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ЗВУКЪТ КАТО СМИСЪЛ

Author(s): Andrey Leshkov / Language(s): English,Bulgarian Issue: 5/2017

This article attempts to approach three problems: 1) What does it mean that a work of music exists? 2) How does the experiencing of a musical artwork come into being? 3) Why does the world of a musical artwork remain ineffable? As to the problem of question 1), the solution the author proposes is that any musical artwork possesses an intermittent existence, devoid of the sort of permanence one finds in works of other arts. The problem referred to by question 2) concerns the conditions of possibility to intellectually experience a musical artwork; here an answer is sought by connecting time-consciousness and intentionality, phenomenologically interpreted. The problem referred to by question 3), regarding musicalitas ineffabilis, is addressed here as related to a certain primacy (both ontological and aesthetic) of the yet unfinished becoming over the now finished being

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Семіосфера біблійних образів: функціонування в культурі

Author(s): Olena Anatoliyivna Stepanova / Language(s): Ukrainian Issue: 4/2019

Purpose of the article is to study the essence of the functioning of “wandering” biblical images in culture and the disclosure of retransmitted senses, the semantic core of which is explicated on the basis of the narratives of the Holy Scriptures, as well as previous cultural topos. The methodology of the research consists of using the structural-semiotic method, which makes it possible to interpret the semantic meanings of individual biblical images and explain the strategies of its functioning in culture. The scientific novelty consists in proving the study of the functioning of biblical images in the continuum of world culture, in particular by the example of the semiosphere of the figure of the Saint Mark the Evangelist, present in the cultural texts of both the Christian East and the West. The functioning of this Christian image is analyzed not only in the traditional sacral culture (iconography, music), which can be traced throughout history but also in modern popular culture. Conclusions. Biblical images that are universal in their meaning function in the context of intertextual relations – in different types of art, national cultures, and confessional communities over a long chronological dimension, including modernity. The image of the Evangelist Mark demonstrates how the inner semantic potential of this saint “travels” and reinterprets, presenting the deeper meanings of the Gospel narrative, which acts as a semantic core. The broad references of the semiosphere of the image of St. Mark create a complex interweaving of “texts in texts,” whose orderly interpretation provides a meaningful perception. The analyzed image of St. Mark the Evangelist demonstrates how the inner semantic potential of this figure of Christian history "travels" and reinterprets, presenting the deep meanings of the evangelical narrative that emerges as a semantic core. The linguistic references to the semiosphere of the image of St. Mark create a complex interweaving of "texts in texts," an orderly interpretation of which enables a meaningful perception.

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Church works by M. Berezovsky in the interpretation aurum of post-author editions

Author(s): Olga Shumilina / Language(s): English Issue: 4/2019

The purpose of the article. The article is devoted to the study of two versions of the musical text of the concert «Ne otverzhi mene vo vremia starosti» by M. Berezovsky. The manuscripts of the late XVIII century, in which this concert has a different version of musical text, is being studied, is absolutely unknown today. It is concluded that this version is the original author's version of the concert «Ne otverzhi.» The methodology of the research is an integrated approach, and it is based on the use of analytical and comparative methods. The scientific novelty of the work is to find out the tendency to correct the musical texts of choral works of Berezovsky during the preparation for printing in the XIХ and early ХХ centuries, and in attracting a wide range of manuscript sources for the purpose of establishing the original version of the concert «Ne otverzhi,» which has no further editing. Conclusions. It is noted that the prospects for studying this topic are to find out the reasons and methods of later editing of the original author's text in all choral works of Berezovsky, which were published during the XIX - early XX centuries, as well as in the publication of original versions that were created by the author and sung during his life. The second fundamental difference between the manuscript and published versions of the Concert is associated with the use of accidentals, which in some cases are added, and in others – removed. The addition of accidentals occurs in the overwhelming majority of cases in the chords of the subdominant group used in S – D idioms, which leads to their transformation into a double dominant, and also while transfer from the tonic to subdominant in minor keys, which creates the effect of a short-term transition to a new tonal center. Consequently, M. Berezovsky's harmonic innovations, referred to by many modern researchers, are the result of a later editorial revision.

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Видіння радості у «Фауст-симфонії» Ф. Ліста як втілення епохального символу романтизму

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian Issue: 4/2019

The purpose of the article is a discovery «visions to Joys» in romantic creation of ideals as history transformation to concepts art to I. Kant – L. Beethoven from protоromanticism Stürmers to romantic to Daydream, presented in a row of the compositions of the different authors and in «Faust-Symphonies» F. Liszt especially. The methodology of the work is the hermeneutic method of the analysis artifact and thinkings as a whole, as this is presented in the work of A. Losev, B. Asafiev, B. Yavorskij and the other researchers, including in culturology musicology to books of E. Markova, O. Muravskaja and their alumnus. The scientific novelty is conditioned by the independence of the approach to understanding the sense projection of genius of L. Beethoven in creative fulfillment romantic epochs, hermeneutic originality analysis of the rhetorical measurements expressiveness of works F.Liszt and others authors. Conclusions. For the first time in culturology and sciences about arts is chosen idea of I. Kant by L. Beethoven as profound idea of the Transfiguration of the world by means creation of art in his romantic symbolization, in which obvious is a decrease social grounding of ideal beginning and growth to rhetorical conventionality of the entailment, directed to daydream-Dream of symbolists – on material of honoring of L. Beethoven to M. Glinka, R.Vagner, G. Mahler and specially expressiveness of «Faust-Symphonies» of F. Liszt. The last gives the Vision feminine begin world as Joy-Consolation in the curl of masculine disharmonious being.

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Сучасна піаністична культура і бетховеніанство - моцартіанство в ній

Author(s): Lilia Mykhaylivna Shevchenko / Language(s): Ukrainian Issue: 4/2019

The purpose of the article is to show the nature of the interaction to Mоzаrt and Bеrтhоvеn style tradition in the piano play of their ambiguous joint presence and interactions in inheritance cultural-artistic life lengths to the past century. The methodology of the work is the culturology approach in science about art, presented including the school of B. Asafiev in Ukraine, begin which are fixed French Ars nova begin XIV century and are turned in riverbed theatrical mimеsis of J.-J. Rousseau. The base place occupies the method of the genre-style benchmark analysis, hermeneutic, historian-descriptive methods, allowing within fix the semantic parallels of the formation of the humanitarian sphere and expressiveness of art. The scientific novelty of the work is concluded in that for the first time in science about culture to Ukraine are brought forth of the style contradiction of pianism in inheritance piano ways Mozart style type and Beethoven style type as paradigm sign of piano cultures to contemporaneity. Conclusions. Appeared and acts "hеtеrоphony" principle in general cultural position of piano play: Beethoven and Mozart forming of style paradigm to the piano culture, there is a phenomenon of universal planetary importance. Its disjunctive principle that is unbalanced qualitative correlation artistic entering of Beethoven character and broadly covering out-art horizon of Mozart character play has determined uniquely, noted national "waviness" world-outlook in Ukraine, which gives birth ambiguous, but productive and exciting intersection specified typology, which have a sincere central to the further development of the music thinking. The disjunctive approach to the study of the stylistic paradigm of one or another century brings to the cultural perspective the knowledge of epochal styles, which are unknowable in their entirety in the art of science since it is not the artistic sphere that constitutes the source and the impetus for their existence. Moreover, even the styles, which are the expression of creative differentiation of thinking, do not always feed in their origins specifically in the creative sphere - this is the reason for the long neglect in the second half of the nineteenth and twentieth centuries such artistic and, at the same time, all-culturally encompassing phenomena such as the Rococo, the Biedermeier, and the center of modernity on the eve of the twentieth century - symbolism.

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АРХЕОГРАФІЧНИЙ АНАЛІЗ УКРАЇНСЬКИХ РУКОПИСНИХ ПІВЧИХ ЗБІРНИКІВ ТРІОДЕЙ XVI СТ.

Author(s): Mykola Pidhorbunskyi / Language(s): Ukrainian Issue: 36/2019

The purpose of the article is to analyze the Triodey manuscript collections in the collection of the NBUV Manuscript Institute; conducting an archaeographic description and identifying characteristic features in the songbooks of the Ukrainian Orthodox Church in the 16th century. The methodology includes system analysis, which made it possible to analyze and explore handwritten singing collections. Statistical and chronological methods were used to determine the temporal and quantitative characteristics of the analyzed material. Scientific novelty is to clarify the differences: in the design of the text of handwritten collections, in the use of ekfoneticheskoy and irrelevant notation, and the gradual modernization of the Ukrainian half-order. Conclusions. The archaeographic description of the manuscript Triodeus made it possible to identify common features in the design of ancient collections. The texts of handwritten collections were written by the Ukrainian half-mouth. Each section begins with a heading written in cinnabar script, and the end of each section has a certain design in the form of a colophon or a small graphic image. And also certain differences were revealed: in the design of liturgical texts and the gradual modernization of the Ukrainian half-order. Ephonetic and irrelevant notations in singing manuscript collections of the Triode of the 16th century has a certain variability. Church hierarchs did not consider this a violation of certain norms, but any variability in relation to liturgical texts was not allowed, since they were canonical.

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РОЛЬ УЖГОРОДСЬКОГО ІНСТИТУТУ КУЛЬТУРИ І МИСТЕЦТВ У РОЗВИТКУ ПРОФЕСІЙНОЇ МУЗИЧНОЇ ОСВІТИ ЗАКАРПАТТЯ

Author(s): Olesya Glukhanich / Language(s): Ukrainian Issue: 36/2019

The purpose of the article is to study the historical role of Uzhgorod Institute of Culture and Arts in the formation and development of professional music education through the lens of mutual influence of national cultures. The methodological base consists of studies on the history of Transcarpathia, cultural studies of artistic processes, theoretical works, articles, materials, archival documents. The methodology of the study involves the use of historical-logical, analytical, systematic, comparative methods, which allows to reveal, comprehensively and in detail analyze the influence of Uzhgorod Institute of Culture and Arts on the cultural and artistic life of Transcarpathia and the formation of professional music education.The scientific novelty of the article is to study the historical role of the Uzhgorod Institute of Culture and Arts. For the first time, a thorough analysis of the role of the educational institution in the formation of the professional music culture of Transcarpathia was carried out, thus determining the role of the influence of national cultures in professional music education.Conclusions: Uzhgorod Institute of Culture and Arts has a decisive influence on the formation of modern professional music culture in Transcarpathia. Wide support for the multiethnic influences of national cultures, their integration into the learning process made it possible to attract representatives of national minorities of the region to receive professional education. At the present stage, Uzhgorod Institute of Culture and Arts is a holistic educational system that provides the degree of professional art education in Transcarpathia.

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НЕОФОЛЬКЛОРИСТИЧНІ ТЕНДЕНЦІЇ У ТВОРЧОСТІ БАЯНІСТІВ-АКОРДЕОНІСТІВ ХХ СТ.

Author(s): Nadiya Ostapchuk / Language(s): Ukrainian Issue: 36/2019

The purpose of the work is to study the conditions of formation of neo-coloristic tendencies in the accordion-accordion art of the twentieth century, which determined the general style of musical creativity of this direction. The methodology is to apply the general scientific principle of objectivity, historical, logical, analytical and comparative methods in the study of neo-folkloristic tendencies and creative searches for the performing skills of development in the accordion and accordion art of the twentieth century. The scientific novelty of the work is to reveal the general synergy of the development of accordion and accordion art under the influence of neo-folklorism, which in turn caused the peculiarities in changing the repertoire for accordion and accordion, which helped to form new updated tendencies in performance, thus increasing the level of performance mastery of the instrument as a whole artistic and aesthetic phenomenon of musical culture. Conclusions. The study concludes that neo-folklore as a phenomenon of musical culture provided new means of musical expression for performing forms of expression that focused on the folklore component. The coexistence of traditional (classical) and neo-folkloristic tendencies causes the emergence of new trends in art, which begin to influence the development of creativity of accordion and accordion music in general of the twentieth century.

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УВЕРТЮРА «РУХ ВІТРУ» ГО ВЕНЬЦЗІНА ЯК ЗРАЗОК ІННОВАЦІЙНОГО ПІДХОДУ ДО КИТАЙСЬКОЇ ПРОГРАМНОЇ УВЕРТЮРИ

Author(s): Cheng Yunjia / Language(s): Ukrainian Issue: 36/2019

The purpose of the article. The article aims to derive systematic features of symphonism as a method of artistic thinking and the national peculiarities of Chinese symphonic music for a European orchestra. The methodology of the research lies in using holistic, systematic, comparative, and historical methods of musicological analysis. The scientific novelty of the work is that the author first introduces the work in the genre of the Chinese programmatic symphonic overture to the Ukrainian scientific conversation and attempts to highlight the musical style features of Guo Wenjing. Conclusions. The Overture of the Wind Movement by Guo Wenjin is a striking example of the genre of program symphonic overture of the modern Chinese composing school of the second half of the 1990s. The features of program symphony are expressed in the program title (the symbolism of the image of the wind, which in Chinese mythology is associated with the God of the Wind Fei Li), the principles of thematic development - motive development; figurative, textural, timbral contrast of sections, dialogue between orchestra groups as a sign of concert principles, re-intonation (intonational rethinking of heroic marching and contemplative pentatonic variants of the theme, combining in a new tutti sound in code), or having unifying ones the leitrhythm of the "wind movement," the leitintonation (a melodic line built on the Tertiary chants) and thematic reprise in sections of sonata-allegro. Also of particular importance are style allusions with the works of J. Williams, GF Handel, L. Beethoven, PI Tchaikovsky, M. Ravel, K. Orf, M. Glinka, MA Rimsky-Korsakov as a personification of dialogue.

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Considerații asupra spectacolului de teatru muzical-coregrafic cu specific tradițional

Author(s): Silvia Macrea / Language(s): Romanian Issue: 34/2020

The research explores studies of musical theatre dance shows dedicated to traditional culture, dealing both with the importance of spectacle in preserving tangible and intangible heritage and with the importance of promoting it to wide audiences. The relation traditional heritage – folkloric shows has been approached through the concepts of cultural memory and identity, but also through the requirements demanded by a stage production.

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Humanista Francisco de Peñalosa (c. 1470–1528) i jego Lamentacje

Author(s): Wojciech Odoj / Language(s): English,Polish Issue: 56/2020

Francisco de Peñalosa (ok. 1470–1528), uważany za największego i najwybitniejszego hiszpańskiego kompozytora przed Cristóbalem de Moralesem, skomponował znaczną liczbę utworów zachowanych głównie w rękopisie Tarazona 2/3 (sporządzonym między 1521 a 1528 r.) – największym źródle iberyjskiej muzyki religijnej z przełomu XV i XVI w. Wśród kompozycji tam zawartych znajdują się cztery Lamentacje, z których trzy przypisywane są Peñalosie. Lamentacje te wydają się być najwcześniejszymi hiszpańskimi polifonicznymi opracowaniami wersetów z Księgi Jeremiasza, których autorstwo jest znane. Napisane przez kompozytora z Półwyspu Iberyjskiego opracowania zawierają co najmniej kilka cech charakterystycznych dla tradycji hiszpańskiej, odróżniających je od innych Lamentacji skomponowanych w mniej więcej tym samym czasie. Równocześnie, co wynika z analizy, poprzez specjalne traktowanie niektórych słów Peñalosa dołączył do szerokiej grupy kompozytorów zainspirowanych pięknem i głębokimi emocjami zawartymi w Jeremiaszowych Trenach. Jako kompozytor, który najprawdopodobniej studiował sztuki wyzwolone i płynnie posługiwał się łaciną, Peñalosa jawi się więc jako artysta niezwykle kreatywny oraz jako osoba świadoma tego, co znaczyło być wówczas humanistą.

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Teksty liturgiczne w wielogłosowych mszach żałobnych ze zbioru rękopisów Biblioteki Ojców Paulinów na Jasnej Górze w Częstochowie

Author(s): Dariusz Smolarek / Language(s): English,Polish Issue: 56/2020

Europejska tradycja muzyczna przekazuje w zachowanych zbiorach pokaźną liczbę wielogłosowych opracowań Missa pro defunctis (np. benedyktyni w Kremsmünster, Einsiedeln, Lambach, cystersi w Stams, Heiligenkreuz, kapucyni w Pradze, urszulanki w Bratysławie). Również w repertuarze kapel muzycznych funkcjonujących przy kościołach w dawnej Rzeczpospolitej (XVII i XVIII w., w okresie zaborów w XIX w.) znajdowały się wielogłosowe kompozycje do tekstu mszy żałobnej. Requiem wykonywały zespoły działające przy kościołach klasztornych (cystersów, dominikanów, pijarów, jezuitów) oraz diecezjalnych. Były to utwory kompozytorów polskich oraz zagranicznych. W tę tradycję wpisuje się również działalność muzycznej kapeli jasnogórskiej w Częstochowie, której zachowany repertuar zawiera ponad 40 kompozycji rekwialnych pochodzących z drugiej połowy XVIII i XIX w. Są to dzieła muzyków działających przy zespole paulińskim (L. Maader, F. Gotschalk) oraz innych twórców polskich (np. M. Zwierzchowski, J. Engel, J. Elsner) i zagranicznych (m.in. W.A. Mozart, E. Pausch, J. Gotsche, J.M. Dreyer). Celem artykułu jest zaprezentowanie utworów requiem zachowanych w zbiorach Biblioteki Klasztoru oo. Paulinów na Jasnej Górze oraz ich recepcji w innych ośrodkach Polski oraz Europy. Zostanie przedstawione wykorzystanie tekstu liturgicznego mszy żałobnej oraz jego tłumaczenie i interpolacje zastosowane przez twórców, a także wskazanie funkcjonowania kompozycji Missa pro defunctis na Jasnej Górze.

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Edward Słoński, poeta I wojny

Author(s): Anna Nasiłowska / Language(s): Polish Issue: 5/2020

Nasiłowska presents the work of Edward Słoński, author of two outstandingly popular poems. Słoński, who ran a dentist’s clinic in Warsaw at the time, wrote on postcards, adding sophisticated graphic art by different artists. In the early twentieth century he had been a graphic artist as well; he had also been editor of the short-lived journal Fala, and he collaborated with other journals. His own artwork and the work of other graphic artists draw on Japanese art, which was in vogue at the time. Słoński’s works have also been set to music and performed as songs. His poems deal with experiences from the beginning of the war. Słoński also worked with Valery Bryusov, who was staying in Warsaw as a Russian press correspondent at the beginning of the war.

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К 175-летию Н. А. Римского-Корсакова: из фондов Научной Библиотеки Бельцкого Университета им. Алеку Руссо.

Author(s): Marina Şulman,Snejana Zadainova,Elena Ţurcan,Olga Dascal / Language(s): Russian Issue: 2/2019

The second part of the article dedicated to the great Russian composer N. A. Rimsky-Korsakov on his 175th birthday, deals with his brilliant masterpiece ,,The Legend of the Invisible City of Kitezh". This mysterious work related to church music culture (akathist, liturgy) has a deep philosophical and religious sense and is often compared to the musical innovations of Richard Wagner. The work describes the charming heroines of Rimsky-Korsakov's work.The authors of the article, also, inform users about books and other famous works of composers that can be found in the Office of Musical Literature of SL USARB.

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A „mételyező Dzsessz” és a magyar nóta háborúja

Author(s): András A. Gergely / Language(s): Hungarian Issue: 3/2020

Hajnáczky Tamás (szerk.): Magyar Cigányzenészek Országos Egyesülete. Cigányzenészek harca a két világháború közötti Magyarországon. Gondolat Kiadó: Budapest, 2019. 354 oldal

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Kronika kulturnih događanja u Mostaru: lipanj – kolovoz, 2020.

Author(s): Mira Pehar / Language(s): Croatian Issue: 113-114/2020

12. 6. U Galeriji kraljice Katarine otvorena izložba maturalnih radova 20. generacije maturanata Srednje likovne škole Gabrijela Jurkića. Predstavljeno je 35 radova: slika, instalacija i skulptura rađenih u različitim tehnikama. 18. 6. Održan koncert klavirista Glazbene škole Ivana pl. Zajca iz klase prof. Silvije Vukojević, u sklopu Dana svetoga Ante, u Franjevačkom centru "Sv. Ante – Cim".

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An exemplary 20th century Eastern European life

Author(s): Gabriel M. Paletz / Language(s): English Issue: 01+02 (45)/2021

Review of: Gabirel M. Paletz - One Hundred Miracles: A Memoir of Music and Survival. By: Zuzana Růžičková with Wendy Holden. Publisher: Bloomsbury Publishing, London, 2019

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Antyczne źródła estetyki muzycznej

Author(s): Jacek Bramorski / Language(s): Polish Issue: 46/2020

Począwszy od Pitagorasa, poprzez Platona i Arystotelesa, starożytna teoria estetyki muzycznej akcentowała szczególne znaczenie piękna muzyki w perspektywie etycznej, zarówno w wymiarze osobistym, jak i społecznym. Muzyka spełniała istotną funkcję w wychowaniu młodzieży według szlachetnego ideału kalokagatii. W ten sposób stanowiła ona niezbędny element antycznej paidei, formując moralny charakter człowieka oraz uzdalniając go do kontemplacji piękna. Antyczna wizja estetyki muzycznej stała się bliska chrześcijańskiemu ujęciu tego zagadnienia. Charakterystyczna dla filozofii starożytnej koncepcja etosu muzycznego wywarła wpływ nie tylko na kształtowanie się teorii muzyki w następnych wiekach, ale na rozwój całej kultury europejskiej. Myśl filozofów antycznych nie straciła swej aktualności. Wskazuje także nam, że nie można ograniczać dzieła wychowania jedynie do aspektu praktyczno-technicznego, gdyż pomijając wyższe zdolności duszy, nie osiągnie się właściwego celu edukacji, jakim jest moralna dobroć i prawość człowieka.

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Hudobné činnosti na osvojovanie si detských prechodových rituálov z rodiny do materskej školy

Author(s): Kristína Mlatecová,Eva Králová / Language(s): Slovak Issue: 4/2019

Musical activities are popular with children and that is the reason of their common use in the educational process of nursery schools. However, they are often neglected as the tool to acquire rituals in children, thus we focus on them in the theoretical background and application part of our article. We focus on the acquisition of rituals connected with transition of a child from family to the nursery school using music activities with three- to six-year-old children in the nursery school of Nové Zámky In the theoretical background we depict the problem which is the basis for application of musical activities in acquisition of transition rituals to nursery school.

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CULTURAL ARCHETYPES IN THE CONSTRUCTION OF “POSSIBLE WORLDS” OF MODERN AFRICAN-AMERICAN RAP (BASED ON KENDRICK LAMAR’S TEXTS)

Author(s): Natalia Kravchenko,Valentyna Snitsar / Language(s): English Issue: 4/2019

The research aims at defining the archetypal-symbolic basis of contemporary African-American rap while specifying its imagery in terms of "possible worlds" as the semiotic framework of the existential problem articulation. The transition process, associated with archetypally based "possible worlds", correlates with mythological and fairy tale initiation, enabling the hero to answer existential questions at both the "consumer" and transcendental levels. Narrative universals in the conceptualization of the life path, resulted in the hero’s transfiguration, rely both on the themes recurring for rap texts (childhood, prison, drugs), and on archetypal models associated with a mythological and fairytale narrative, where hardship, violation of prohibitions, and requital are necessary conditions for the protagonist transformation. The archetypal symbolism of Kendrick Lamar’s lyrics led to the unexpected conclusion that the rapper-performer’s alternative world is the world of Christian values. The process of the lyrical hero’s transition into alternative world coincides with the splitting of the image of "rebel" into counter roles based on the archetypal models of “"trickster", "shadow" and "prophet".

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