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Musical problem-solving skills of music education students: An evaluation on performance

Author(s): Gözde Yüksel,Ezgi Babacan,M. Devrim Babacan,Tolga Yüksel / Language(s): English Issue: 9/2022

This research was conducted to examine the musical problem-solving skills of music education students during the process of studying a new piece of music. The correlational survey model was used to determine the musical problem-solving level of the students and the relationship between problem definition and resolution levels. The criterion sampling method was used to determine the participants of the study (i.e., 14 flute students from the department of music education). To collect the data, an observation form consisting of definition, synthesis and analysis steps, selected by the researchers for the basic musical problems of musical instruments education, consisting of tonality, articulation, nuance, tempo, interval and rhythmic patterns content, was used by using the 'Bridge Model' developed by Adair. Observation took place in three steps. Problem identification was the first step in solving a musical problem, which was to detect the existence of the problem, and students identified all other problems except for the nuance. In the synthesis step, we determined which of the options the students used to solve the problem she or he defined. Instead of using specific solutions to the problems, the students mostly preferred the option of playing the piece from beginning to end. In the analysis step of the musical problem, while the students were playing the musical piece from beginning to end, the results of the problems studied for the solution were evaluated. It was determined that the students did not have any problems with the tonality and rhythm of the work, but had difficulties in the analysis of articulation, interval and nuance. In addition, it was determined that there was a positive significant relationship between the students’ levels of defining and solving musical problems. According to the general results, students are able to define the problem, but cannot apply different approaches to how to solve the problem in the synthesis and solution stages. This research is limited to determine the situation of that based on individual practice performance on a single instrument. For this reason, future research can provide a detailed perspective on the cause of the problem by considering different instrument performances supported by student and teacher opinions.

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INSTRUMENTAL ART OF UKRAINE IN THE 1960s – THE BEGINNING OF THE 21st CENTURY: STUDYING FROM THE STANDPOINT OF THE PHILOSOPHY OF MUSICAL ANALYSIS

Author(s): Anastasia Igorivna Kravchenko / Language(s): English Issue: 2/2022

Purpose of Research. The purposes of the research are to identify the specifics of the philosophy of musical analysis in basic philosophical, aesthetic and musicological categories and to outline its significance in the cultural studies of the phenomena of Ukrainian musical art, in particular, chamber-instrumental (based on the work of representatives of the Ukrainian school composers of the 60s of the XX-th century - the beginning of the XXI-st century). Methodology of Research. The research methodology is based on the combination of the application of a number of scientific approaches and the following methods: analytical, semiotic, hermeneutic, cultural and art studies ones, which allow us to consider the issue of the methodology of the analysis of musical works from in the context of the philosophy of music. Scientific Novelty. The scientific novelty of the research is the generalization of existing concepts in order to further develop the principles of the philosophy of musical analysis in a combinatorial combination of classical musicological and «discursive» analysis. This approach allows us understanding the formal-structural, content-semantic and semantic aspects of the organization of musical material in their integrity within the process of compositional and performing creativity. Conclusions. It has been proven that the creation, reproduction and perception of compositions is a process of worldview self-awareness through their works. The variability of interpretive versions of cultural hermeneutic understanding of musical meaning is formed in medial channels at the communicative junction of mutual exchange of artistic and aesthetic information between its generator, translator and perceiver. So, the importance of the philosophy of musical analysis in the study of the works of chamber-instrumental art of representatives of the Ukrainian school composers and their compositions is highlighted.

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«ІТАЛІЙКА В АЛЖИРІ» ДЖ. РОССІНІ В КОНТЕКСТІ ЕВОЛЮЦІЙНИХ ШЛЯХІВ РОЗВИТКУ ІТАЛІЙСЬКОГО МУЗИЧНОГО ТЕАТРУ ПОЧАТКУ XIX СТОЛІТТЯ

Author(s): Antonina Kuliieva / Language(s): Ukrainian Issue: 2/2022

The purpose of the study is to identify the poetic and intonational features of the opera «Italian in Algeria» by G. Rossini in the context of general evolutionary paths of development of the genre of Italian comic opera. The methodology is based on a combination of culturological, historical and musicological, hermeneutic and art studies, which together significantly deepens the study of genre and style specifics of opera by G. Rossini, in particular, «Italians in Algeria» as a new stage in the development of opera-buffa. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the manifestations of aesthetic and stylistic guidelines of Rossini's opera «Italian in Algeria» and its genre specificity, adjusted to the Italian cultural and historical tradition of the early nineteenth century. Conclusions. The plot-semantic indicators of G. Rossini's «Italians in Algeria», on the one hand, show contact with the typology of the «classic» opera-buffa, as evidenced by the traditional comedy plot; the correlation of most of the heroes of the play with the types of Italian comedy masks; appeal to oriental (Turkish) themes, interpreted in the spirit of the ideas of the Enlightenment, as well as analogies with the Mozart Musical Theater and the comedies of JB Moliere. On the other hand, the opera demonstrates the innovative approach of its author, as evidenced by the final rondo of Isabella with the choir, which both in text and in intonation language appeals to the ideas of Italian culture on the eve of Risorgimento. Generalization of the intonation specificity of «Italian in Algeria» by G. Rossini demonstrates the originality of the relationship between traditions and innovations. The poetics of opera-buffa is manifested here in G. Rossini's masterful mastery of the art of opera ensemble; in the wide use of timbre-performance capabilities of buffoon bass, patter techniques, etc. The novelty of the work is manifested in the complexity of the images of the main characters, the richness of their intonation characteristics, which were based on the traditions of belcanto. This is primarily related to the image of Isabella, who ultimately gravitates to the ideas of national patriotism and thus greatly expands the expressive possibilities of the typology of opera-buffa in line with the socio-political and cultural realities of Italy in the early XIX century.

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ГАСТРОЛЬНО-ПРОСВІТНИЦЬКА ДІЯЛЬНІСТЬ УКРАЇНСЬКИХ МУЗИЧНО-ДРАМАТИЧНИХ КОЛЕКТИВІВ У РОЗВИТКУ ЕТНОКУЛЬТУРНИХ ЗВ’ЯЗКІВ

Author(s): Iryna Yan / Language(s): Ukrainian Issue: 2/2022

The purpose of the article is devoted to the study of the tour-enlightening activities of the Ukrainian musical and drama groups in the development the ethnocultural relations in the multicultural conditions of the Russian empires in the late XIX – beginning of the XX centuries. The research methodology of the study consists in the application of historical-cultural, analytical, systematic, and art-scientific methods, which allows you to analyze the artistic enlightening, creative aspects of national theatre groups. The scientific novelty of the work is the analysis of the specific features of the tour-enlightening activities of the Ukrainian musical and drama groups in the context development of ethnocultural relations. Conclusions. During the imperial colonization of culture, the activities of prominent Ukrainian theater artists were aimed at promoting the national culture, and traditions of the Ukrainian nation among a wide range of polyethnic audiences. Dedicated to outstanding masters of the Ukrainian scene, numerous reviews in the columns of periodicals show that viewers and reviewers perceived their work as deeply national and culture-forming. The tour enlightening activity of Ukrainian musical and drama groups was directed the development of ethnocultural relations, contributed to that Ukrainian music and drama theatre became an aesthetic source of national spirit and an important factor in ethnocultural identification.

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МІСТЕРІАЛЬНО-МІФОЛОГІЧНІ ПІДВАЛИНИ УКРАЇНСЬКОГО МУЗИЧНОГО ТЕАТРУ XIX СТОЛІТТЯ (НА ПРИКЛАДІ ТВОРЧОСТІ С. ГУЛАКА-АРТЕМОВСЬКОГО ТА М. ЛИСЕНКА)

Author(s): Olga Viktorivna Muravskaya / Language(s): Ukrainian Issue: 3/2022

The purpose of the study is to reveal the sacred and mysterious genesis and spiritual foundations of the classics of Ukrainian musical theatre, represented by the work of S. Gulak-Artemovskyi and M. Lysenko. Research methodology. Interdisciplinary, historical-cultural, genre-stylistic approaches were essential for this work. The scientific novelty of the work is determined by its analytical perspective, which takes into account not only the originality of the creative contribution of S. Gulak-Artemovskyi and M. Lysenko, but also the spiritual and mysterious genesis of their opera heritage. Conclusions. The poetics of the Ukrainian musical theatre was formed against the background of the traditions of the baroque school theatre, the genre specifics of which went back to the Byzantine ritual and cult practice and liturgical drama in combination with the mythological and archetypal instructions of the Ukrainian national consciousness. The classics of Ukrainian opera of the 19th century, represented in the work of S. Gulak-Artemovskyi and M. Lysenko, inherit this theatrical-mysterial and ethical-didactic basis in the cultural-historical realities of its era. “Zaporozhets by the Danube” within the comic genre highlights the archetypal features of the Zaporozhian Cossack type, as well as the mythologem of the “search for paradise”. Against the background of the poetics of the historical-heroic opera, this problem is presented in “Taras Bulba” by M. Lysenko, which creates an author's version of Gogol's story with obvious parallels with the biblical theme and an appeal to the dominant bass timbre, which genetically descended from the Orthodox cult singing practice. M. Lysenko's children's operas at the level of mini-mysteries symbolise involvement in national mythology and its archetypal instructions, an appeal to the Ukrainian mysterious Universe through the author's “cosmological fairy tale”.

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«ШУКАЧІ ПЕРЛІВ» Ж. БІЗЕ В РІЧИЩІ ПОЕТИКИ ФРАНЦУЗЬКОЇ ЛІРИЧНОЇ ОПЕРИ

Author(s): Lin Yuheng / Language(s): Ukrainian Issue: 3/2022

The purpose of the study is to reveale the poetic and intonation uniqueness of G. Bizet’s “The Pearl Fishers” in the context of the genre-style canon of French lyric opera. The methodology of the work has a complex nature and is based on a combination of the principles of cultural, historical-typological, hermeneutic, and genre-intonation studies. The scientific novelty of the work is determined by the fact that it examines for the first time the genre-stylistic and spiritual-meaning specifics of G. Bizet’s “The Pearl Fishers” in the realm of the poetics of French lyric opera. Conclusions. Lyrical opera is a bright stage in the development of French musical theatre in the middle and second half of the 19th century. The opposition of this genre in relation to “grand” opera at the same time does not exclude their mutual influence, which is manifested in the antitheses of the personal drama of the main characters, ennobled by a high sense of love, and the patriarchal instructions of the environment in which they are. This also determined the stylistic specificity of lyric opera, formed at the intersection of romantic and Biedermeier traditions. The mysterious genesis of the European musical theatre was reflected in the lyric opera in the potential direction of the fate of its main characters towards spiritual transformation. G. Bizet’s romantic-exotic opera “The Pearl Fishers”, created in 1863, is based on the dramatic story of a priestess who broke her vow and her lucky escape from punishment. The genre canon of the lyric opera is manifested in the named opera in the appeal to the oriental plot, in the presence of a traditional love drama for lyric opera, which is in contradiction with the generally accepted patriarchal norms of the spiritual and religious order, which are dominant in the society in which the main characters live, in a significant the role of genre scenes, which generally reproduce within the framework of the European musical tradition, without corresponding folklore quotes, the exotic flavour given by the plot (fifth-note bourdons, the essential role of the metro-rhythmic factor and the timbre of percussion, the figurative-improvisational type of the vocal part of Leila the priestess).

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Zhodnocení distanční výuky v hudebním oboru na základních uměleckých školách Královéhradeckého kraje

Author(s): Ludmila Kroupová / Language(s): Czech Issue: 4/2022

In 2021, a research was conducted in the Hradec Kralove Region, the aim of which was to find out how teachers and parents of pupils in the field of music in basic art schools view changes in the educational process in connection with distance education. The paper informs about the development of research and presents the first few, already evaluated results.

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Témy prednášok v rámci letných seminárov EPTA v rokoch 1988 – 2008

Author(s): Miriam Matejová / Language(s): Slovak Issue: 4/2022

The paper focuses on topics that were presented at the summer seminars for teachers of the EPTA piano play in the years 1988 – 2008. Briefly presents the European Association of Piano Teachers and the first president of the Slovak section of the EPTA Eva Fischerová – Martvoňová.

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Hudobné presahy edukačného a umeleckého rozvoja, prostredníctvom projektu UP! Umění pomoci

Author(s): Tatiana Škapcová / Language(s): Slovak Issue: 4/2022

Project UP! The art of Help offers social workers space to eliminate exhaustion from work assignments in the social sphere, through music and education. During the application of receptionist music techniques, an accent is placed on the development of participants and anchoring the surviving musical experiences in the drawing. In the interpretation of experiences through drawing and conversation, there is a connection between artistic depiction and reciprocal of a musical work, accentuating creative approaches. In the educational field, planes are supported, which lead the participants to master the mechanisms causing their exhaustion.

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ПРЕДПОСЫЛКИ ФЕНОМЕНА КОРЕЙСКОЙ ВОЛНЫ (конец 1950-х – начало 1970-х годов)

Author(s): Kristina S. Fedorenko / Language(s): Russian Issue: 8/2022

The relevance of the article is determined by the growth of scholarly interest in the rising popularity of Korean pop culture all over the world. This phenomenon known as the “Korean Wave” attracts researchers’ attention because of its positive impact on the economy and foreign policy of the Republic of Korea. The 1990s are considered to be the beginning of the “Korean Wave”. However, the first contact between Korean popular culture and western audience happened long before that. The article focuses on the South Korean singers who became popular in the USA and Europe in the late 1950s. Firstly, the author analyzes the situation in the music industry of the Republic of Korea during the first decade after the Korean War (1950–1953). Secondly, she describes the history of the creative growth of Kim Sisters, Korean Kittens and Patti Kim and the rise of their popularity in the West. The article pays a particular attention to how these artists’ performance presented the elements of Korean and East Asian cultures to the international audience. The author identifies the features of the Korean music industry development during the 1950s and the early 1970s manifested in the ambivalent American influence on Korean culture and the mixing of Western and East Asian cultures in the singers’ stage images.

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Pipe organ and organ music in Poland as a part of world heritage

Author(s): Bernat Sebastian / Language(s): English Issue: 2/2022

The pipe organ, as a musical instrument and an important object of cultural heritage, has been gaining increasing interest from the international community in recent years. This paper aims at examining the possibilities of preserving organs and organ music in Poland in an international context. As part of the study, an analysis of UNESCO lists was conducted. Furthermore, the organ-building assets in Poland and tourist products developed on their basis (including cultural trails dedicated to organs and organ museums) were studied. Attention was also drawn to other sites and forms of the organ of possible interest to tourists, and to the functioning of organ festivals during the COVID-19 pandemic and virtual organ projects implemented in that period. In addition, public awareness concerning the organ in Poland and Europe as well as organ festivals and other associated tourist products was examined. Finally, actions aimed at preserving Poland’s organ heritage were proposed with reference to practices in other European countries. It was concluded that one of the possible ways to integrate the conservation of organ heritage is a comprehensive approach through the landscape. Organs and their music also form a part of the local landscape, both as landforms reminiscent of the instruments and as artistic installations and sounds, shaping a sense of local and regional identity. It is also very important to engage in cross-border cooperation (including an exchange of good practices) and educational projects with regard to the safeguarding of organ heritage.

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Lubomír Tyllner – Zdeněk Vejvoda: Česká lidová píseň. Historie, analýza, typologie

Author(s): Kristina Lomen / Language(s): Slovak Issue: 2/2022

Lubomír Tyllner – Zdeněk Vejvoda: Česká lidová píseň. Historie, analýza,typologie. Praha : Bärenreiter Praha, 2019, 309 s. ISBN 978-80-86385-39-6

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Looking Back at the Theatre Production of a Scenographer, Musician and Film Architect Tomáš Berka

Author(s): Dagmar Podmaková / Language(s): English Issue: 03/2022

Tomáš Berka graduated from Department of scenography at Academy of Performing Arts in Bratislava under the professor Ladislav Vychodil in 1974, lived a parallel life as a visual artist and rocker, author of incidental and later also film music, as well as co-creator of music albums with the group called Fermata for decades. He was tempted away from the theatre by the illusion of film and the collaboration with international production teams and established film directors when creating large-scale films and constructing film sets. As a representative of action scenography, he had the opportunity to work with various directors on many, but predominantly on the Bratislava stages during the 1970-80s. He did not use the curtain or horizon on small stages; he worked with acronyms, movement of parts of the set and stage props, as well as metaphor. Tomáš Berka connected the auditorium with the stage on several occasions. He made a distinctive mark in graphic design; his theatre posters are typical for their characteristic outlines and colouring (regardless of the linocut or offset technique). Based on selected productions from a total of over a hundred works, the study presents Berka’s contribution to Slovak scenography from the 1970s to 2005, when his last theatre work was recorded. Tomáš Berka (together with Jozef Ciller, who is older than him and his classmates Ján Zavarský and Rasťo Bohuš) is one of the leading representatives of Slovak scenography that fundamentally influenced the direction of Slovak theatre development. Tomáš Berka is the only one among the stage designers who have also penetrated the world of music and, in recent decades, the international film industry. The study of his scenography completes the portrait of the stage designer’s work in Bratislava companies as it was unjustly marginalised also by foreign critics. While at the same time, several productions that he was engaged in which made an impact by their use of action scenography were produced in confined spaces of the petit stage of the former Divadlo na korze (Theatre on the Promenade), as well as in alternative non-theatre spaces. Tomáš Berka’s production of posters reflects the artist’s vision of society from the beginning of Normalisation, i.e. from the 1970s to the search for a path towards democracy in the first half of the 1990s.

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MUZICA CORALĂ ROMÂNEASCĂ MODERNĂ ÎN CONTEXT EUROPEAN

Author(s): Roxana Pîrvu / Language(s): Romanian Issue: 2/2022

The Romanian musical school of composition is well defined and denotes a stylistic unity, having individual valences, the creation finding its own ways of affirmation in the universal music of the 20th century. The composers of this period lay the scientific foundations of the research of musical folklore and its collection, having a decisive role in the evolution of musical creation that used this source in religious processing. The most important contributions were made by George Breazul (1887 –1961), Constantin Brăiloiu (1893 –1958), Sabin Drăgoi (1894 –1968) and Nicolae Ursu (1905 –1969).

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PARCURSUL EVOLUTIV AL MUZICII CORALE ROMÂNEȘTI DIN SECOLELE XX –XXI

Author(s): Roxana Pîrvu / Language(s): Romanian Issue: 3/2022

The purpose of the work is to know the elements related to the appearance of choral music, the sources of inspiration, the origin, the procedures used and the way it has evolved over time, up to the present day. The work aims at an announced knowledge of the evolution of choral music, with the goal of keeping alive the sources of folkloric, church inspiration, and last but not least, the composers who contributed to the development of Romanian music in a European context. An evolutionary path of Romanian choral music supports and helps to develop importance, a field that was born and evolved over time with the love and implications of composers, after the 20th century and up to the present day

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STUDIU: ACTUALIZĂRI ALE CATALOGULUI CREAȚIEI RELIGIOASE A COMPOZITORULUI ION VIDU

Author(s): Ion Alexandru Ardereanu,Veronica Laura Demenescu / Language(s): Romanian Issue: 3/2022

The present study proposes a cataloging of the choral religious creation of the composer Ion Vidu, based comparatively on the one hand on the information left by the main biographer of the composer, Viorel Cosma and on the other hand on the documentation visits carried out by the authors in several institutions in the Banat region, between 2019 and 2022.

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ERKEN ORTA ÇAĞ DÖNEMİNDE ORTAK TÜRK MÜTEFEKKİRLERİNİN MÜZİK VE MÜZİK EĞİTİMİ HAKKINDA GÖRÜŞLERİ

Author(s): Bilal Erdoğan / Language(s): Turkish Issue: 56/2022

If we look at the general Turkic culture of the early Middle Ages, we will see that this culture has made a great contribution to world culture in all areas. Unfortunately, although a lot has been said and written about the culture of Ancient Greece, Ancient Egypt, China, India, insufficient attention is paid to the study and promotion of the Turkic culture of the ancient and Middle Ages. The history of the rich musical culture of the Azerbaijani people dates back to ancient times. In this regard, the rock paintings of Gamigay and Gobustan, as well as the epos "Kitabi-Dede Gorgud" provide complete information about the ancient musical culture of our people, including the pan-Turkic people. The general Turkic scholars of the early Middle Ages, especially Farabi, Ibni Sina, Nizami Ganjavi, Safieddin Urmavi and others, had valuable ideas about music theory, and our article also studied the ideas of these wise personalities about music and musical education. Farabi is the first music scholar who systematically wrote a book about music theory in Turkish music history

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SPAM (An)Archive: Performing under Surveillance

Author(s): Isabel J. Piniella Grillet / Language(s): English Issue: 9/2022

Inspired by the attempt to disrupt data gathering and asking ourselves about “spam” digital practices as forms of resistance, the project SPAM (An)Archive brought together the work of the (post)composer and media artist Óscar Escudero and the collective SoundTrieb, whose collaboration took place digitally via Zoom and physically in Switzerland in 2021. Escudero’s collaborative work in the last few years with the (post)composer and musicologist Belenish Moreno-Gil has been fruitful at a sociological and cultural level of analysis, beyond music aesthetics, as they both deal with social networks and digital behavior in their music theater compositions. Using Facebook as a digital stage, SoundTrieb’s version of [Custom #2] (a digital melodrama) allowed performers to develop a double personalization of the piece, intervening their own social media profiles. This paper does not intend to discuss a theoretical approach to these artworks, but their subversive capability. Through a cultural analysis approach, this article recognizes the critical potential against the architecture of digital surveillance that they can achieve, while drawing attention to our complacency to ubiquitous technologies. For this purpose, I introduce notions such as DIY music and coded representation, but I also borrow concepts such as Brigitta Muntendorf’s social composing and Escudero’s spam art. This paper explores, through work examples by all the above-mentioned artists, recent models of compositional work that blur the line between the digital and the physical, the virtual and the real, the private and the public.

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De la frumusețea artei la arta frumuseții. Pictura, sculptura și muzica în reflecțiile patristice despre om și viața duhovnicească (partea a II-a)

Author(s): Gina Luminița Scarlat / Language(s): Romanian Issue: 20/2022

This study represents the second part of the project dedicated to researching the patristic, anthropological and spiritual meanings of painting, sculpture and music. His main theme is the highlighting and analysis of the dogmatic and spiritual meanings of the techniques of making statues in patristic contexts, from the Greek theological tradition, about man and the spiritual life. The selection of texts was based on the principle of their representativeness. The study sheds light on the appreciation of the sculpture by the Holy Fathers and its use as an example for understanding the human structure, education and the spiritual reason of man.

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De la frumusețea artei la arta frumuseții. Pictura, sculptura și muzica în reflecțiile patristice despre om și viața duhovnicească (partea a III-a)

Author(s): Gina Luminița Scarlat / Language(s): Romanian Issue: 20/2022

This study represents the third and the last part of the project dedicated to the research of the anthropological and spiritual meanings of the examples used by the Holy Greek Fathers in fields such as painting, sculpture and music. His main objective is the analysis of the meanings of musical terms used in patristic, dogmatic and spiritual texts, with symbolic value. The use of words that designate musical instruments mentioned in the Holy Scriptures, in the theological texts of some Holy Fathers from the century. II-V, and the continuation of their reception by some Byzantine theologians from the X-XIV, expresses a recognition of the importance of the example in the field of art, for facilitating the understanding of theological teachings about man and the spiritual life. In this study, attention is directed to the patristic hermeneutics of the musical vocabulary, used as a rhetorical strategy for the transmission of meanings that express the structural beauty of man and spiritual life.

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