often of high artistic results in the aspect of form - and generatoren. New genre forms, which were formed by genre synthesis and containing in its structure a well-established features of two or more genres. This so-called Poljana works, examples of which were considered slightly higher (SuiteSymphony, Sonata, Rhapsody, Sonata-polyphonic cycle, etc.). In addition to many genre works add to this variety and some more interesting forms, especially the concert-a collage representing a Concerto for accordion and string orchestra "Rossiniana" V. Zubitsky or Concerto for accordion and orchestra "Pezza de la Piazza" S. Lunev. In these works-the stylizations of the share quotations of musical material appears to be substantially valid, and the role of the composer mainly focus on building a new form of drama from separate fragments of the finished material, though quite recycled textured, and sometimes intonation. Another example of a new genre forms in modern bayan music of Ukrainian composers can be found in the work of V. Runchak "Messe da Requiem" declared by the author in the genre of Concerto Piccolo. In this case, the observed transformation of the foundations of a great genre, that is, the instrumental Concerto (Concerto for orchestra) to significantly cameroni, so to speak, in his small invariant – for solo instrument. A shining example of the new approach regarding the formation, based on the aleatory principle of randomness shows the composition V. Vlasov "Infinito" ("Infinite"), which consists of 15 individual textural-Autonomous musical fragments-blocks. Aleatory approach in this case is implemented in an arbitrary construct form of the composition by combining these blocks in any order. Consider next a different kind of genre innovations in modern bayan music by Ukrainian composers, the socalled genre neologisms. This group locates new genre variety, which are not typical for bayan and chamber music. So quasi-Sonata (like the Sonata; something like a Sonata) is a phrase, which focuses on the conventions of genre definitions, as well as on the absence of a specific characteristic for the genre forms. Another group of new genre manifestations in contemporary music of Ukrainian composers – genre precedents – innovations which are out of music influence and realized in Banni music in the form of musical genres. So involved V. Runchak in a Symphony "Passion of Vladislav" epitaph – as you know is a literary genre and means the gravestone inscription is a dedication to the deceased. The originality of the author of this composition is manifested in the fact that in this work of a literary genre "mutates" into a musical. So, above mentioned trends and innovations in the genre (and with it – and forming) the system of modern accordion music by Ukrainian composers reflect bright individualized approach of the authors to find new genre forms and types through the loosening of the established genre system, which is a very characteristic symptom for musical art of our time.
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Music is the art and science that builds and refines the human being. The voice is the most sensitive instrument that the man possesses, to fully complete himself in the musical art. The voice of child, the gift of each of us, of which we once enjoyed, can outline the most sublime sounds when it agglutinates in choral bands. In her book, Mariana Popescu penetrates the core of the most titled children's choral band in Romania, the Radio Children's Choir, conducted by Ion Vanica. The work, which was published in 2015, at the Bucharest Musical Publishing House, is structured in 10 chapters, including a comprehensive Bibliography. The passion of the conductor Ion Vanica for music and conductorial art, the style improved in the years of studies, the constancy and responsibility manifested in the labour of rehearsals and concerts, the joy and praise of the musicians who played or listened to musical moments are included in a thorough analysis, which reveals a true musical excellence of the author Mariana Popescu.
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Born in Moldova, raised in the world of the Romanian village, Constantin Arvinte, since childhood, loved the popular song. As a result of artistic maturity, Constantin Arvinte will collect and preserve the Romanian folklore from all parts of the country, he will work on the harmonic - polyphonic gems of the folk song, which, as a conductor, brings them to the light of the show. At the same time he creates himself melodies in folkloric character, which he ornaments choral or instrumental. He continues thereby the tradition of the composers who built the Romanian school of composition. Understanding the ideological communion between the Romanian musical folklore and the psaltic songs, Constantin Arvinte promotes, as a musical expression, the modalism in his creation. We exemplify the statements with the stylistic analysis of the work “Trecui dealu’ la Băiuț” [“I passed the hill to Băiuț”].
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The methodological basis of article are tight connections of the "text" and "context" in several aspects – global, explicit, discursive, and implicit. A "communicative context" acquires an effective value which unites all context layers in accordance with the point of view selected by communicant. Also it exposes actual sense of the investigated artistic phenomenon.
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In the many musicological researches on the encyclopedic creation of the genius Enescu, a very important aspect – the mass distribution of the great violin art – is less reflected. The present investigation fills in this gap by describing the concertistic and charity activity that George Enescu carried out in Bălţi in the interwar period. In Bălţi, this phenomenon is valorized and George Enescu’s name is immortalized by being conferred to the Children’s Music School only after about 80 years, in 1994. From this moment on, a whole array of cultural and artistic and educational activities begins to unfold, the apex of which consists of three editions of the “George Enescu” Festival-Contest where students – musicians from the pre-university artistic education schools – as well as notorious personalities in the interpretative and pedagogical-artistic field from Moldova and Romania compete.
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The phenomenon of bell music is analyses in the article. Basic attention spares to researching of bell as an instrument, whose sound is sacred origin, the philosophical-theological context of exposition of the article flows out from here. The bell comes forward not only as a musical instrument but also on the whole as the special phenomenon of spirituality.
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The author is analyzing different types of vocal-chorus art techniques. He is making a profound research of the notion of ensemble as a main way of musical thought transmitting.
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