Питання автентичності в музиці: теорія і практика
The article is devoted to some problematical questions which are connected with the research of the phenomen of authentic in Ukrainian musical culture.
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The article is devoted to some problematical questions which are connected with the research of the phenomen of authentic in Ukrainian musical culture.
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The article tells about the beginnings of the flute performance in Ukraine in the nineteenth – early twentieth century and the deep traditions of national flute school laid by its founders. Highlights disparate biographical information about the outstanding flutists who were at the beginnings of the National Flute Art.
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An article dedicated to specific situation in musical thought, notably to usage of accident or non-systemic impulse for its cultivation by means of some music system or for creating new system. There are three types of accident absorption in music: filtration, interpretation and reflection of accident. Technical, aesthetic and ontological possibilities of researched phenomenon are also marked.
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We discuss mythological consciousness in this paper. We briefly review the already well-known studies and theories that interpret mythology in a narrow scientific approach and therefore confuse different layers of experience. These theories are problematic. They are based on unconsidered assumptions of contemporary thinking that reject mythology as such and transforms it into the object of “instrumental” consciousness. First, mythology is thrown into the fairy-tale kingdom, then it is separated from its viable dimension, and ultimately, its vitality is reduced to the subjective world of man. As a result, mythological experience not only loses its foundation but also loses universality. There is no doubt that the layers of mythology and the living world are closely linked. To reveal their specific properties, and especially their different concepts of timespace and motion, one must analyze these layers individually. We will show that the integration of these two worlds - vitality and mythology - is one-sided. The polarity of vitality is the fundamental and the polarity of the mythological is second covers the entire cosmos and integrates everything that is viable. We will see that the concept of vitality relates not only to vital relationships but also on the modern metaphysics of will, in which, according to all the texts of modernity and postmodernity, everything is determined by force. By opening up the issue of sound phenomenology, we will show that in exploring the mythological language, we should study the sound layer separately, and that was unnoticed in the studies of most of mythologists.
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Observation of traditional music instruments of Transkarpatia in the Christian Ceremony and superstitions involves complex problem-solving of such sciences as: Musical Iconography, Musical Theology, Musical Campanology and so on. In this investigation author discover the semantics exploitation of music instruments during carol, spring cycle, marriage, funeral and other ceremonies. The individual types of traditional music instruments are described by fragmenting.
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The subject of the article is the creation of The Folk artist of Ukraine, professor of National Academy of Music in Ukraine V. Gnedash – one of the famous representatives of Kyiv School of the symphonic conducting. The author analyses the performance and the pedagogical activity of the conductor.
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In this article represented author conceptions of the conduct interpretation in the choir performance sphere. Specifically: establishing the particularity component of the conducts interpretation, investigated the stage of the interpretation process, delights the conception of the art integrality work and facilities formation this integrality. On the base detachment particularity components of the conducts interpretation creates method of analysis individual style of performance conductor.
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The article "The Wedding rite of Russians-Old Believers from Zhytomyr region" is dedicated to the studying of the unique culture of one of the least investigated religions confession, acting on the territory of modern Ukraine – the Old Belief, aged almost three hundred years. In his research the author bases himself upon the materials of his own etnographic expeditions to the village Rosiyski Pylyhy, Chudniv city district, Zhytomyr region, and examines the local peculiarities of the traditional wedding rites of Russians-Old Believers of the above mentioned region: describes the main phases of the wedding; presents the large quantity of the wedding songs’ lyrics, which has existed till now in the Old Believers environment of Zhytomyr region; explains the essence of and consecutively describes the various magical rites, the legal-domestic rites, the ritual games, which are the constituent parts of the wedding rite and keep up the special features of the perception of the world, intrinsic to the Old Believers of this region.
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Musical rhythm is considered from the viewpoint of spatial structure. As a tool to analyze the phenomenon of rhythm in music, used categories such spatial arts like architecture and ornamentation.
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The article examines the work of the department since the creation to the war years, and during the war. Contains details of the first faculty, curriculum and repertoire of that time, participating in and winning competitions.
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The features of the influence of jazz music on the formation of the aesthetic taste and renovation of the educational content of the youth in the modern social-cultural conditions are considered in the article. The importance of the music education as the powerful factor of acquisition of the knowledge in the context of estrada-jazz preparation of musicians is proved too.
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There are considered the problems of the history-cultural processes forming of the private theatrical enterprise at the Ukrainian musical theatrical stage; to lighting meaning of the private theatrical for forming Ukrainian opera’s art.
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Ім’я Лео Вітошинського (1941 – 2008), видатного культурно-громадського діяча української діаспори в Австрії, всесвітньовідомого гітариста, музикознавця і педагога, доктора права справедливо потребує належної оцінки на батьківщині митця.
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The Canadian post-modern composer Murray Schafer is one of the most consistent composers in his original project, and his entire work is governed by the same key ideas. As a pedagogue, by giving courses in Ear Cleaning, as a musicologist, by writing articles about The Musical Soundscape, as a composer, by inventing works in which musicians, actors, spectators and even nature participate together in the artistic act (the cycle Patria), Schafer transmits everywhere the same exuberance and passion. It is with this innovative thought that he brings the music out of the concert halls and moves it to wild places to return to its ancestral sources.
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The article is devoted to the analysis of modern culture of music in the context of aesthetic and spiritual basis, and also to description (depiction) of the culture features influenced (determined) by the intentional period of the European culture.
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The article is a first try to systematize data about functions of sound reflection of space in sound movie from the days one of its occurrence till today that is of great importance for practice of the movie sound decision.
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This article tells us about the historical and political processes of the development of musical culture in the Ternopilskyi region. An analysis was made of the musical culture specifics of the region and a research was made of the way to save ethnic traditions with instrumental music, folklore, cultured and historical process on the example of musical instruments and folklore forming.
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Piano art as a cultural phenomenon. Wrote revealed the best traditions of piano art in the context of certain periods of the culture, preservation of piano performance, which is in constant search of today's dynamic socio-cultural situation. The article summarized the materials published in the philosophical, historical literature, articles, periodicals.
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Publication is devoted research of features of forming of Ukrainian VIA-style in the context of world and soviet music in 70th the XX item it is Marked that the leading tendencies of this phenomenon in an indicated period were active collaboration of composers and poets of different republics of Soviet Union, that resulted in expansion of repertoire of VIA; combination is in Ukrainian VIA-motion of stylish elements of the traditional stage, at bat and to the folk-year; appearance of new qualities of composition of song (scales, intensities of becoming, gap-willingness and depth); influence of the «Russian chanson» is on the musical language of soviet VIA; influence of art-year and fatal opera is on creation of bands; use of VIA of elements of dzhaz-fate, intonations of «court» and «protection» song, style of disco.
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Completely forgotten in the XIX century instrument - harpsichord, the most famous XVI-XVIII centuries begins his new life in the twentieth century. Polish harpsichordist Wanda Landowska was a central figure in this process and results of its activities are known and have development in Western and Eastern Europe, Russia, Ukraine, America and Africa.
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