Chamber Works Research Articles

Design and Measurement of a Vibrating Intrinsic Reverberation Chamber Working in Tuned Mode

In this letter, a vibrating intrinsic reverberation chamber (VIRC) working in mode tuning is designed and fabricated; the designed RC is made of a highly electrically conductive silver fabric. A stepper motor is used to tune the cavity surface step by step along its normal direction, and an RC with vibrating wall is realized. The corresponding relationship between the vibrating amplitude and frequency of use is calculated. A test system is developed and the performance of VIRC is experimentally verified. Measurement results show that the measured E-field samples follow a Rician distribution, and the standard deviation of the space E-field is less than 3 dB, which meets the requirements of statistical uniformity tolerance in IEC 61000-4-21.

«For a long time» Алексея Ретинского: Поэтический источник как основа музыкальной композиции

The article discusses the chamber work «For a long Time (and in this length continuity abruptly)» by the contemporary composer Alexei Retinsky. The proposed work is the first attempt of scientific understanding of Alexey Retinsky's creativity in Russian musicology. The main attention is paid to the role of the poetic source of the composition — Gennady Aiga's poem «Long: the Sun» in the musical composition. The connection between the musical and poetic text is traced, which is the key to understanding the idea. The author traces the development and interaction of three thematic semantic complexes associated with the central images-ideas of G. Aiga's poem: «longitude», «silence»" and «sun».

Interpretitve principles of stage implementation of Frank Marten’s Oratorio “The Magic Potion” in the Theater St. Gallen

Relevance of the study. Among the stylistic diversity of composer and vocal practice of the 20th century, which has been thoroughly studied in domestic musicology, the practitioner finds several little-known personalities of the music culture of Western Europe. Amid such names lies the figure of the Swiss composer Frank Martin (1890–1974). He is the author of oratorios Golgotha, In terra pax, Requiem, orchestral and chamber works. His works came from a period of active innovation and experimentation in music. The composer's writing is marked by the synthesis of dodecaphony and the classical functional tonality' system.
 The analysis of the embodiment of contemporary oratorio-opera on the stage is always of particular interest for contemporary interpretation. This also applies to the staging of F. Martin's works, which are not widely known, and therefore have not been studied at all. Thus, the relevance of the topic lies in the conceptualization of F. Martin's insufficiently explored oratory work, which deserves to be introduced into the scientific circulation of domestic musicology and the study of staging.
 Main objective(s) of the study is to substantiate the concept F. Marten’s «The magic potion» in the aspects of genre-stylistic and performing tasks of its stage realization.
 The object of study is F. Martin's vocal and choral works; its subject is the stylistic principles of the oratorio-opera The Magic Potion in the aspect of performing tasks of its stage realization.
 The methodology. Research methods are determined by the material and subject of research: historical — reveals the features of the context of socio-cultural life of Switzerland in the war and postwar years; biographical — contains information about the life and work of the composer; function and structure method — helps to determine the intonation structure of the work through the functions of i m t; stylistic — reveals the specifics of the artist's thinking «as an artistic unity» (according to S. Skrebkov).
 Results and conclusions. Using the original source of the medieval epic — the legend of Tristan and Isolde, — the composer sharpened the conflict of literary model (Joseph Bédier, Roman de Tristan et Iseut), taking the narrative into a more realistic channel that is focused on the feelings of the heroes. Following the tradition of ancient tragedies, in which the choir played the role of the engine of the plot, the composer transferred the function of narrative to an ensemble of twelve voices, part of which are the main characters of the plot. F. Martin designed The Magic Potion as a secular oratorio, without the ability to perform music as a grand opera, but did not exclude the possibility of a stage embodiment where the main characters would be portrayed by soloists that don't belong to the choir. An in-depth analysis of one of the contemporary stage performances of the St. Gallen creative team has shown current trends in contemporary vocal performance.
 Opera as a form of art attracts both the public and engaged composers and performers around the world. The contemporary opera genre demands particular challenges for composers, performers and producers, as well as opera intendants. The study of the complex genre structure of the work not only in the aspect of musicological analysis by the score, but also in the aspects of its stage embodiment (that is, the performing version of the oratory score) constitutes a scientific relevance and significance of the researched topic.

The Genre of Poems in the Flute Repertory(on The Example of the Works by Ch. Griffiths and J. Kolodub)

The essence of the concept "poem" is analyzed in the context of the origins of this genre. The characteristic features of the studied genre are clarified not only from the literary standpoint, but also from the standpoint of the musical-instrumental genre. The relevance of the study of the "poem" genre is highlighted as a type of flute musical work. Its uniqueness and significance in the flute repertoire among diverse flute works is confirmed. Two works of the same genre by American and Ukrainian composers, who are representatives of different composer schools and traditions, but whose works share common features, are considered. A detailed musical analysis of two "Poems" in versions for flute and piano was carried out by studying the musical text and the most popular modern performing interpretations. Their structural, substantive, and shape-forming components have been studied. It has been proven that works that had been created for solo flute accompanied by an orchestra gained more popularity and distribution than versions for flute and piano. It has been clarified to which period of creativity each composer's work belongs. It is indicated which elements of the musical language, means of expression and other compositional techniques characterize this stage of the creative activity of each of the composers. The relationship between the flute and piano parts has been established. The interaction between them and equality, which are characteristic of chamber works, have been revealed. Attention is drawn to the peculiarities of the musical language that characterize each of the composers and that are clearly manifested in the specified works. The author discovered the identity between the eastern motifs that exist in the music of Ch. Griffiths and the features of the use of characteristic musical modes in the work of Zh. Kolodub. The coloristic direction of impressionism was found, which is the main characteristic feature of the studied style, this feature was clearly manifested in both works. The expansion of the technical capabilities of the musical instrument (flute) was studied, which is observed in the use of contrasting nuances, registers, in unexpected solutions, combinations of time signatures, the presence of intricacies of heartbreaking passages and melodic constructions.

Poetics of chamber-vocal creativity of Ch. Gounod: the performing aspect

Formulation of the problem. The study of the national musical tradition in its individual and stylistic manifestations is one of the relevant areas of modern science. To do this, one can apply different coordinate systems, some of which are measured by special phenomena: communicative regularities, emotional and creative energy, synergy, phenomenology of creativity. Among such concepts, a separate place is occupied by poetics, which in the field of musical art has specificity at different levels of creation and existence of a musical composition. From this point of view, it is possible to consider both the newest phenomena of musical art and the familiar ones, such as, for example, the chamber and vocal compositions by Ch. Gounod. The analysis of publications on the chosen topic shows that Ch. Gounod’s chamber and vocal work in musicology has, as a rule, a traditional historical and compositional-stylistic dimension. Its performing profile is not involved, which requires correction of the research situation with the help of the prism of the poetics of creativity – both composing and performing. Moreover, the concept of poetics of musical art is presented by scientists quite powerfully (E. Arefyeva, N. Belichenko, I. Vavshko, E. Nazaykinsky, Yu. Nikolaievska, I. Romanyuk, N. Ryabukha, S. Shchelkanova, J. l. Kreiling, J. Malek, etc.). Therefore, there is a need to update the creative work of composers of the past with the help of characteristics of the poetics of both composing and especially performing creativity. All this determines the scientific novelty of the presented research, which is related to the characteristic of the poetics of the chamber-vocal creative work of Ch. Gounod from the perspective of performing specificity. The purpose of the scientific work is to identify the main parameters of performing specificity related to the poetics of Ch. Gounod’s chamber and vocal creative work. The research methodology is based on a complex combination of several scientific directions: studies devoted to poetics in music in general, as well as in the creative work of individual composers; scientific works related to Ch. Gounod’s creativity. Research results and conclusions. One of the concepts that should be used to understand Ch. Gounod’s vocal style is precisely poetics as a combination of the general parameters of the composer’s style, the figurative and semantic plan of the composition and a complex of specific means of expression, including purely performing ones. The embodiment of the immediate feeling of being in its lyrical perspective of everyday French music in academic genres forms the basis of the poetics of Ch. Gounod’s vocal creative work. The combination of the poetics of academic and everyday vocal art is the core of the poetics of Ch. Gounod’s vocal style, which ensures both simplicity and complexity of its embodiment. Ch. Gounod’s vocal style (both composing and corresponding performing ones) can be defined as a genre style, taking into account the total correspondence to French everyday vocal genres.

Peculiarities of embodying the Swedish national folklore in Amanda Maier’s violin miniatures

Statement of the problem. The work of the Swedish violinist and composer Amanda Maier-Röntgen, a talented artist of the Romantic era, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, who was at one time a fairly recognizable artist in Europe and led an active concert activity, is practically unknown in Ukrainian musicology. In the works of foreign scientists, the composer’s achievements are also not sufficiently studied. At the same time, A. Maier composed a number of such opuses for the violin or with the participation of this instrument, which have undoubted artistic value and are now being rediscovered by contemporary performers and are gaining certain popularity. Among them are not only large-scale chamber works, but also cycles of violin miniatures – a genre that has not so often attracted the attention of composers, as, for example, the genre of piano miniatures and is also much less studied by scientists than the latter. Therefore, the study of A. Maier-Röntgen’s violin miniature samples seems promising both from the standpoint of updating the composer’s work in the modern musicological discourse, and in the context of the further enlargement of scientific ideas about the development of the violin miniature genre, as well as in regard to the problem of embodying national traditions in the music of composers of the second half of the 19th century. Recent research and publications. The creative personality of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), in the studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler BrahmsKongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The special research dedicated exactly to A. Maier is J. Martin’s dissertation (2018). However, the author, researching the life and creative path of the artist in detail, describing her performance, almost does not touch on her compositional work, limiting herself to compiling a detailed list of A. Maier’s existing and lost works. Instead, the last chapter of J. Martin’s research is also devoted to the issues of gender inequality in the second half of the 19th century musical environment. The purpose of the article is to characterize the specifics of embodying the Swedish national folklore in Amanda Maier’s violin miniatures. For the first time in Ukrainian musicology, multifaceted connections of Amanda Maier’s violin works with the Swedish national folklore tradition were revealed. The research results is based on such methods as historically stylistic and genre-stylistic, as well as comparative approaches and analytical musicological methods, which allow to reveal the originality of the interaction of national and pan-European stylistic features in A. Maier’s violin miniatures. Conclusions. A. Maier’s two cycles for violin and piano fit into the tendency of many composers of the second half of the nineteenth century to search for national identity, and it seems reasonable to consider them as two milestones on this path in the composer’s work. The first cycle – “Six Pieces” for Violin and Piano of 1879 – demonstrates not so much a pronounced national colour as orientation towards the European traditions of creating dance miniatures and an indirect connection with the Swedish folklore tradition. The latter is realised both through the use of the violin, one of the main instruments in Scandinavian folk music, and through the use of dance styles common to the Swedish folk instrumental and European professional traditions, in particular, the minuet and mazurka. The second cycle – “Swedish Melodies and Dances” – is the result of A. Maier’s conscious appeal to the national roots. In this work, the links with the Swedish folklore tradition, both song and instrumental, are rich and varied, and manifest themselves at all levels of the artistic whole: melodically intonational (through characteristic rhythmic formulas and melodic turns), modal and harmonic, and at the level of compositional structure.

EXPERIENCE IN STRENGTHENING UNDERGROUND PEDESTRIAN CROSSINGS IN WATER-SATURATED CITY SOILS

Purpose: to analyze the problem of subsidence of vertical and horizontal elements of underground pedestrian crossings in the conditions of the city of Kyiv (Intersection of Mineralna – Ukrainian streets) taking into account the water-logged structure of the soil. Find a modern solution to this problem using a scientific approach. Using the example of an underground pedestrian crossing, identify the most deformed areas in the elements of the joints of vertical and horizontal structures for further processing and drawing a conclusion for the elimination of similar ones in the future.Methodology: in order to establish the reasons that caused the deformation of structures, to solve the task of engineering survey of the technical condition of their reinforced concrete structures with an instrumental survey of the actual strength, geometry and monitoring of uneven precipitation. Based on the results of field and chamber work, a complex ofstrengthening and restoration engineering and technical measures was developed and recommended to the customer for implementation, taking into account the requirements. Originality: the article provides an example of the implementation of the construction of the foundations of underground pedestrian crossings erected on water-saturated soils in complex engineering and geological conditions using construction water subsidence, usingtechnological methods, with the aim of excluding uneven deformations of foundation sediments above the zones of depression funnels from water subsidence or artificial foundations from vertical cement-soil reinforcing elements, the frontal part of which must be wrapped in reliable base soils.Findings and practical implications. The sealing of horizontal and vertical technological and sedimentary-temperature seams in the construction of foundations, walls and the covering of underground structures should be carried out using modern types of hydraulic plugs that perceive the hydraulic pressure from underground water and exhibit the property of swelling when in contact with flooding water. Such technological solutions can be used in the construction of underground pedestrian crossings in the conditions of dense urban development, in the presence of significant possible vertical deformations in water-saturated soils.Keywords: subsidence, sediment, crack, depression curve, mountain pressure, waterproofing, pile, cement-soil reinforcing element, monitoring

Mythopoetics of Borys Liatoshynsky’s 1910–1930s: the wagnerian context

The mythopoetics of Borys Liatoshynsky’s work is a little-researched phenomenon by modern musicology. Meanwhile, the “projections” of the myth, the outlines of the mythological plot, image, and motive, woven into the artistic plan, open new horizons for understanding the author’s concepts. The myth appears to be the key to deciphering the depths of interaction between the author, the work, and the character. Given that Liatoshynsky’s artistic ideas of the 1910s–1930s were modernistic, his artistic concepts have absorbed almost all the leading phenomena of European music of the first half of the twentieth century. They became the basis for the further development of Ukrainian musical culture. Without resorting to mythopoetics it is impossible to understand them in their diversity, complexity and contradiction. Mythopoetics, in the context of Liatoshynsky’s explorations, is manifested through the reflection of other European cultures, passionary personalities, and the realization of the myth of the hero in the works. This can be seen in the symbolistic chamber works of the 1920s, in operas in which the hero’s sacrifice acquires the epic scale of Greek tragedy, and in symphonic works whose characters are characterized by the duality of interpretation of the good and the evil. Wagner’s projections in the works of Borys Liatoshynsky of the 1910s and 1930s can be traced in two ways. On the one hand, due to the mythopoetic symbolism of the intentions of the Ukrainian composer, the kaleidoscopic discreteness of symbols-images-myths, obtained from the work of Scriabin, a consistent Wagnerian. A deeply tragic attitude showed itself to be an alienated imagery of concepts during an attempt to heal the traumatic experience of the First World War and the Civil War. On the other hand, the Wagnerian version of the heroic myth became basic for Liatoshynsky and was used in opera and symphonic concepts. This confusion of the myth, its symbolic and tragic context, was traumatically reflected in the fate of his Second and Third symphonies, and in its general form is embodied precisely in opera ideas

Bohdana Filts’s vocal chamber works of the late-life period: artistic design and performance implementation

The article considers the features of artistic and imaginative thinking of Bohdana Filts (1932-2021) in the vocal chamber work of late-life creativity. The author highlights the performing features of the solos chosen for analysis based on poetic texts by L. Ukrainka, I. Franko, L. Kostenko, and H. Kanych. An attentive and careful attitude to the requirements of performing practice, skilful use of all the possibilities of the voice, and its timbre-expressive palette are prominent in Filts’s solos. The composer masterfully creates the piano accompaniment’s part, which always plays an essential figurative and semantic role. In the analyzed works of the late-life period, there is a direct connection with the vocal chamber compositions of earlier stages of the artist’s work through the ideological and aesthetic orientation of the idea, features of intonation thinking of the composer, her harmonic language, and unique style of vocal writing with characteristic genre preferences.

Artistic and Expressive Space of the Vocal Chamber Works of Bohdana Filtz

The paper studies the chamber and vocal legacy of the prominent Ukrainian composer Bohdana Filtz (1932–2021), whose musical thinking was influenced by the traditional Ukrainian romance songs, in particular, the old Galician ones. Her orientation towards the genre of romanсe manifests itself in the poetic intonation of the textual basis and in the manner of her musical writing. In Filtz’s chamber vocal works, she expands the boundaries of themes and genres of solo singing. Her solo pieces for voice are characterized by an attentive and careful attitude to the performance and skillful use of the entire range of the most “capricious and fragile” musical instrument—the human voice. In addition, she effectively builds the very part of the piano accompaniment, which always plays an important figurative and semantic role. Two significant components in the figurative and thematic content of Filtz’s vocal music were defined—civil and lyrical. In her chamber vocal compositions, Filtz combines a purely personal idea with a universal, humanistic principle at the figurative and meaningful level, closely intertwining epic characteristics with lyrics and drama. Her tendency for the psychological acuity of the musical images of her vocal works was traced through their philosophic nature, enriched with drama, and sometimes with tragedy. Ukrainian classical and modern poets prevail in the poetic stanzas of her romances.

USE OF SATELLITE GEODESY IN TRANSPORT INFRASTRUCTURE OF UKRAINE

The purpose of the article. Analyze scientific publications on the use of traditional geodetic equipment and compare with geodetic equipment using GPS technologies. As a basis for comparison, analyze the method of execution and work cost, time spent on field and chamber work. Determination of the efficiency and expediency of using satellite receivers in works related to the creation of a planning and cartographic basis for the territorial plan. Method. To achieve this goal, the experience of the field shooting method, cameral work and data processing was analyzed. During the research, cadastral plan of the area is developed, new technologies in the field of land management, cadastral, geodetic search works and materials of scientific and practical conferences are considered. Advantages and disadvantages of traditional and satellite methods for geodetic measurement are considered. Results. According to the results of the obtained data, a topographic map of the reserve lands area, comparable methods of using geodetic equipment and the estimated works’ cost were constructed. Scientific novelty. The conducted analysis made it possible to determine the advantages of satellite geodesy in the areas of land management, cadastral, and geodetic search works. The obtained result shows the importance of this direction in modern life and practical activity. Practical value. It is explained by the expansion of opportunities for cadastral needs of modern geodetic measurements, which can replace traditional geodetic measurements. With the help of satellite geodesy, it is expedient to create large-scale maps in a shorter period of time, and they also facilitate the acquisition of data from hard-to-reach or inaccessible objects, and objects that require the permission of the land user (owner) to conduct work.

Operating life assessment of a carbon fibre brush seal through endurance testing

While brush seals have been studied for almost forty years, carbon fibre brush seals have only recently drawn interest for their excellent leakage performance, combined with low friction. Their suitability for oil sealing applications has been acknowledged in the aeronautical field, specifically for civil aircraft gas turbine engines. This paper focuses on the endurance of optimally designed brush seals in an environment simulating the bearing chamber working conditions. They underwent a wide range of differential pressures and rotational speeds in long runs ranging from 100 to 300 h. A semi-empirical performance prediction model was developed based on these results, allowing estimation of the leakage performance beyond the recorded data. In addition, the presence of lubrication oil largely increases seal life, despite initial leakage performance degradation due to hydrodynamic lift. Finally, a visual inspection with a high precision microscope revealed uprooting of the carbon fibres. This phenomenon may well be the biggest cause of performance degradation, rather than fibre material losses, which were ultimately deemed unquantifiable.

Evolution of Amanda Maier’s chamber music work

Statement of the problem. In modern performance and musicological practice, there is a clear tendency to revite the works of little-known or forgotten authors, in particular, female composers. The study of their work in modern discourse, mainly English-speaking, is mostly of an overview nature. The work of female composers is often considered from the standpoint of gender inequality and gender psychology. A certain lack of actually musicological studies of the works by female composers is observed. One of such little-known figures is Amanda Maier Röntgen – a Swedish violinist and composer, a graduate of the Royal Academy of Music in Stockholm and the Leipzig Conservatory, the first woman received the title of “Musik Direktor” and was actively toured in Europe, whose work is practically not studied in Ukrainian musicology. Analysis of recent publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), in the studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to A. Maier is J. Martin’s dissertation (2018), but it focuses on the biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. Analysis of recent research and publications. The figure of A. Maier is briefly mentioned in a number of works devoted to Swedish musical culture, in reference materials (Jönsson, 1995; Karlsson, 1994; Öhrström, 1987; Öhrström & Eriksson, 1995; Riemann, 2017; Laurence, 1978), studies devoted to other composers: J. Brahms, E. Grieg, J. Röntgen (Internationaler Brahms-Kongress Gmunden, 2001; Hofmann & Hofmann, 2006; Grieg, 2001; Vis, 2007). The most meaningful study dedicated to the creative personality of A. Maier is the dissertation of J. Martin, but the researcher focuses on biographical moments and the position of female artists in the 19th century in general, omitting the actual musicological consideration of the composer’s works. The purpose of this article is to characterize A. Maier’s chamber work, to prorose its periodization and to trace the specifics of evolution of the composer’s chamber-instrumental style. The scientific novelty. For the first time in Ukrainian musicology, a comprehensive study of A. Maier’s chamber-instrumental work is carried out. Methodology of the research. The research results is based on such scientific and culturologic methods as historical and biographical; historical and genrestylistic; also the analytical musicological methods were used when considering A.Maier’s chamber instrumental works. Conclusions. The main phases of A. Maier’s professional development as a composer are the early and mature periods. Taking into account both, the biographical and purely musical stylistic factors, we regarde it inappropriate to talk about the late period of the artist’s work. We consider the early period to be the study time at the Royal Academy of Music in Stockholm. The mature period begins after its end with the creation of the Sonata for violin and piano (1873). The mature period of the composer’s creativity is also subject to internal differentiation, since the time period from 1873 to 1880 (the year of marriage) was marked by much more active creative searches, a greater variety of genres and instrumental compositions, than the later years of A. Mayer’s life (in addition to chamber instrumental works, the Concerto for violin and orchestra, the chamber and vocal pieces were written). In the mature period, such notable opuses as Piano Trio, String Quartet, cycles of miniatures for piano and violin were created. The analysis of A. Maier’s scores revealed the main trends in the development of the composer’s chamber-instrumental style: an aspiration to symphonize the chamber music; the expansion of the imagery palette (the dominance of lyricodramatic impulses in the first mature works, the synthesis of lyrico-dramatic, lyrico-epic, epico-heroic, folklore-genre imagery spheres in the laters ones); active search for an individual solution to the violin miniature genre, in which the Swedish national musical traditions are most vividly embodied.

Clémence de Grandval in the French artistic culture of the XIX century

Statement of the problem. One of the main issues of the humanities has always been to study urgent problems due to the proceses of economic and social life, changes of artistic guidelines, one of which is to comprehend the specifics of the functioning of contemporary art. Nevertheless, the direction of music scholarship that explores the culture of previous eras and the work of little-known «second-rate» artists remains no less important. In this aspect, the XIX century, namely the era of Romanticism, attracts attention with the flourishing of salon culture, the interest in the work of the Musician-Creator, which led to the formation of a significant layer of educated amateurs and many composers, whose works have been forgotten. The purpose of this article is to present Clémence de Grandval’s creativity as an important component of the development of artistic culture of France in the XIX century. Results and conclusion. The centers of salon culture, where composers and performers, poets and publicists, artists and theater figures gathered in the epoch of blossom of the European Romanticism influenced on shaping of personality and individual artistic style of Clémence de Grandval (1828–1907), born as Marie Félicie Clémence de Reiset (and also known as Vicomtesse de Grandval and Marie Grandval). Unlike of many women of that time, she was lucky to study from a young age. She took lessons from a family friend, the German composer F. Flotow, and later – from F.Chopin and C. Saint-Saëns. In the artistic environment of France in the XIX century Clémence de Grandval was not only well-known, but also a highly respected composer. For many years she held an honorable place in the National Musical Society of France, where she was also involved in patronage, helping young talented composers to promote their works. Both, the significant art prizes of that period, which Clémence de Grandval received through her musical talant and professional knowledge, as well as the respectful attitude of her contemporaries, indicate that during her lifetime she achieved great recognition. Clémence de Grandval’s creative heritage includes several operas, choral and instrumental works that were actively publishing in the XIX century, but later the scores of her orchestral compositions were lost. As of today, the interest to Clémence de Grandval’s creativity is reviving, though performers focus mainly on her chamber works, where orientation on home music is obvious. Thus, the legacy of this remarcable French women composer deserves a deeper investigation.

New Sheet Editions of Chamber Works by Ukrainian Composers

Kyiv Avant-garde: Chamber music anthology. Kyiv: Muzychna Ukraina, 2020. Chamber music anthology: Stankovych. Ishchenko. Bibik. Kyiv: Muzychna Ukraina, 2021

P. Hindemith’s Eight Pieces For Double Bass Solo: compositional and dramaturgical peculiarities

Statement of the problem. The heritage of German composer Paul Hindemith significantly influenced the development of double bass art of the XX century. Yet, from the 1920s, the author of one of the most renowned chamber works with double bass of his time, the Sonata for Double Bass and Piano (1949), a composer, multi-instrumentalist, P. Hindemith actively involved the double bass in other works, both chamber and solo ones. The Eight Pieces for Double Bass Solo (1927) for a long time have not been the focus of attention of contemporary researchers or double bass players. However, one should not underestimate the fact that P. Hindemith turned to the double bass as an instrument capable of performing a solo work. P. Hindemith’s double bass works still receive insufficient attention from both foreign and domestic musicologists, although many aspects of the composer’s work are highlighted in the studies of E. Hartmann (2013), J. Haney (2008), D. Trippett (2007) and others. The most complete information about the Eight Pieces for Solo Double Bass is given in the Introduction by G. Schubert (1997) before the publication of these pieces, however, their analytical interpretation has not yet been the subject of special research. The purpose of our study is to identify the compositional and dramaturgical peculiarities of Hindemith’s Eight Pieces for Double Bass Solo and to determine their role in the development of the double bass “branch” in the composer’s work. The following scientific methods were used: historiographic approach to study the scientific sources devoted to P. Hindemith; structural-functional and textological approaches in analytical descriptions. As a result of the analysis it was concluded that the Eight Pieces for Double Bass Solo by P. Hindemith are unique as they are a vivid example of the composer’s search for non-standard solutions connected with choosing the solo instrument timbre and the cycle-making factors. From the 1920s, the timbre of the double bass solo in Hindemith’s works in most cases correlates with the semantic spheres of joke, parody, sarcasm or grotesque. Created for home performance with friends, Eight Pieces for Double Bass Solo present the parody direction in the composer’s work. The cycle was undoubtedly influenced by Gertrude Hindemith’s preferences and talents. Gifted not only as a singer, cellist and double bassist, but also as an actress, she played these pieces not only at private parties for friends, but also performed them on stage following all the “acting” remarks written in Hindemith’s manuscript. The Eight Pieces built by the principle of “the cycle in cycle”, and their dramaturgy is subjected not only to musical logic, but also to numerous nonmusical factors (reflected in the remarks, graphics, etc.), which determined the theatrical nature of the work. After a real flourish of Hindemith’s chamber and instrumental work in the 1920s, the composer focused mainly on symphonic genres. However, his interest in double bass didn’t exhaust itself. After many years of active work in the symphony genre, P. Hindemith again turned to it as a solo instrument in the Sonata for Double Bass and Piano – the peak of the evolution of this instrument in his music. However, the formation of the sound image of the solo double bass in the composer’s was gradual since the 1920s. The Eight Pieces for Double Bass Solo, which were an important step on this path, despite being intended for home music, laid not only the foundations of a sound image of the double bass, but also the aesthetic basis of the instrumental theater.

Saint-Saëns’s Works for Violin and Piano

Saint-Saëns’s Works for Violin and Piano Michael Strasser Camille Saint-Saëns. Andante d’une sonate pour violon et piano en ut majeur (R deest); Sonate pour violon et piano en si bémol majeur (R 103); Sonate pour violon et piano (inachevée) en fa majeur (R 106); Sonate pour violon et piano no 1 en ré mineur, op. 75 (R 123); Sonate pour violon et piano no 2 en mi bémol majeur, op. 102 (R 130). Edited by Fabien Guilloux and François De Médicis. Kassel: Bärenreiter, 2020. (œuvres instrumentales complètes, Sér. III, Vol. 4) [Front matter in Fr., Eng., and Ger.: foreword, p. vii–xii; preface, p. xiii–lxv; documents, p. lxviii–lxxvi; score, p. 3–120; crit. rep. in Fr., p. 123–51. Cloth. ISMN 979-0-006-54154-6. €266 ($332.50).] Camille Saint-Saëns was, during most of his lifetime, indisputably the most famous musician in France, a figure renowned both at home and abroad for his talents both as a composer and a pianist. Among the most prolific composers of his time, he contributed significant works across multiple genres and over a span of many decades. Yet for much of the twentieth century, Saint-Saëns and his music attracted relatively little scholarly attention. That situation has thankfully changed over the past few decades, as growing interest in the rich and varied musical life of fin-desiècle France has resulted in increased focus on Saint-Saëns, with several new biographies in both English and French, a three-volume meticulously-researched catalog of his works (Sabina Teller Ratner, Camille Saint-Saëns, 1835– 1921: A Thematic Catalogue of his Complete Works, 3 vols. [Oxford: University of Oxford Press, 2002–]), a comprehensive collection of his numerous reviews, essays, and other writings on music and musicians (Marie-Gabrielle Soret, ed., Camille Saint-Saëns: Écrits sur la musique et les musiciens, 1870–1921 [Paris: Vrin, 2012]) and, most recently, a critical edition of his approximately 360 instrumental works to be published in a total of thirty-nine volumes organized into four series: orchestral works, concertos, chamber works, and works for keyboard. [End Page 116] The present volume, containing the composer’s three early works for violin and piano (published for the first time) and his two published violin sonatas, is the fourth to be released, following a volume devoted to the string quartets and two in the orchestral music series: Symphony no. 3 and the Symphonic Poems. These latter two volumes were reviewed by James Brooks Kuykendall in Notes 77, no. 2 (December 2020), pp. 319–23. A Foreword by the series editor, Michael Stegemann, opens the volume and is followed by an extensive Introduction with information on each of the individual works by its editors: François de Médicis and Fabien Guilloux. (Both the Foreword and the Introduction appear in French, English, and German.) A Documents section opens with a transcription of three short, undated pages containing questions from the publisher Auguste Du-rand (1830–1909) regarding Saint-Saëns’s Sonata for Violin and Piano no. 1 in D Minor, op. 75 along with the composer’s responses. This is followed by a series of plates reproducing manuscript pages from each of the works included in the volume and a page from the proofs of the violin part to the Sonata no. 2 in E-flat Major, op. 102 with corrections in the hand of Pablo Sara-sate, who premiered the work with the composer at the piano. Following the newly edited scores of the five works, the volume concludes with the Apparat critique (i.e., critical notes, in French only) and a list of abbreviations. Saint-Saëns’s interest in the violin and its music began early, with the first work included in this volume, an An-dante movement for violin and piano in C major, dating from summer 1841, when the composer was not quite five years old. It is, in fact, the first work the precocious child composed for an instrument other than the piano. A page from the manuscript (p. lxix), with its crudely executed notation, provides...

Eugène Bozza: A Thematic Index by Lois Kuyper-Rushing

Reviewed by: Eugène Bozza: A Thematic Index by Lois Kuyper-Rushing David Floyd Eugène Bozza: A Thematic Index. By Lois Kuyper-Rushing. (Music Library Association Index and Bibliography Series, vol. 42.) Middleton, WI: Music Library Association and A-R Editions, 2020. [xxxvi, 581 p. ISBN 9780895798879 (paperback), $150.] Indexes. Eugène Bozza: A Thematic Index by Lois Kuyper-Rushing is the first comprehensive thematic catalog of the music of Eugène Bozza (1904–1991). It offers both [End Page 91] a stepping-stone to future investigations of Bozza’s life and work and a reassessment of Bozza as much more than a composer of wind chamber music. The book, available exclusively in paperback, is a substantial volume in both its content and impact. Creating a detailed, accurate, and comprehensive thematic catalog for Bozza—a prolific composer who often reused melodies and rearranged works with new instrumentations, sometimes under new titles—is a lengthy, circuitous, and difficult task, and one which necessitates a dedicated scholar to carry it through to completion. The author, Lois Kuyper-Rushing, is singularly qualified for such an undertaking, considering her experience researching Bozza’s music. Two highlights of her previous work include a doctoral dissertation, “A Thematic Index of the Works for Woodwinds by Eugene Bozza (b. 1905)” (DMA diss., Louisiana State University, 1989), which was the first to comprehensively document this portion of the composer’s oeuvre, as well as an article detailing archival research in France that led to the discovery of several unpublished works (“Reassessing Eugène Bozza: Discoveries in the Bibliothèque Municipale de Valenciennes Archive,” Notes 69, no. 4 [June 2013]: 706–20). Overall, the index is a success. Its greatest strengths are the thoroughness of the indexing for unpublished and undated works, the novel inclusion of references to thematic similarities, and the biographical sketch of Bozza. The index, however, also has some issues. The impact of occasional typos in entries and minor errors in the notation of the incipits is relatively insignificant to the work as a whole. The more significant issues are the errors in cross-referencing between entries and the lack of a general index. Despite these oversights, its strengths as a contribution to the scholarship generally outweigh its weaknesses. Preceding the thematic index is a biographical sketch that offers both a well-rounded presentation of Bozza’s life and a look at the relationships between the events of his life and his compositional output. Bozza, primarily known in the United States for his woodwind chamber music, in fact composed for a wide variety of ensembles and genres throughout his career. His works include symphonies, vocal music, concertos, etudes, and an abundance of solo and chamber works for brass, strings, piano, percussion, and yes, woodwinds. Although most often remembered as a composer, he was also a violinist and conductor. From 1939 to 1948, Bozza served as the conductor of the Opéra-Comique in Paris. Having held a leadership role in the Opéra-Comique during the Nazi occupation, he faced intense scrutiny from the Parisian arts establishment after the war, and it is suggested in historical research that his termination in 1948 may have been a consequence of this. In 1950, he was appointed director of the École nationale de musique in Valenciennes, where he remained until his retirement in 1975. He continued to live in Valenciennes until his death in 1991. The preface to the index explains the structure of the catalog and the contents of a standard entry. The index lists 298 distinct pieces, 258 of which are “dated and/or published” and 40 of which are undated. They are organized chronologically and assigned “KR” (Kuyper-Rushing) numbers. KR 1 to KR 258 are the dated and/or published works, and KR 259 to KR 298 are the undated works. Each entry includes the title as it appears on the source, brief version descriptions where multiple versions exist, the instrumentation, the names or number of movements, the dates for composition and publication, the author of any lyrical or spoken text, dedications, and any general notes needed to add clarity. [End Page 92] The incipits provided for each entry are transcribed from manuscripts and...

Baritone in M. Lysenko’s vocal chamber works

Statement of the problem. Mykola Lysenko (1842–1912) as the founder of Ukrainian musical culture has a multifaceted influence on the development of most of its genres. A significant part of M. Lysenko’s creative heritage consists of vocal genres, including opera and cantata, ensembles, choirs, solo art songs, and folk arrangements. This fact is quite natural, since the composer built his creative method on the basis of a thorough study and assimilation of Ukrainian song folklore. Despite the regular coverage in the musicological literature of various aspects related to M. Lysenko’s heritage, in particular chamber vocal works (the recent monographs by R. Skorulska & M. Chueva (2015), S. Verhun, I. Koliada, & Yu. Koliada (2015), articles by H. Karas (2019), L. Bozhko (2013), B. Filts (2014), N. Kharandiuk (2013), B. Kosopud (2017), V. Mitiushkin (2020), Ye. Avramenko (2020), A. Polkanov (2021), O. Bassa (2011) and others), the issues related to the role of the baritone in the composer’s solo songs were actually not involved in scientific studies. Such a situation encourages the intensification of research in the indicated direction and determines the scientific novelty of the obtained results. The purpose of this study is to determine the peculiarities of the baritone’s role in M. Lysenko’s solo songs. The research methods that contributed to the achievement of it were the musicological, semantic and comparative analysis of selected samples of M. Lysenko’s chamber vocal work, as well as the technological analysis of the vocal timbre-role specificity. Results and conclusions. The characteristic features of Lysenko’s vocal chamber works, which relate to the selection of poetic texts, genre typology, and the choice of timbres were examined in the study. Four solo songs for baritone were chosen for analysis. The selected samples were considered taking into account the following aspects: belonging to a certain genre group, ways of form organization, harmony features, nature of the piano texture. A separate point of analysis was the use of expressive capabilities of the baritone timbre in connection with the artistic intent of the songs and some technical characteristics of the voice: the covered range, registers, use of resonators, etc. The results of the analysis allowed us to come to the conclusion that in M. Lysenko’s chamber-vocal work, baritone solo songs are mostly “monologues” of dramatic and socially significant content. In order to embody the corresponding semantic content, the composer chooses namely the baritone – because the low register of the human voice or instruments in musical art often appears as a means of creating dramatic, tragic, philosophical images. So, the baritone in M. Lysenko’s chamber and vocal creative work is mainly the bearer of the lyrical and dramatic principle supplemented by a philosophical component.

TECHNOLOGY OF GEODESIC WORKS IN THE INVENTORY OF GREEN SPACES USING UNMANNED AIRCRAFT

The article is devoted to the study of the technology of inventory of green areas with the use of the latest technologies: unmanned aircraft and satellite navigation systems. The topic of the article is relevant, because reliable and up-to-date information on the quantitative and qualitative state of green spaces of settlements is obtained during their inventory and arrangement. As a result of conducting an inventory for each green economy object, a passport of the green economy improvement object is drawn up. The following documents are attached to the passport: an inventory plan on a given scale and a working diary of accounting for greenery. One of the links in the inventory of green spaces of the settlement is sub-field survey, which is currently performed using unmanned aerial vehicles and satellite technologies and in turn consists of topographic and geodetic and aerial photography, and is divided into the following stages: information collection; preparatory work; chamber work. At the stage of collecting information on the object of work, the available urban, land management, geodetic and cartographic materials are analyzed. The second stage – preparatory work, consists of field surveying and aerial photography. Field geodetic works include reconnaissance of the area and the development of plan-height substantiation of the aerial survey area. Field aerial photography consists of creating a flight project, pre-flight training of a quadcopter and direct aerial photography. In-house works are the third final stage, which consists of: processing of aerial photographs; creation of a polygonal terrain model; creation of orthophoto in scale 1: 500; creation of a topographic plan in the Digitals software package; reconnaissance of the area to clarify the spatial and attributive data on greenery; creation of the adjusted topographic plan of inventory of green spaces. It is also recommended to make adjustments to the obtained topographic plan, during which the position of trees in places where a large error was detected and outlines were formed was measured by linear notches with reference to rigid contours. At the same time it is necessary to clarify the species of trees according to the symbols. The digital information obtained in this way about green plantations can be used to calculate the cost of work on the development of the passport of the facility and inventory plan for a given area or create and develop geographic information portals of green areas of individual territories or settlements.