Folksong Arrangements Research Articles

AZƏRBAYCAN XALQ MAHNILARININ SƏS VƏ FORTEPİANO ÜÇÜN YAZILMIŞ İŞLƏMƏLƏRİNİN TƏDRİS PROQRAMLARINDA YERİ

Place of Arrangements of Azerbaijani Folk Songs Written for Voice and Piano in Educational Programs Summary The article talks about arrangements of folk songs for voice and piano made by Azerbaijani composers in different years. The article examines and analyzes, one might say, most collections of song arrangements. The lyrical melodies inherent in national music, modal-mugham features, specific rhythm, etc. increase interest in these works, complementing the curriculum and are more readily studied by students in the learning process. Key words: folk, song, processing, piano, rhythm, tempo, education

Creation of Learning Videos on Balinese Folk Song Arrangements for Junior High School Art and Culture Teachers in Buleleng Regency and Denpasar City

Creation of Learning Videos on Balinese Folk Song Arrangements for Junior High School Art and Culture Teachers in Buleleng Regency and Denpasar City

Folklore opera “The Steppe” in the perception of the contemporaries

This work continues a series of articles about the composer Anton Eichenwald, published in the “Tatarica” Journal in 2022-2023: “Symphony Concert of Oriental Music in Kazan in 1923” (2022, No. 1), “Concerts of Oriental Music” in Paris (2022, No. 2), “Anton Eichenwald and the Kazan Cabinet of Musical Folklore” (2023, No. 1). Based on the archival materials, our study systematizes information on the history of creation and production of his opera “The Steppe”. We prove that the composer A. Eichenwald undertook this work in order to give a new life to his arrangements of Tatar folk songs.

Rustem Yakhin. Music for children: on the question of the embodiment of the national

The article reviews the children’s music of the outstanding Tatar composer Rustem Yakhin. Three piano cycles (“Three Pieces”, “Pictures of Nature”, “Summer Evenings”), individual children’s pieces and arrangements of folk songs are analysed. A characteristic feature of Yakhin’s work is the synthesis of European traditions with elements of Tatar musical folklore. The characteristics of the implementation of the national style in children’s music are considered. The originality of the melodic, rhythmic and harmonic structures chosen by the composer is emphasized.

The Specific of Folk Song Arrangements in Yaroslav Vereshchagin's Vocal Cycles

It is well known that the genre of folk song arrangement is widespread in Ukrainian music, as the folklore heritage of Ukraine is extremely rich and diverse. It is not surprising that authentic folklore samples have become a source of inspiration for many composers and performers. Artists use the folk melody in their work, embodying it through modern arrangements and processing. This approach allows not only to preserve the historical heritage, but also to give it a new sound. The analysis of musicological research shows that every Ukrainian composer in his work intentionally or subconsciously uses elements of Ukrainian folklore, and Yaroslav Vereshchagin is no exception.
 Ya. Vereshchahin (1948-1999) was a bright master of the pen in the field of chamber music, a sophisticated artist of the poetic word. At the moment, the home archive of the composer's daughter Bohdana contains about 120 works of various genres, 48 of which were written for the voice accompanied by piano and chamber ensemble. It is especially worth noting the composer's love for creating vocal cycles: there are 14 of them in his oeuvre, each of which consists of two to four vocal miniatures. Unfortunately, to date, only 11 cycles have been fully discovered, and among them are arrangements of Ukrainian folk songs - two vocal cycles for voice and piano «Two Ukrainian Hayivkas» and «Two Ukrainian Songs». The relevance and novelty of the study lies in the choice of works by Ya. Vereshchagin for analysis that have not been covered yet in musicology.
 The object of the study is the vocal cycles «Two Ukrainian Groves» and «Two Ukrainian Songs» by Ya. Vereshchagin. The subject of the study is the specificity of Ya. Vereshchagin's arrangements of Ukrainian folk songs. The purpose of the study is to analyze Ya. Vereshchagin's work with the folklore source on the example of the vocal cycles «Two Ukrainian Groves» and «Two Ukrainian Songs».
 In conclusion, on the basis of the analyzed arrangements of Ukrainian folk songs, the basic principles of Ya. Vereshchagin's compositional work with the folklore source is indicated, which allow generalizing the concept of the composer's compositional style on the example of the analyzed works. In the course of a comparative analysis of these arrangements, signs of late Romantic and post-Romantic stylistic coloring are clearly traced, which testifies to the affinity with the compositional vocabulary of Western European and domestic composers of the late XIX - mid XX centuries. In particular, the vividly altered intra-fret dissonance appeals to the creative searches of B. Bartok, Z. Kodály, B. Liatoshynsky, and L. Revutsky. At the same time, in some pieces, in particular in «Willow Plank», one can feel the influence of jazz stylistics inspired by the creative experience of M. Skoryk, whose student Ya. Vereshchagin was.
 The aspect considered in the publication suggests further research on the example of analyzing other artistic ideas of the artist, which will be the goal of the author's next work.

The Role of Zoltán Kodály’s Male Choruses in the Genre’s History, Possibilities of Their Application in the Repertoire of Amateur Ensembles

"Zoltán Kodály’s publication titled Férfikarok (Male Choruses) is a truly diverse collection: in addition to the composer’s works in the genre, one can find folk song arrangements, religious pieces, compositions inspired by historical events and even transcriptions, of various lengths and levels of difficulty. It is common knowledge that Kodály was not fond of exclusively male ensembles, being rather uninterested by male voice choirs and indeed his opinion was that these choral societies should be converted into mixed choirs. However, after travelling extensively in the country – thus gaining insight into the operation of these groups – he began to contribute to the genre’s repertoire. The composer began to view the case differently, as he thought that amateur male choirs – of which there were still many in the 1930s – should rather sing compositions of a higher value, as opposed to pieces of the Liedertafel-style. At the same time, the Férfikarok collection contains many pieces that are not suitable for amateur ensembles due to their challenging nature in terms of intonation and tone production. In this paper – in addition to presenting the volume – I intend to introduce a certain way of categorization based on the compositions’ level of difficulty, through an analytical approach, which may be of help to those who work with such ensembles that are rare, but worthy of appreciation. Keywords: Zoltán Kodály, male voice choir, Liedertafel-movement, choral societies, Hungarian poetry of the 19th century."

Using the Colouristic Possibilities of the Ready-Select Bayan in the Folk Songs Accompaniment

The purpose of the research is to analyze the use of the ready-select bayan (button accordion) flavour in the arrangements of folk songs by V. Marchenko for the collections “Wide Roots” (Issue 1 and Issue 2). Research methodology. The following general scientific methods were used: analysis (to identify the flavour possibilities of the ready-select bayan); formal-analytical (to compare technical performance and musical-expressive means); generalization (to formulate conclusions). Scientific novelty of the research. For the first time, the pieces from V. Marchenko’s collections “Wide Roots” (Issue 1 and Issue 2) are analyzed, the colouristic possibilities of the instrument are characterized, and the specific features of the ready-select bayan in the folk songs’ accompaniment are revealed. Conclusions. The research is based on the author’s own long-term artistic experience. The article highlights the peculiarities of instrumental accompaniment on a ready-select bayan and reveals the regularities of combining a folk melody and bayan accompaniment to reflect the artistic intent of the song in depth. The process of composing bayan accompaniment for pieces of folk art from different local regional traditions of Ukraine poses complex tasks for the author, and the main one is to preserve the traditional regional melodic flavour. A thoughtful approach and attention to the subtleties of the recording interpretation process, which together determine the artistic value of the works, and penetration into the essence of the song should become significant aspects of the composer’s interpretation process.

THE GENRE OF ARRANGEMENT OF UKRAINIAN FOLK MELODIES IN THE PIANO WORKS OF VASYL BEZKOROVAINYI

The article is devoted to the piano heritage of Vasyl Bezkorovainyi, a composer, conductor, music and public figure, pianist-accompanist, whose work and creativity are forgotten and little known in Ukrainian musical culture. He was an active figure in the musical life of Galicia, founding music schools, choirs, and orchestras. Subsequently, since 1948, he worked fruitfully to popularize Ukrainian music among the postwar Ukrainian emigration to the United States. The article briefly discusses the need to revive the artist’s multi-genre heritage, which has come down to us in manuscript form in more than 360 works. The article describes the way Vasyl Bezkorovainyi’s archive was returned to his homeland, preserved and organized by his daughter Neonila and brought to Ukraine by her husband Yevhen Stetskiv. At the initiative of the composer’s relatives, Natalia and Bohdan Bezkorovainy, 2 volumes of the composer’s piano works were published in 2020. Among the one hundred and sixteen piano opuses, a significant part is occupied by the genre of arrangements of folk songs and samples of the calendar and ritual cycle. The selected exemplary pieces demonstrate a wide range of genre interests of the artist, and the studied musical, expressive, architectonic features reveal the stylistic foundations of Vasyl Bezkorovainyi’s piano heritage. It is noted that the piano compositions have artistic and pedagogical value. On the example of the analysis of a number of arrangements of folk songs and calendar and ritual samples, it is demonstrated how nationally specific expressive means and traditional European harmonic turns of the romantic direction form the linguistic and stylistic phenomenon of the artist. It is noted that for the composer, when working on folk melodies, it is not simplicity or complexity that is important, but compliance with the spirit of the folk song, the need to leave its harmonic, intonational and metrical basis intact. In terms of formation, we note national models and methods of developing thematic material based on the variant principle, improvisation, and the regulatory nature of structural constructions. Most of the compositions are dominated by two- and three-part forms. In the palette of stylistic features and linguistic expressive means, we observe a synthesis of the harmonic, harmonic, metrical principles of European music and the peculiarities of Ukrainian folklore, with the dominance of the latter.

Cultural Approach in Scientific Research Activity of Interaction Between Popular and Folk Musical Culture in Creativity of Ukrainian Vocal-Instrumental Ensembles of 1960s and 1980s

The purposeof the article is to identify the types of interaction between the national mass culture of the 60–80s, represented by vocal and instrumental ensembles and folk music, and to determine the trends in its development during this period. The research methodology is based on the systematic analysis of domestic pop of the 1960-80's. The descriptive approach provides the disclosure of the most complete picture of Ukrainian pop, which allows different approaches to the problems of its evolution in the author's, performer's, educational, and entertainment context.Scientific novelty. The most complete systematisation of the music of national VIЕ in the context of interaction with folklore (by years of releasing albums, singles), for the first time a list of pop arrangements of Ukrainian folk songs by the most famous ensembles is presented. Besides, the general tendency of penetration of folk song and dance intonations into author's compositions is covered. The combined types, namely the use of author's music and folk poetry and vice versa in one work, are shown. It is proven that the regional factor is not localised in the music of certain ensembles, but is common to many, arrangements of songs of different regional origin are found in the music of ensembles from all regions of Ukraine. Conclusions. The period of the 60s and 80s in Ukrainian popular culture is significant in terms of new approaches to authorship and performance. It is then that it becomes mass. This is the time of the birth of professional pop education, the function of which was partially performed by Ukrainian ensembles, experience in ensembles provided professional skills of performers. Folk music culture has become an integral part of the repertoire of bands in the form of pop arrangements, genre stylisations. Orientation to folklore is demonstrated by all well-known ensembles of that period, the range of folk songs processed by pop musicians is significantly expanding. There is a total renewal of all means of expression associated with the development trends of European pop culture, to which the national fully belongs. Key words: vocal and instrumental ensemble, pop culture, folklore, pop arrangement, music album.

Konstanty Gorsky’s Songs on Polish texts: aspects of genre stylistics

Statement of the problem. K. Gorsky’s creativity has not been studied enough. Relatively recently, articles by R. Aladova (2005), G. Serochinsky (2010), V. Luniakyna (2009), T. Bakhmet (2009) and other authors have been published due to the growing public interest in his creative figure. However, the vocal works by K. Gorsky have not yet been studied in their multi-level connections with national, historical and genre stylistics, as well as the predominant genre of solo singing, on the basis of which the composer formed the intonation specifics of his own chamber vocal style. Therefore, there is a need for further study of the vocal style of K. Gorsky, in particular, the inclusion of his works in a wide repertoire of concert and chamber singing. The purpose of the study is to identify the stylistic features of the key genre of K. Gorsky’s vocal works – the romance, which is most clearly represented in the cycle “12 Romances” based on the texts of the Polish poets – M. Konopnicka, W. Syrokomla, Z. Dembitsky (Dębicki). For the first time, an integrated approach is applied to the songs by K. Gorsky, as to original examples of this genre interpretation in the post-romantic era, with an emphasis on their style features – national and “personal”. The work on the research topic required the use of general scientific and special musicological methods, including historical-genetic, deductive approaches, genre-stylistic and performance analysis. Results and conclusions. The legacy of K. Gorsky (1859–1924), a virtuoso violinist, one of the founders of the musical culture of Kharkiv, includes vocal genres. In the mature period of his activity (1900s), the composer focused specifically on vocal genres, namely romances (he created about 100 pieces), arrangements of Ukrainian folk songs, cantatas on spiritual themes, choral concerts and operas. The main features of his romantic outlook, combined with the Polish musical mentality, are concentrated in “12 Songs” with Polish lyrics. Semantically, K. Gorsky’s romances gravitate toward lyrical contemplation, conveying its various states, from “objective” epics and sound imagery to emotional outbursts, which brings them closer to opera arioso. Within the framework of the cycle, there is an allocation and alternation of songs-romances of four semantic modes: folkpoetic, reflexive-lyrical, graceful-salon, free-declamatory reminiscent of “poetry with music”. Each of these groups is based on certain traditions and requires appropriate means of performance interpretation.

The Challenges of Professional Competence of Lviv Region Military Conductors in the First Decades of the XXth Century

"Internal application and social functions of the orchestras of different military formations on the territory of Ukrainian lands during the first half of the XXth century had their own history, including Lviv Region. This Region as the whole Galicia had gone through the numerous political transformations and changes of political systems. Each of such transformation put forward new requirements to the military musical art, thus, to the activity of military conductors. The aim of the article is the analysis of the tasks, demands, social and cultural background of the conditions of work, potential audience, the peculiarities of performance repertoire, professional training of the membership of the orchestra companies and the conductors of the orchestra’s groups of the Regular Army during the first decades of the XXth century. Such investigation based on historical, structural and systemic methods has been made for the first time. The military subunits of Lviv region of the period of Austrian regime (infantry regiments 10, 15, 23, 30, 55, 80) involved in their units Germans, Czechs, Austrians, Hungarians and less numerously presented Russians and Poles (55 and 80 infantry regiments that had their headquarters in Lviv and dislocated partially in Stryj and Zolochiv). Each of them obligatory had their own musical groups: mainly brass or competent symphony orchestra which included numerous Czech musicians and trumpeters as a separate unit. Each orchestra performer, as a rule, played two different instruments (brass and stringed). Their work was supervised by bandmaster and warrant officer – tambour major (who supervised group’s training as a conductor of the orchestra and their preparation to the defile), they were mainly Austrians, Germans and Czechs. Besides applicable military functions the orchestras took part in the civilian ceremonies, divine services and funeral ceremonies, every week at holidays and Sundays they carried out unmounted and hoarse defile along the city with march and light music of European authors under arrangements of their conductors (namely, arrangements of folk songs and dances), performed programs of European classical music in concert halls; and in public places: in park platforms, skating rigs; they also made guest-performance tours to the recreation resorts. In 1918 with the formation of Polish State there were some transformations in musical sphere of Polish Army and the USS Army. The conductors of military orchestras of Lviv region of the first decades of the XXth century faced the vast complex of tasks: the ability to work with the variety of personnel in the open air (in the field), in the square, hoarse defile and unmounted defile) in the covered concert-theatrical, theatrical buildings; mastering, providing, creation and adaptation of the universal repertoires to the real performance, potential and concert conditions, ensuring the training conditions of the new generation to the range of professional orchestras of academic level, the creation of programs, which provide with image and representative functions of the army, as well as to satisfy the needs of social and cultural topicality. Keywords: military conductors, tambour-major, performance repertoire of military orchestras, social and cultural functions of orchestra music. "

ВИКОНАВСЬКІ ОСОБЛИВОСТІ ФЕСТИВАЛЮ “ЧЕРВОНА РУТА”: ДО ПИТАННЯ СПАДКОВОСТІ ТРАДИЦІЙ

The national character of Ukrainian pop music today is determined by the appeal of folklore at various levels. This way of creating compositions leads to such types of interrelationship of folklore with jazz, pop and rock music, arrangements of folk songs, folk music and citation of materials, creation of original compositions based on folklore, fusion of the national manner of performing non-folklore. Today, songs that are synthesized in ethnic motifs and folklore in a modern setting are popular. But back in the 70s, B. Ivasiuk and the Chervona Ruta vocal and instrumental band were the founders of this approach. So far, the arrangements of folk melodies by the band "Chervona Ruta" have been used by popular rock bands - "Haydamaki", "Mandry", "Perkalaba", "Hutsul calypso", "Kobza original", "Crying", "Down" and others. The modern Ukrainian pop band continues the tradition and modernizes its songs in various interpretations. The paper studies the features of the "Chervon Ruta" festival from 1988 to 2016. The focus is on continuing the traditions of the participants of the ensemble festival of the same name. The practical significance is to highlight the directions of musical creativity of the bands that continue (transform) the traditions of the Chervona Ruta ensemble. Keywords: "Chervona Ruta", festival, Ukrainian music, pop standard.

Фольклорная и патриотическая тематика в советских джазовых композициях 60–70-х годов ХХ в.

This article examines the influence of folklore on the works of Soviet jazz composers. Musicians, ensembles and jazz orchestras of various republics of the former USSR actively introduced into their repertoire both arrangements of folk songs and original pieces with a national flavor. An outsize proportion of improvisations in these compositions gave an extraordinary appeal to this music. Also, the article mentions the popularization of famous military songs by jazz bands and singers during the Second World War. Many famous world stars also replenished their repertoire with Russian melodies. Since the 50s, Russian composers have been paying increasing attention to the creation of plays with a folklore flavor. Such pieces bring popularity to jazz groups. This is facilitated by the development of the jazz festival movement in Moscow, Leningrad and the capitals of the Union republics. In conclusion, about the influence of folklore themes on the formation of the creativity of modern jazz performers.

Activities of music societies of Eastern Galicia as a prerequisite for the development of professional performance (ist third of the XX century)

The purpose of the article is to present the activities of music societies in Eastern Galicia during the late nineteenth – first third of the twentieth century, which laid the foundations for the development of national professional music education and performance, including piano. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (V. Cherkasov), fundamental historical-musicological positions (L. Korniy, L. Kianovska, etc.). Problems of musical culture, education, and performance were considered by Galician musicians of that time (S. Lyudkevych, V. Barvinsky, N. Nyzhankivsky, etc.) in the broader context of national and cultural life, cooperation of Ukrainian cultural and educational societies, the active position of composers, performers, and teachers, which contributed to the development of professional education and performance, music culture in general. This methodological approach was continued by modern musicologists (M. Zagaykevych, L. Kiyanovska, L. Korniy, L. Mazepa, M. Cherepanin, etc.), who interpret the cultural and artistic life of Galicia in the second half of the nineteenth - early twentieth century. as a turning point in the process of formation of professional musical culture, due to the adoption of the so-called "cultural autonomy" (1867). Scientific novelty. A significant role in this process was played by music centers founded by the Society for the Distribution of Music in Galicia, the Galician Music Society (hereinafter - the Polish Music Society), the GMT Conservatory (1854) as the main musical educational institution in Galicia in the second half of the nineteenth century. The role of Ukrainian music societies was important, most of all – the centers of "Boyan" and "Union of Boyans", Music Society M. Lysenko, which became the basis for the establishment of the Ukrainian professional music institution – Higher Music Institute (1903), then - Lysenko Higher Music Institute (VMIL), the activities of an extensive network of its branches in various cities of Galicia. Significant educational activities of cultural, educational, and musical societies have encouraged professional composers to create original musical works, arrangements of folk songs, compiling the appropriate professional repertoire. In turn, this necessitated the development of professional music criticism in the Ukrainian periodicals. Analyzing the socio-cultural context of music societies, we relied on the developed classifications of their activities (N. Kobrin). This allowed us to outline the role of numerous monographic and thematic concerts dedicated to Ukrainian and Western European composers, solo concerts of prominent Ukrainian vocalists, and instrumentalists in the growth of performing skills of Ukrainian artists of this period. Conclusions. Conclusions are made about the decisive role of the network of cultural, educational, and musical societies of Eastern Galicia in the late nineteenth - first third of the twentieth century. in the process of development in the region of musical performance and musical culture in general.
 Keywords: musical culture of Western Ukraine, end of XIX – first third of XX century, cultural-educational and musical societies, musical performance.

Historical origins of modern vocal and instrumental performance in Ukraine at the beginning of the XXI century

The purpose of the article is to determine the historical origins of vocal-instrumental performance from ancient times to the present day, in revealing the influence of some prominent personalities on the further development of vocal and instrumental art and the selection of famous modern ensembles, which are the face of the late XX-early XXI century. Methodology. The research methodology is based on methods of analysis and synthesis, comparative method, method of historicism, and interpretation. The combination of such a technological process makes it possible to more fully disclose the research topic. Scientific novelty. The scientific novelty lies in the systematization of the material on the development of vocal-instrumental performance in Ukraine from its origins to the beginning of the XXI century and the substantiation of the originality of performance in different historical circumstances. Conclusions. Performance as an aspect of the synthesis of the arts over the centuries has had various forms of self-expression. It developed in the conditions of real events, improved according to time, and acquired certain advantages at the turn of the century in different historical periods of spiritual upsurge. Kobzars, bandura players, chamber-instrumental and vocal-instrumental ensembles have passed a difficult way of professional growth and laid the foundation for further development of performing arts. The formation of the national school and the development of bandura performance in Ukraine took place thanks to the great work of the outstanding composer Mykola Lysenko, which inspired the creative work of Ukrainian artists Hnat Khotkevych, Serhiy Bashtan, and others. In the 70s of the XX century ensembles enriched their concert repertoire with arrangements of Ukrainian folk songs and compositions of outstanding composers of their time. Vocal-instrumental ensemble "DakhaBrakha", born in modern conditions at the beginning of the XXI century (2004) stylistically diversified the direction of its activities, synthesizing folk and contemporary music. Keywords: historical milestones of vocal-instrumental development performance, synthesis of arts, the figure of Gregory Skovoroda as a philosopher, composer and musician, activity of the founder of the national school Mykola Lysenko, bandura performance, Ukrainian group "DakhaBrakha".

Arno Nadel (1878–1943): A Contributor to Modern German-Jewish Identity from Vilnius

The phenomenon of Arno Nadel (1878–1943) is presupposed by his extremely diverse activities in art, scholarship, and musical journalism. A music arranger, musicologist, music journalist and collector, composer, choirmaster, pianist and organist, as well as a poet, playwright, painter and translator, Arno Nadel was born in a religious Jewish family in Vilnius and spent his first twelve years there. Having lived and studied in Königsberg for five years, in 1895 Nadel settled in Berlin, one of the largest centres of German Jewish cultural life before the National Socialists came to power in 1933. Nadel was murdered in Auschwitz in 1943. So far, his creative legacy has not been studied in Lithuania. The aim of this article is to bring Nadel back on the horizon of multinational Lithuanian cultural history and to review his contribution to the formation of modern German-Jewish identity in the context of Nadel’s Vilnius origins and his diverse musical activities. Nadel’s original compositions, arrangements of traditional Jewish liturgical music and folk songs, research in and texts about Jewish music contributed to a new approach towards cultural connections between the Jews of Eastern Europe and Germany, and were important for the development of German Jewish music in the first half of the twentieth century, as well as for the documentation and renewal of Jewish liturgical music. Although Arno Nadel composed music in a variety of genres himself, it was his work as a scholar and arranger of Jewish music and as a musicologist that received the most attention among his contemporaries and in the articles written after the Second World War.

SENFONİ İLE TÜRKÜLER

In this study, by investigating the subject of Turkish folk songs accompanied by symphony; In the literature review, it was revealed that there is no previous academic study on this subject. It is clear that there should be a written source in addition to the performance regarding this subject, so this article is important in terms of contributing to the literature. Before we talk about symphonic arrangements, we need to have information about the first compilation and recording of Turkish folk songs. Symphonic arrangement of folk songs in Turkey started with the music revolution movement initiated by Atatürk after the foundation of the Republic. For the first time, the arrangements of our folk songs written by Turkish Fives were performed by symphony orchestras. Unfortunately, the symphonic arrangement works, which started to be made thanks to the Turkish Fives, had a long pause. Since the beginning of the 1990s, symphonic Turkish folk song arrangements; It has been reworked and continued by composers such as Turgay Erdener, Oğuzhan Balcı, Yusuf Yalçın, Murat Çelebi and Musa Göçmen. Since the arrangements in the Republican period had a complex harmonic structure, they did not attract much attention from the public. In addition, since the copyrights of many symphonically arranged Turkish folk songs belong to Western countries, the folk songs included in the concert programs remained very limited. Symphonic arrangements of our folk songs; It is of great importance in terms of being performed, announced and promoted both in national and international arenas. Keywords: Turkish Folk Song Collections, Symphonic Folk Songs, Polyphonic Turkish Folk Songs

Specifics of Vocal Repertoire of Students-Actresses (on the Example of Ukrainian Folk Songs Arrangements): Musical and Performing Aspect

The purpose of this article is to determine the main musical performance features of the vocal repertoire of students-actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) and highlight their role in the selection of vocal works in the field of stage arts. Research methodology. General scientific methods are used in this article: cognitive, analytical, comparative; particular musical-theoretical methods: musical­analytical method, vocal­performing analysis. Results. Some of the most significant musical and artistic features of the arrangement of Ukrainian folk songs, which serve their widespread use in the repertoire of future specialists of the dramatic scene, in particular, are: the variety of their genre and thematic composition, the lightness of the verbal text, the simple form of musical verse, which together create suitable conditions for solving musical, vocal­technical and artistic-performing tasks of the work. Widely used in the vocal repertoire of students-actresses (on the example of KhSAC) are the Ukrainian composers’ arrangement of folk songs of a narrow range (from a minor sixth to a perfect octave), where performers are not given complex vocal and technical tasks, however, they require future actresses to master such important factors of singing phonation as singing breathing, various types of sound science (legato, staccato), expressive articulation, as well as a vivid acting embodiment of the vocal and artistic image of the work. Novelty. For the first time, the article considers the specificity of the singing repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) in the musical­performing plane and identifies the main parameters of introducing this musical material into the vocal repertoire of future stage art specialists. The practical significance. The article contains information that is useful for professional representatives of drama arts sphere, vocal pedagogy and students-actors in the aspect of vocal and performing skills development. Сonclusions. The main musical performance characteristics of the vocal repertoire of future actresses (using the example of selected arrangements of Ukrainian folk songs for female voice accompanied by a piano) are defined as follows: a narrow vocal range of the song, which is important for the vocal performance of actresses, whose singing range is generally not complete (most often reaches up to one and a half octaves); consistency of the musical material with a change in the mode and tone altitude (fretonal pitch), which allows to freely select the desired tonality that is most convenient for the performer; expressive artistic and emotional content of the work, which together play a leading role in the selection of the singing repertoire of future specialists in the dramatic sphere.

TWENTY YEARS OF DEVOTION TO ART: THE HISTORY OF THE GIRLS’ CHOIR “LIRA” AT IVAN FRANKO LVIV NATIONAL UNIVERSITY

In this article, we will discuss the eStablishment and 20 years of accomplishments of one of the moSt accomplished amateur Student ensembles of Ivan Franko Lviv National University, national women youth choir Lira. This is the firSt complete account of the activities and accomplishments of the ensemble, famed in not only Ukraine but the reSt of the continent. Lira was firSt founded in 1999 as a choir of the philology department of Lviv National University before becoming a university wide ensemble in 2004 to include both undergraduate and graduate Students from all departments. Oksana Melnychuk, senior teacher of the department of Musicology and Choir Conducting, is the creative leader and conductor of Lira since 2000. The choir frequently participates in an array of university programs and events, and performs at many more local and regional cultural events. Lira has produced hundreds of concerts, and their intriguing and diverse repertoire continues to spiritually enrich the performers and the audience alike. Besides the concerts, Lira is a participant and laureate of many regional, national and international feStivals and competitions. Ukrainian choral music performed by Lira was heard in Poland, Czechia, AuStria, Greece, Belgium, and the Netherlands. In the course of its exiStence, the collective significantly expanded and diversifiedof spiritual music, numerous arrangements of folk songs, and original works of European and Ukrainian classical and contemporary composers. The collective’s creations include a printed collection of choral pieces “Lira Sings” and three audio albums: Giovanni BattiSta Pergolesi’s “Stabat Mater”, “Lira Sings – Women Youth Choir”, and “Taras Shevchenko’s Lyrics”. The lateSt collective’s album, “Taras Shevchenko’s Lyrics”, is dedicated to the 200th anniversary of the birth of Taras Shevchenko, and is a joint work of the choir and the eSteemed Ukrainian actor and professor Bohdan Kozak. Lira participants continue to sing in other adult amateur and professional groups, even after graduation. Despite the never ending turnaround of participants due to it being a Students only choir, Lira always amaze their liSteners with the higheSt levels of artiStic talent and creativity.

РУССКИЙ ФОЛЬКЛОР В СИСТЕМЕ МАССОВОГО МУЗЫКАЛЬНОГО ВОСПИТАНИЯ ДЕТЕЙ В ДОРЕВОЛЮЦИОННОЙ РОССИИ (60–80-е годы XIX века)

The 60s — 80s of the XIXth century were the period of arousing interest in music pedagogy and awareness of the need to develop theoretical research for organizing musical education and upbringing of children in family and school, representing the first musical collections for children based on Russian folklore. The analytical base of the research (sources) are collections of folk song arrangements, created with a specific pedagogical purpose, both for special educational institutions and for students of mass schools. Its content allows to demonstrate the views of Russian teachers, music educators and composers on the use of Russian folklore in the system of mass musical education for children. The most important achievement of the studied period is the appearance of the first children's song collections with a realized scientific approach to the publication of folklore works for pedagogical purposes, in which authentic melodies are presented without accompaniment written by the composer, and the song texts are supplemented with information about specific geographical recording location and performers. Theoretical and practical experience of musical education gained in the second half of the XIXth century is very valuable for modern music pedagogical science and practice.