Udo kolgi pärandus
Review of: Udo Kolk. Folkloori olemust otsides. Koostanud ja toimetanud Madis Arukask. Tartu: Ilmamaa, 2013. 519 lk.
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Review of: Udo Kolk. Folkloori olemust otsides. Koostanud ja toimetanud Madis Arukask. Tartu: Ilmamaa, 2013. 519 lk.
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Reviews of: Ingrid Rüütel. Saaremaa laule, tantse ja kombeid. CD ja DVD komplekt. (Helisalvestusi Eesti Rahvaluule Arhiivist 8.) Tartu: EKM Teaduskirjastus, 2014. Ingrid Rüütel. Saaremaa laule ja lugusid. Mis on jäänud jälgedesse I. Tartu: EKM Teaduskirjastus, 2015. 400 lk. Ingrid Rüütel. Muhu rahvamuusikat, laulumänge ja tantse. CD ja DVD komplekt. (Helisalvestusi Eesti Rahvaluule Arhiivist 9.) Tartu: EKM Teaduskirjastus, 2015. Ingrid Rüütel. Muhumaa laule ja lugusid. Mis on jäänud jälgedesse II. Tartu: EKM Teaduskirjastus, 2016. 544 lk.
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The article provides information about Latif Karić (1905-1991) from the village of Vranovići near Gračanica, a widely known gusle player (guslar), but also one of the most respected locals, a man with a very interesting biography. He was born and grew up in an impoverished rural environment, in a village without an elementary school, but nevertheless he became literate and made considerable efforts in self-education. From an early age, he showed a gift for music and song, learning to play the saz, shargia, and then the gusle. As a guslar, he mainly performed old heroic epic songs. He performed at celebrations, parties, and social events in the wider surroundings of Gračanica, Srebrenik and Lukavac. Before the Second World War he also performed at night gatherings during Ramadan in a coffee house (kafana or kahva) in Gračanica. Besides being a guslar, he also was a reputed blacksmith, and a famous folk dentist. He was also considered a man of progressive views, an advocate of public enlightenment and education. He was one of the leaders of the campaign to build a school in the village in 1939 and 1940, which unfortunately did not succeed then, due to the resistance of other villagers. During the Second World War, he was among the respectable people from the wider area who strongly condemned robbery and looting, especially against the inhabitants of the neighboring Serbian Orthodox village of Gornja Lohinja, whose adult male inhabitants were arrested by the Ustashe and deported to concentration camps. From his youth until the end of his life, he faithfully maintained the tradition of gusle songs and Bosniak folk epics, as one of the last gusle players in North-Eastern Bosnia.
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In my review, I analyze the main theses of Anastasiya Medova’s monograph entitled Phenomenology of Musical Experience (2021). The author of the book raises the issue of what it is that we generally hear as music, as well as many directly or indirectly related other issues with regard to both the essence and the ontological status of music. According to her, it is only the phenomenological methodology that can provide an answer to these questions, which deals with the specifics of a musical object always in the context of the specifics of musical experience. Particular emphasis in the review is placed on the concept of reduction, as it is used in relation to music. It is designed to clear the experience of all elements not related to music as such, including sensitive shape-associations that often arise while listening to music. Another important point in the study of A.A.Medova is her posing of the question as to the regional nature of music and its possible correlation with the sphere of aesthetic in general. In this regard, I point out that the author of the monograph seeks to justify the irreducibility of music to the aesthetic sphere and that her solution of the problem of the possible regionality of music remains insufficiently determined. I also emphasize that one of the points of interest in the book is that Medova works with specific material, notably with the interpretation of significant works of musical art and the analysis of important theoretical statements about the essence of music.
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The urgency of the research is determined by the intensive development of new technologies as prospects for further development of society. Art accumulates intellectual, spiritual, material, and value heritage of previous epochs and determines the perspective features of the future. Vocal art is thereby one of the manifestations of individual ideological rethinking. Variety as a socio-cultural phenomenon combines different styles of music, genres, types, and aspects of professional music and vocal performance, which is important for the research in the context of social rethinking of future social development. Objective of the article is to determine specifics of pop vocal art, its long-term development as an aspect of integration into society of the future. The article reflects the essential characteristics of the concept of pop vocal art and worldview perception of art as an aspect of the future society. In the process of research a method of abstraction, descriptive method, methods of analysis and synthesis were used in the theoretical substantiation and characterization of pop music as a vocal art. The method of generalization and systematization was used to determine the results of the research. The results became the basis for asserting the importance of pop vocal art in the further development of society.
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The purpose of the article is to analyze the ballet "For Two Hares" based on a comparison of literature, film, and original music. Methodology. The article is based on a comparative analysis, analysis of the literary source, the musical component of ballet and film. Based on the comparison, the analysis of the main characters and related comic elements of the work of M. Starytsky and the ballet Shevchenko - Litvinov, based on this plot. These are Svirid Petrovich Holokhvasty, Pronya, Galya, Sekleta Pylypivna Limarykha and the Sirkiv couple. The scientific novelty lies in determining the peculiarities of Yuri Shevchenko's original music in the ballet "For Two Hares". The analysis of ballet music was performed for the first time. Conclusions. The comparative analysis of Yu. Shevchenko's ballet and M. Starytsky's comedy allowed us to single out common comic elements: "meeting" with the main character Golokhvasty; the choice of leittembs (clarinet, violin and piano) is associated with the comic nature of Golokhvasty and the emphasis on his external features: thinness and "mannerism", claims to chic and education; the portrait of Golohvasty in the ballet and his appearance (clothes and accessories) corresponds to the image of Golohvasty from the original source; Golohvastoy's weakness for girls; Golohvasty's love for songs and dances; hopak, which appears in both comedy and ballet. Common to comedy and ballet are also the leitmotif of the bells, the romanticization of the scene of the testimony of Golohvasty in the house of Proni. The multifaceted, contrasting image of Sekleta is also vividly represented in both works. The common comic element is defined by the red cap of Sulfur; Sekleta's "fig" gesture, we consider the motif of rumors to be a comic motif, which is conveyed in ballet by all means of expression (musical, choreographic and visual).
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The purpose of the study is to identify the spiritual and aesthetic foundations of K. Szymanowski’s creative activity in the stream of genre and style specifics of the Polish cultural world of the early twentieth century. The methodology of work is based on the intonation concept of music in the perspective of intonation-stylistic, etymological analysis. Analytical-musicological, genre-style and interdisciplinary approaches that allow to identify and explore the spiritual and aesthetic guidelines of K. Szymanowski's work proved to be essential for this work. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the genre and style evolution of K. Szymanowski's work and its correlation with the historical realities of Polish culture and music of the first half of the twentieth century («Young Poland»). Conclusions. Spiritual-aesthetic and genre-style guidelines of K. Szymanowski's work were formed in direct connection with the ways of development of Polish culture and music of the XIX-XX centuries, marked by creative and artistic pursuits of representatives of «Young Poland», genre-style advantages of which the intersection of the ideas of symbolism, neo-romanticism, impressionism and modern aesthetics. At the same time, in the creative activity of «Young Poland» the desire to create a national Polish style in the fine arts, literature, generalized in the concept of «Zakopane style» as a «model» of neo-folklore. K. Szymanowski’s work as the founder of «Young Poland in Music» and Polish musical modernism determines the genre and style evolution of the composer’s creative heritage, concentrated in a consistent movement from romantic preferences and interest in the aesthetics of impressionism-symbolism to neo-folklore pursuits of later period.
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The purpose given work is a comparison of the historical conditions of the arising the madrigal and Ukrainian songs and the stage of their development at New time with an analysis of significant song samples in named foreshortening. The methodological base of the study emerges from the intonation approach, as he formed in the treatment of Androsova D., Liu Bingjan, Markova O., Muravskaja O., Roschenko O., and other prominent scientists of Ukraine. The base of the exploratory approach considers the methods of analytical, historian-descriptive, hеrmеnеuticinterpretation, and cоmpаrаtive-style, which in complex allow defining the sense historically variable forms in dеtеrminаnt of the contents music-poetical opening. The scientific novelty of the work is defined by independence to theoretical idea of the parallels between-song typology of the Ukraine and Italy, as well as that that for the first time in musicology of Ukraine is considered content-richness and structure Ukrainian song in accepted foreshortening of the parallels with Italian madrigal. Conclusions. The comparison of the historical epochs of the arising the madrigal and Ukrainian songs shows the generality of their development on sacramental headwaters and real contact nation that has conditioned the nature of the manifestation madrigal typology sign in Ukrainian sogs, but at New time prepared discovery in classicist Ukrainian song composition corresponding to signs of the genre-typology structure.
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The purpose of the article is to the study specifics of the introduction of national dramaturgical innovations in the Ukrainian music and drama theatre in the socio-cultural conditions of the Russian empire in eraly XX century. The research methodology consists in the application of historical-cultural, analytical, systematic, and art-scientific methods, which allow analysing the ideological and aesthetic content of dramaturgical activity, investigating the genre specifics of its formation in the context of nation-building. The scientific novelty of the work consists in revealing the specifics of the introduction of national dramaturgical innovations and determining their role in the process of constituting national and artistic-aesthetic features of the Ukrainian music and drama theatre during the colonisation of Ukrainian culture in early XX century. Conclusions. Thus, the dramatic activity of national outstanding artists, was aimed at popularising national culture, historical and cultural traditions of the Ukrainian nation among a wide range of multi-ethnic audiences. The introduction of dramaturgical innovations in the Ukrainian music and drama theatre under the conditions of the imperial colonisation of Ukrainian culture played an important ethno-preserving and ethno-consolidating role, had an important impact on the process of constituting national and artistic-aesthetic features of the Ukrainian music and drama theatre in the sociosphere of the time.
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Genre and Aesthetic Specificity of Modern Children's Musical The purpose of the article is to reveal the specifics of children's musicals in the system of musical and theatre genres using the example of Ukrainian authors’ works; to establish a complete set of genre and aesthetic features of a modern children's musical. Research methodology. The method of systemic and genre-stylistic analysis was applied, thanks to which the children's musical was considered as an independent genre of musical and theatrical art, genre and stylistic features, as well as artistic and aesthetic specificity were revealed; the method of comparative analysis, which contributed to the identification of common and distinctive features of a classical musical and a children's musical. Scientific novelty. The genre and aesthetic specifics of children's musicals of the first decades of the 21st century have been studied. The phenomenon of the synthesis of arts as the aesthetic basis of a children's musical has been analysed. The aesthetic proximity of children's musicals and musicals for adults, their characteristic appeal to popular literary works, the equivalence of musical, dramaturgical, plastic, and stage means of expression have been considered. Conclusions. The development of musicals for children as a genre is a dynamic process that continues even at the present stage. Its genesis is combined with the dominant role of synthesising processes, at the level of the dramatic primary source, musictheatrical and cross-genre dialogues, symbiosis and interpenetration of various styles and stylistic elements, as well as the laws and trends of the entertainment industry. A modern musical for children is a unique complex music-theatre project, in which scenario dramaturgy and plastic-dance spectacle prevail, which are the basis of the formative regularities of its dance component. A children's musical, a unique holiday genre, unlike classical musicals, among which there are works with a very serious, lyrical, and sometimes sad content, is a musical for children at the level of content and form, namely the plot, presentation of the material, its degree, energy, dynamics, is on the wave of a festive show, which creates a joyful state of mind and an uplifted mood.
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The purpose of the article is to consider the Orthodox church music as a part of Ukrainian festivals of academic music at the end of the ХХth – the beginning of the ХХІst century. Research methodology. To achieve the goals of the research, the authors have used historical and cultural approaches. The systemic method has been used to characterise musical festivals in their relation to other components of culture. Sociocultural method enabled studying sociocultural components of the artistic phenomenon of the festival. Scientific novelty of the research lies in the first attempt to comprehensively analyse the Orthodox church music as a constituent of the most prestigious Ukrainian music festivals at the end of the ХХth – the beginning of the ХХІst century. Conclusions. Church music is an essential part at the end of the ХХth – the beginning of the ХХІst century. Ukrainian academic music festivals. During the festivals, the audience may feel music-historical singing range and wide stylistic contrasts, in particular a combination of traditions and innovations. The authors state that academic music festivals not only perform important social functions, presentation and popularization of church music by contemporary Ukrainian composers, but also play an important role in revival and conservation of Ukrainian cultural heritage.
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The purpose of the article is the classification of Ukrainian musical culture, which, unlike other artistic genres, has not received clear musical definitions for a long period of time. This is connected with sociocultural and historical circumstances, when music was primarily perceived as a part of liturgical rites, everyday life, and other circumstances, and in this context was interpreted as part of something bigger, a whole. Therefore, the assessment of musical art as a single category needs clarifications and definitions. The research methodology is based on historical, cultural, and artistic levels. The scientific novelty consists in the introduction of the term Grassroots into scientific circulation to describe and define the quality of musical productions. Conclusions. For a more appropriate definition and characterisation of the musical creativity of the 17th-19th centuries, the term Grassroots, in our opinion, is the most successful and appropriate. It clearly demonstrates the development of national musical art as "grassroots", at the same time taking it out of the realm of primitiveness and dilettantism, which metropolitan cultures have tried to impose on us over the centuries. At the same time, the aesthetic tension is relieved when characterising works through the prism of kitsch means and tools, as well as its definition as "low" or "grassroots", since the adaptation of the achievements of European art on national material required a certain time for formation and development. Therefore, Grassroots art is the most appropriate term to describe and classify the rich heritage of Ukrainian musical art.
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The purpose of the article is identifying the harmonic and functional characteristics of the main elements of jazz harmony, namely the harmonic progression II–V. To achieve the goal of the article, the following research methods were used: comparative (for a comparative analysis of the harmonious functionality of academic and jazz music); method of musicological analysis (for musicological analysis of jazz standards); method of stylistic analysis (to identify the stylistic characteristics of certain styles of jazz music); method of generalization (to summarize the study). Scientific novelty. In the presented scientific work, for the first time in Ukrainian musicology, an attempt was made to theoretically comprehend the functional connections within the framework of the harmony of jazz music. Conclusions. Harmonic formula II–V is the single functional link of jazz harmony, the main characteristic of which is the dominant functionality. Since the phenomenon of dominance is the main impetus for the implementation of musical development, the harmonic progression II–V is not only the main harmonic formula, but also a leading element of the harmonious development of jazz music. This statement is an impulse to rethink harmonious functionality in the context of jazz music and, in particular, to understand the function of harmonic progression II–V, which will lead to a fuller and deeper understanding of jazz music by its performers and, consequently, listeners.
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The purpose of the article is to determine the creative approach in composer activity and the perception of musical images, which lies in the aesthetic principles of individual creativity. The factors that influence this approach are the characteristics of human psychology and cognitive activity, the degree of synthesising worldview and artistic information, the individual’s sociocultural activity, and the effectiveness of their assimilation of the previous civilisational experience. The research also aims to investigate new ways of summarising information in the art of music, in connection with the introduction of the philosophy of pluralism and postmodern aesthetics in society; consider the phenomenon of influence on the consciousness of the composer of video-informational digital technologies. The research methodology lies in the analysis of the mechanisms of creativity, in particular in the systematic approach to the specifics of the aesthetic and psychological impact on modern society of "tying" sound forms to visual framing. Besides, it is based on studying the specified problem from different points of view: on the analysis of the inner impulses of the artist's own "I", solving professional tasks of the development of the musical genre, social challenges, which are realised by the creative personality as a real necessity, taking into account the transition from auditory verbal to synthetic perception of a musical work at the level of the synesthetic component and mystical suggestions. The scientific novelty consists in the generalisation of worldview and artistic information based on the sociocultural activity of the individual based on previous experience, the use in musicological analysis, in addition to the philosophical-aesthetic, but also the narratological approach, the identification of the conceptual sphere of creativity, its worldview, historical, ethno-national, psychological content, which is due to modern creative technologies. Conclusions. The sociocultural significance of composer creativity as a special type of activity, as a result of which new material and spiritual values arise, lies in the importance of its psychological and philosophical understanding for self-realisation, disclosure and understanding of the horizons of one's own spiritual life. Cathartic and compensatory processes of this direction of creative activity in the general human, historical-cultural, and individual sense contribute to the formation of a new socio-psychological reality of culture.
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The purpose of the work is to define the historical milestones of scientific and technological progress and to identify the interrelationship of art, technique, and technology at various stages of world culture development. The research methodology is based on philosophical and aesthetic research on the evolution of artistic culture and the understanding of the musical-communicative process, which allows the summing up and substantiating of the conclusions of the outlined issues. The scientific novelty of the work consists in gradually highlighting the historical stages of the scientific and technical revolution, demonstrating its direct influence on the development of musical art from the first stages of its development to the present day. It has been determined that in each historical formation, transformational processes are closely related to scientific and technical progress, which today are the main driving force of the musical and technical industry. Conclusions. The first stage is marked by the emergence of writing, which destroyed the monopoly of a small number of people on knowledge. At this stage, musical notation appears, with the help of which the information related to music is broadcasted. In the second stage, the invention of the printing press becomes a means of rapid dissemination of information, including musical information, through sheet music printing. The third stage is associated with the invention of mechanical sound recording and sound reproduction devices, as well as the introduction of electric current and analogue sound recording devices. In the fourth stage, because of modern technological achievements, the so-called phenomenon of "digital arts" is formed, which is characterised by interactivity, elitism, a new genre system, and innovative means of artistic expression. Modern artistic technologies, relying on the latest sound processors, computer software, and other digital innovations, help to expand the boundaries and create a new sound palette in music and concert practice, theatre performances, studio work, radio broadcasting, screen arts, and other areas of cultural and artistic life.
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The purpose of the article. The study seeks to characterise traditional Ukrainian music of the 18th-21st centuries influenced by Western European stylistic trends. To do this, the study analyses the similarities and differences in the historical development of music in Ukraine by looking into some historical events. The contextual relationships of Ukrainian music history with national traditions and global trends were established. The research methodology. The study relies on comparative and culturological analyses to compare the historical heritage of Ukrainian music art as a cultural process with Western European traditions and influences. The scientific novelty of the work lies in the expanding of the historical knowledge about Ukrainian music in the context of artistic styles. Conclusions. Culturological analysis revealed that Ukrainian Baroque was most vivid between the mid 17th and the mid 18th centuries. During this period, polyphonic pieces were written in the Baroque style not inferior to Western European church music in terms of artistic quality and national originality. Partes is a new Ukrainian style of church music born from the baroque tradition. Under the influence of Western Europe, the single-frequency partes singing or partsong transformed to become a spiritual concerto in the Classical period. The influence of European Romanticism had a weak effect on Ukrainian music. Its elements can be traced only in the works by Ukrainian composers of the second half of the 19th century, such as S. Hulak-Artemovskyi, M. Lysenko, V. Matiuk, S. Vorobkevych, and A. Vakhnianyn, to name a few. Later, the Ukrainian music culture was enriched by compositions from B. Liatoshynskyi, A. Kos-Anatolskyi, S. Liudkevych, and A. Shtoharenko. The avant-garde music of the 1960s (L. Hrabovskyi, V. Khodziatskyi, V. Sylvestrov, and V. Zahortsev) stands out with its innovation. At the beginning of the 20th century, national music culture entered into a dialogue with the modernist discourse, leading to the emergence of Ukrainian Modernism.
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The purpose of the article is to reveal the historical aspects of the formation of jazz as one of the directions of musical art; to find out the meaning and essence of the concepts "improvisation" and "vocal improvisation" in modern musicology and music-pedagogical literature; to determine the pedagogical conditions that contribute to the successful formation of jazz improvisation skills among music college students in the pop vocal class; to identify, theoretically justify, and describe the pedagogical conditions for the formation of jazz improvisation skills among music college students in the pop vocal class. The research methodology consists in the application of such methods as empirical method, analogy method, axiomatic method, elementary-theoretical method, and method of systematisation. The scientific novelty lies in the fact that for the first time the problem of formation of jazz improvisation skills among students of music colleges specialising in pop singing is revealed. Conclusions. The theoretical analysis of the research problem and the results of the research work made it possible to draw the following conclusions. The analysis of scientific literature made it possible to reveal such concepts as "improvisation", "improvisation of pop singer", "sket". Improvisation is a simultaneous performance of music without prior preparation, a spontaneous musical expression, and a direct, instant realisation of a musical thought. The definition of pop vocalist improvisation has also been given. It is a creative process of forming a musical and artistic image at the moment of direct vocal-syllabic intonation of a musical and literary text (sket singing), the essence of which is the knowledge, reproduction and dissemination of objectively and subjectively new use of generally accepted compositional combinations and the introduction of original scat-vocal compositions, original jazz phrasing, swing, accentuation and new articulation. The specificity of this process consists in special methods of sound creation, the use of a wide range of timbre colours and sound imitation elements within the framework of the structural scheme of the work. Research work has shown that the formation of jazz improvisation skills among students of a music college in the class of pop vocals is impossible without the creation of appropriate conditions, in this case pedagogical ones. These conditions include teacher-student communication, various methods, and exercises that affect the quality of formation of jazz skills improvisations. Thus, the inclusion of students in creative activities, the use of various methods in working with students contributes to the manifestation of positive dynamics in the formation of jazz improvisation skills among music college students in the pop vocal class. High indicators are associated with the successful organisation of classes, the use of various methods aimed at the formation of jazz improvisation skills among music college students in the pop vocal class.
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The purpose of this article is to study artistry of Ihor Yefremovych Ivashchenko (1931–2014), the outstanding Ukrainian conductor and composer, related to his job in the State Dance Ensemble of the Ukrainian SSR. The research methodology includes historical, analytical, and biographical methods that provide an opportunity to find out the extent of the artist's creative personality. The scientific novelty includes the fact that, for the first time in the context of the art history discourse, little-known pages from the master's biography are made public in the publication, and his worldview intentions are established. For the first time, I. Ivashchenko’s artistic achievements are analysed and summarised in the scope of the activities of the State Dance Ensemble of the Ukrainian SSR (1955–1980). Conclusions. I. Ivashchenko's creativity was most vividly revealed in the area of dance music, where the composer managed to expand the stylistic palette, as well as to convey the original author's aesthetics to already well-known folk songs and instrumental works. Ihor Ivashchenko brought the activity of the small symphony orchestra of the Dance Ensemble of the Ukrainian SSR to artistic perfection and the supremacy of academicism. In the creative tandem of I. Ivashchenko and P. Virskyi, unparalleled examples of musical and choreographic performances built on the Ukrainian national and cultural soil were generated.
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The purpose of the article is to discover and reveal the symbolism of the artefacts by painters, sculptors, carvers, and other artists of Galicia, dedicated to Mykola Lysenko’s personality and achievements. The research methodology. The historical-retrospective method has been applied to find materials and documents about the existence of artefacts, determine the chronology and motivation for their appearance. The system-analytic method has enabled their systematisation by the types of visual arts and for analytical observations. The interdisciplinary method has been used to highlight the connections between music and visual arts through the embodiment of the composer's images by their representatives. The scientific novelty is that the topic is being considered for the first time. The Galician painters’ creativity was especially intensified before the celebration of Mykola Lysenko’s 35th work anniversary in 1903, and due to the composer’s 100th anniversary gala during the German occupation of Lviv in 1942. The peculiarities of the images of Lysenko by Ivan Trush, Osyp Kurylas and others, their stylistics and symbolism are considered. The problem also affects other artistic and visual gifts, which later became exhibits in the Lysenko room-museum at the Lviv Conservatory. Conclusions. Visual artefacts indicate piety to the founder of the national school of composers, his spiritual influence, which was spread not only among the musicians, but also the visual arts’ representatives. The Galician artists – painters, carvers, sculptors and architects, involved in artistic Lysenko Studies, were inspired by his bright image and purposeful service to the Ukrainian national culture. Most of them originated from Galicia (Ivan Trush, Osyp Kurylas, Yaroslav Pstrak, Mykhailo Parashchuk, Yulian Pankevych), others stayed and worked in Lviv for some time (Mykhailo Mykhalevych and Serhiy Lytvynenko). These artefacts became a kind of manifestation of the Artist-Patriot’ idealisation, his culture-creative mission.
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The purpose of this article is to determine the genre components of solo fragments of K. Orff's singing based on the material of the arch-popular numbers from "Carmina Burana" cantata and «Die Kluge» («Intelligent woman») opera, intended for soprano, which, based on the timbral-register and texture-range indicators of singing, we specify in the features of the lyric. The methodological basis of the research is the intonation approach in the traditions of the school of B. Asafiev in Ukraine, as presented in O. Markova’s and O. Muravska’s works, Liu Bingqiang, Wang Minjie in China, in which a comparative stylistic and hermeneutic-content analysis of the expressiveness of vocal acquisition constitute the dominant factor of research methods. The scientific novelty of the work is determined by the original perspective of the study of the genre section of K. Orff's works, as well as by the identification of the timbre and role of the lyric soprano in the analysed vocal formations. Conclusions. The vocal fragments from K. Orff's cantata and opera highlighted in the analysis demonstrate the hymnic and aria basis of the song presented, as the name suggests, in "Carmina Burana" ("Beuron songs"), while the number from the part of the Intelligent Woman from the opera of the same name is based on an aria, but contains signs of both a song (lullaby) and an incantation with hymnal endings. The presence of hidden polyphony in the melody emphasises the ariad background of the expression, in which the tenderness and sobriety correspond to the timbre-function capabilities of the lyric soprano.
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