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Das Große Gradual, als wertvolles Erbe der ungarisch-reformierten Kirche, soll unbendingt möglichst oft gesungen werden. Eine puritanistisch oder eine minimalistisch gefärbte Gegenmeinung bedarf unserer taktvollen, brüderlichen, aber um so entschiedeneren Korrektion.Der Gradualgesang soll von einem liturgischen Chor (von einer „schola”, also keineswegsvon der Gemeinde selbst), mindestens annähernd in seiner ursprünglichen liturgischen Funktion vorgetragen werden. Dabei fällt die Hauptrolle dem deutlich deklamierten liturgischen Text zu.Bei der Vorbereitung einzelner Stücke ist die allerwichtigste musikalische Aufgabe die Distinktion zwischen Hauptnoten und ornamentalen Figuren (die durch Dynamik und Agogik natürlich unterschieden werden sollen).
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A multicultural approach in studying the influence of music on man's perception of pain is presented. Reference is made to contemporary research in psychoneurimmunology, pharmacology, anaesthesiology, neuropsychology, aesthetics of music and other disciplines, with regard to discovery of the ISO-principle, very important in the process of diagnostics and treatment, and in various fields of creative therapy. Reference is also made to the Gate Control Theory of Pain, and the importance of an interdisciplinary approach in development of various methods of therapy interventions is presented.
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The article reveals the specificity of the musicologist’s profession and its importance in high school musicology education. In order to improve it so that it could correspond to the modern level of education of the 21st century, the article emphasizes the negative aspects in training musicology students who appeared in the post-Soviet period, as well as after the transition to the Bologna Learning Process.
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Purpose of Research. The purpose of the article is to highlight the main artistic and pedagogical principles of M. Brovchenko's activity as the founder of the Nizhyn Vocal School. Methodology. The methodology of the research is based on interdisciplinary approaches, which allows using the knowledge of such sciences as History, Art history, Pedagogy, etc.. The author uses the following scientific methods: the biographical method ( to allow to highlight the creative way of M. Brovchenko as a vocalist); a historical method (to study the socio-cultural conditions of M. Brovchenko‘s development and her contribution to the development of the national musical art); an analysis (to distinguish the basic principles of M. Brovchenko‘s vocal school). Scientific Novelty. The scientific novelty of the article is in-depth analysis of the basic principles of vocal school M. Brovchenko and its activities in the Nizhyn State Pedagogical Institute after M. Gogol. On the basis of archival materials and a family archive of the daughter of M. Brovchenko, the author has introduced unknown facts from the artist's biography. Conclusions. M. Brovchenko was one of the most outstanding figures of the Nizhyn vocal school, which embodied the professional performing qualities and pedagogical principles of education of future vocalists. The main principles of her vocal pedagogical activity are openness and heuristic character, individualism, systemicity and consistency, phonetic method, the principle of unity of vocal-technical and musical-artistic development of students, cantiling singing, vocal breathing, the method of teaching "from the voice".
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Purpose of the article. The outline of the characteristic features inherent in composer style O. Bezborodko and the selection of those dominant tendencies that correlate with the directions of postmodernism. The methodology is related to the use of the analytical approach and the comparative method. These methods help to distinguish the leading signs of author's style O. Bezborodko. Scientific novelty. An attempt has been made to highlight the characteristic features that indicate the presence of postmodernist features in the work of O. Bezborodko. The specificity of his artistic vision of the world is determined, as a result of which his works act as a bridge between the musical practices of the past and present. Conclusions. Features of composer style of Ukrainian composer Oleg Bezborodko are considered. The following features of the creative approach, such as intertextuality, aspiration for dialogue with the musical culture of the past, a significant role of software, an emphasis on the visual beginning, are singled out. One of the leading features of Bezborodko's composer's style is the desire to rethink the heritage of classical music, to actively use the latest techniques of composition and to treat art as a space for philosophical reasons.
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The purpose of the article. The research highlights the problematic issues of the interconnection of intellectual and emotionally sensual principles in the creative activity of the vocalist. The methodology involves the use of empirical, systemic and structural methods and the synergistic approach, which allowed to characterize the intellectual and emotional significant components in their synergetic unity in the formation of vocal technique and the creation of artistic images. The scientific novelty of the work consists in the fact that in Ukrainian science for the first time the basics of vocal activity of the vocalist from the standpoint of synergetic unity of intellectual and emotional principles were considered. Conclusions. The mastery of the vocalist is to create an artistic image, the work of which involves possession of vocal technique and the ability to embody characters and transmit feelings and emotions. The professionalism of the actor-vocalist consists of the synergistic combination of intellectual and emotional principles, which according to modern developments can be defined as emotional intelligence. The formation of a singing flutter occurs through the intellectual awareness of inner feelings and emotional memory, which become the basis for the training of vocal techniques. The creation of an artistic image goes through the management of their own conscious emotions and emotions of the public, which are subordinated to intellect.
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The purpose of the article is to analyze the system of musical-language means embodying the idea of the apocalypse in the Seventh Symphony of Avet Terteryan, the specifics of the pivotal - volume structure of the material and its compositional and dramatic organization. To solve this goal is selected the structural-functional method of analysis. The methodology is based on the use of historical, systemic, structural-functional, comparative, methods which allowed to analyze the general panorama of A. Terteryan's symphonic works, to reveal the specific features of the composition and dramatic organization of the Seventh Symphony and to compare the results of the research with other his one-movement symphonies. The scientific novelty consists in determining the individual profile of Avet Terteryan‘s one-movement symphonies as sonorous-aleatoric and this analysis based on A. Maklygin‘s ―theory of formats‖. Conclusions. Using the example of the Seventh Symphony the features of the embodiment of the apocalyptic program in the Avet Terteryan‘s late symphonies composition are described with taking into account the resources involvement of the sonoristic and aleatoric technique of composition in the reconstruction process of the tone-phonic uniqueness of Armenian instruments.
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The purpose of the article. The research reveals and justifies some of the principles of the interaction of the national, traditional style of Irish folk songs with the classic style of L. van Beethoven. The methodology of the research is to apply genre-style and compositional-structural methods. The first method aims to trace the features of the composer's interpretation of genre-style and intonational characteristics of the folklore source. The second helps to uncover the whole and its components, in this case, it is a comprehensive overview of the collection at different levels of musical content. The scientific novelty of the work consists in the introduction into the Ukrainian-language musicology of the given sphere of creativity L. van Beethoven, since the composer's chamber vocal inheritance in the genre of folklore processing is still beyond the attention of scholars, while the works of great shape are becoming a priority for research. Beethoven's arrangements are examples of small forms that have become for the composer a channel of creative experiments, the crystallization of methods and approaches of the German master to the genre of processing, and their consideration complements – confirms or refutes – already known knowledge of the process of composer thinking. Conclusions. An analysis arrangement of twenty Irish songs proves the presence of stylistic absorption in them by the classical principles of thinking, compositional and intonational logic, assimilation of folklore and a professional composer's school, the discovery of a new artistic potential in a folk song, which can be either an example of traditional Irish music, or transformed into a work of professional art.
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The purpose of the article is to explain the multifaceted definition of "horn performing technique" from a historical perspective. The methodology is related to applying to the extrapolation methods and theoretical analysis and synthesis. It is based on the conceptions of horn school representatives (L. Bielienov, B. Buianovskyi, A. Vdov, L. Poliekh, I. Semeriaha, A. Usov, I. Yakustidi). The scientific novelty of obtained findings lies in the scientific rationale of theory regarding the special aspects of horn performance and development of horn performing technique including the possibility to analyze different horn schools and performers who have the strong potential to develop an art of horn. Conclusions. Based on the retrospective analysis of research and methodological and archive source materials it was found that the studied phenomenon is a complex activity where the system of relevant knowledge and skills ensures the success of the artistic interpretation of musical compositions and becomes a source of efficient performance activities as well. The definition "horn performing technique" was explained on the basis of the educational experience of instrumental musicians. The problem is considered from the perspective of historical progress.
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The purpose of the article is to investigate the genre-functional model of joke songs and their translation into the social and everyday life of Volynians through the prism of the mythology of the wedding-ritual traditions of the Poturya. The methodology of the research consists in the application of interdisciplinary approach involving cultural, ethnological, philosophical and art-study methods of analysis. Scientific novelty. For the first time, the role of joke songs and their ritual-mythological semantics in the wedding ceremonial tradition of Poturya is considered. Conclusions. Humorous folklore occupies a special niche in the oral folk art of the Volynians. Interesting from this point of view is the wedding rite of the Poturya. To joke songs we refer the timed (ladkańki, invitation to the kiss) and not timed (songs to the dance and the table). Each song text can play two ceremonial functions at the same time. The first one is transmitting, which comments on the actions, removes the taboo on shame, reveals social and human vices, and openly shows the ridicules, which in everyday "serious" life may not be quite acceptable. The second function is entertaining-communicative one. Here you can find the moments of the interrogation between the bridesmen and the groom's girlfriends, treats of uninvited guests, the ransom of the bride, which represent different sides of the mythological-oppositional structure of "us-them". The study of comic wedding singing of the Poturya creates a prospect for further research of the mythological semantics of wedding songs and their dramaturgy role in the wedding rituals
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This passionate, extravagant and provocative essay is dealing with the mysteries, status and poetical analysis of concrete opera performances and recordings. The main focus is on the eccentricities, ambivalence and the survival strategies of the genre, on the cognitive trap of the special sensibility and obsession. There is a cornucopia of precise observations, esprit, bon mots and mélanges of homage and irony at once. The author uses the genre as the source of self-recognition and lifesaving, supportive hedonism, and provides a special kind of personal meditation and exuberant art-diary.
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Einstein on the Beach is one of the iconic operas of the 20th century that shaped our ideas about what an opera can be. This paper is an analysis of the visual, musical and textual structure of the work, arguing that the creators chose variation as the key method in every single layer of the theatrical experience in order to create a meditation-like experience about our age seen as the age of technology.
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Béla Bartók was inspired by the text of Béla Balázs when writing his opera titled Bluebeard’s Castle, which had its premiere in 1918 in Budapest. The Hungarian Opera of Cluj presented his work in Autumn 2006, under the direction of György Selmeczi. The opera orchestra and the soloists (János Szilágyi – Bluebeard, Mária Molnár – Judit, Zsolt Bogdán – the minstrel) have given outstanding performances, and the originality of the direction was enhanced by the images of memory – the wonderful women, who seem insignificant in everyday life – and the representations of the psychological depths. After this modern rendition of the opera, Miklós Bánffy’s 1918 Budapest version of Bluebeard’s Castle has also been reconstructed in Cluj, with the singers and the orchestra of the 2016 version. This essay analyses the 2006 production in a dramatopoetic context, based on the reminiscences of the involved artists and of the author.
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Purpose of the article. To investigate the appearance and distribution of some primitive wooden marimba constructions in Guatemala, such as "con tecomates", "sencilla","doble", widely used and popular in various parts of the country, and the emergence of ensemble and solo performance on these instruments. Methodology. In order to study phenomena in a consistent development, we used the historical-chronological method. For the analysis of each of the stages of the historical development of the marimba performance in Guatemala, a problem-chronological method was chosen, which involves dividing the topic into smaller parts, which are considered in chronological order. The possibility to study certain historical facts in connection with a specific historical situation and its further qualitative change allows us a comparative-historical method. In the research, the technique of typology was applied as an integral part of the scientific analysis, the essence of which is the dismemberment of the object under study and its further grouping according to specific characteristics. The scientific novelty consists in the fact that for the first time in the domestic musicology the questions connected with the origin of the first primitive wooden marimba constructions in Guatemala and the development of performance on them are considered. In the article, the author first acknowledged the specific differences between the marimba constructions of Guatemala from the North American analogues. Conclusions. The research was shown that in the seventeenth century, the marimba played an essential role in the musical life of Guatemala. Different marimba constructions became widespread and became famous not only in the country but its outside, thanks to numerous tours of marimba ensembles and soloists.
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The purpose of the article is to analyse the concert activity of the Academic Chamber Choir "Khreschatyk" as an artistic reflection of the genre and stylistic synthesis process. The methodology of the study foresees the use of universal scientific methods, in particular, structural and comparative analysis, synthesis, systematisation, generalisation, which using allows highlighting different aspects of investigated problem optimally, as well as to systematise methodically the results, which have been achieved, in relevant conclusions. The scientific novelty of the publication is in the investigation of the concerts’ parameters of the Academic Chamber Choir "Khreschatyk" through the prism of the genre and stylistic synthesis for the first time. Conclusions. Based on the research, there are reasons to confirm that the recital activity of the Academic Chamber Choir "Khreschatyk" is based on the constant experimental researches aimed at the invention of fundamentally new genre and stylistic measures of artistic reality, which are inherent to the primary vector of the development of modern chamber and choral art. This is confirmed by numerous performances, which are based on the principles of the genre and stylistic synthesis. In such performances, the choir becomes an active participant of the stage action both in the flat of individual action and in the context of creating fundamentally new genre phenomena, such as the choral performance that is entirely relevant to the actual needs of the native cultural space.
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